LOVE IT: Delta Spirit - History From Below.

I saw Delta Spirit live three years ago and was literally struck dumb by their set. The group’s collective energy, multi-instrument switcheroos, and heartfelt sentiment was heart-warming and entrancing.


Such is the energy and emotion captured in the group’s second album, History From Below. In the three years since their self-released debut, the incredible this-is-all-you-will-listen-to-for-three-weeks Ode to Sunshine, Delta Spirit has moved into a real studio and given us 11 of the most captivating songs you will ever hear, and while the band sounds more polished, they haven’t lost the essence of what makes them so good.

The album opener, “911,” bounces around a relevant tale of economic caution while “Bushwick Blues” plows out of the speakers with pulsating rhythms and a message of human vulnerability. “Salt in the Wound” is one of those mind-reelingly personal songs that arouses intense emotion and knee-jerk replays. Listen to this one with headphones in a quiet space.

Delta Spirit is comprised of old souls who know just what to say in their major-key melodies and hopeful anthems to encourage and comfort the human race, or simply to help a person through theinevitability of heartbreak. “Ransom Man,” “St. Francis,” and “Ballad of Vitaly” quietly trudge through bravery, uncertainty, self-realization and unfair loss, but are so beautifully hopeful that I want to reach in and give singer Matt Vasquez a hug. He shouts and murmurs the lyrics like any man in crisis — rousing and intimate, he gets angry and frustrated and torn down by life, but pulls in the listener like a friend.

History From Below shines a light on the human condition, but offers a melancholy hope, as if to say, “Yep, life blows and storms are ahead, but we have life jackets.” (Out June 8 on Rounder Records)

LOVE IT: Eli "Paperboy" Reed - Come and Get It.

Stir Marvin Gaye with two cups of Otis Redding, two teaspoons of Little Richard, a dash of vanilla, and all of the excess energy you have left in your pantry. Bake for one hour and out pops Eli “Paperboy” Reed, the pompadour-sporting Jewish kid from Massachusetts who, surprisingly, rocks and jives on a level almost up there with the original masters of Motown. It blows my mind that his major label debut, Come and Get It (Capitol), wasn’t originally released in the ’60s.


From the moment “Explosion” came blasting from my car speakers, I knew I was in for an exciting throwback to the time of jive and soul and bands with horn sections and a frontman sporting shlicked back hair and delivering falsetto screams in an awesome nod to all those men who really knew how to trap emotions in a vocal. The song is a bit erratic but definitely gets you pumped for the ensuing, better organized Motown-tinged rhythms and melodies.

With his backing band, True Loves (precious, right?), Reed delivers soul and groove enough to knock you off your feet – or onto them. These tunes are made for a dance floor, and I couldn’t help but tap along to the beat with every part of my body that wasn’t occupied by keeping my car on the road.

Each song offers a different color of the Motown spectrum, and though the album’s pace could be smoother — the latter half suddenly halts into a string of slow blues after a fervor of upbeat wailers — Come and Get It will be a delight to those of us who miss, as Reed describes it, “an explosion of rhythm and blues.” It’s no Marvin or Otis, but it’s a pretty dang decent substitute for the real thing.