It's near undeniable that in the past decade or so, rock has become completely digitized.
The affordability of computers and home-recording software has nixed the need for million-dollar equipment of old, with even that classic warm analog sound victim to reproduction by various plug-ins. Likewise, the Internet has become the main stomping ground for untapped talent, rendering record labels near-obsolete.
The result is a double-edged sword: music is more accessible and musicians more empowered, but there's an increasing oversaturation of rank amateurism (the kind once weeded out by industry gatekeepers).
The reason I mention all this is because once in a while you find a band like Taddy Porter, who present the best of both worlds: almost completely unknown and independent, the foursome is rife with talent, moxie, and old-school charm.
Their new release, "Monocle," follows in the best traditions of funk-laced rock, throwing pretention to the wind in favor of a genuine groove. The result is a breed of music that's sincere and yet swaggering, with a strut in its walk and a heart full of fire. That kind of combination is refreshing in today's music world, where posturing is often used as a substitute for passion.
Taddy Porter's boys are Oklahoma-bred and wear the label proudly, with music that's greasy and filling and simple — without being simplistic. Much of their charm must be credited to lead man Andy Brewer, whose bristling, soulful voice must inevitably be compared to Glenn Hughes and The Black Crowes' Chris Robinson. But beyond the additional similarities with legends like Lynyrd Skynyrd and up-and-comers Kings of Leon, Taddy Porter clearly prefers funk to country on "Monocle." Such inclinations prove wise, as the band gleefully (and easily) pumps out track after track of chilled-out, guitar-based sonic joy with nary a blink of the eye.
Things start off heavy n' hot with "King Louie," in which guitar licks run at a jet's pace with abandon. Brewer invites listeners in with a thick vocal crawl as the tension builds and never looks back. This fly-by-night attitude lends the album an undoubtedly cool aura, as if the band members are spinning musical yarns to a cabbie before heading out to the next gig.
That funky poise continues through "Character Assassin" and especially on "What Gets You High," where lusciously distorted guitars hop up and down to a blues-inspired beat. It's here listeners realize that the members of Taddy Porter love what they do, yet know how to do it with restraint — that is, recognizing when to pull back and keep the self-indulgence to a minimum. Whereas Monocle could have become a dragged-out psychedelic disaster, it instead opts for simple pleasure and ear-accessibility.
With that in mind, audiences won't find two tracks with more hum-ability than "Voodoo Johnny" and "From the 9's," both of which take joy in slowly laying out their cards. But make no mistake: beneath the catchy licks and polished persona, there's blood, grit, sweat, and a whole lot more (whiskey, maybe) in the music of Monocle. Thus, it's a win-win situation for anyone who gets to experience the soon-to-be-big Taddy Porter: there's a little bit of everything, and it's all good.
Kevin Liedel is senior staff editor for MuzikReviews.com, which provides iBerkshires readers with weekly music reviews.
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