MEDESKI MARTIN AND WOOD — End of the World Party (Just in Case)

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MEDESKI MARTIN AND WOOD - End of the World Party (Just in Case) cover
2.83 | 3 ratings | 1 review
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Album · 2004

Tracklist

1. Anonymous Skulls (4:24)
2. End of the World Party (5:10)
3. Reflector (4:11)
4. Bloody Oil (4:41)
5. New Planet (4:07)
6. Mami Gato (4:09)
7. Shine it (4:59)
8. Curtis (4:38)
9. Ice (4:32)
10. Sasa (4:15)
11. Midnight Poppies / Crooked Birds (3:45)
12. Queen Bee (4:57)

Total Time: 53:54

Line-up/Musicians

- John Medeski / keyboards
- Billy Martin / drums and percussion
- Chris Wood / bass

Guest Musicians:
- Marc Ribot / guitars (tracks 3, 5, 10, 12)
- Steven Bernstein / slide trumpet (track 10)
- Briggan Krauss / saxophone (track 10)
- John King / a little of this, a little of that

About this release

Blue Note ‎– 7243 5 95633 2 9 (US)

Recorded at Shacklyn Studios, Brooklyn, NY, and The Medina, Los Feliz, CA

Thanks to snobb, js for the updates

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MEDESKI MARTIN AND WOOD END OF THE WORLD PARTY (JUST IN CASE) reviews

Specialists/collaborators reviews

M.Neumann
It probably isn't possible for the genre-busting Brooklyn trio of Medeski, Martin & Wood to record a poor album. But this year 2004 effort is hardly the ideal place to begin your MMW collection. It presents a more upbeat, distinctly danceable variation to the eclectic MMW space-funk sound, downplaying the band's hardcore jazz background for something more (dare I say it) conventional: notice for example the ubiquitous 4/4 beats throughout.

The difference in style is subtle, but immediately apparent. And while I hesitate to use the derogatory word 'overproduced', there does seem to be a surplus of synth overdubs throughout much of the album. John King (of the DJ/sampler team The Dust Brothers) was the guiding hand behind the producer's console, and he effectively smoothes away the rougher improvisational edges of the music (too effectively, in my opinion). The squeaky-clean, almost sterile sound doesn't show the trio to its best advantage, and the occasional electric lead guitar on several tracks (by Marc Ribot) is likewise a miscalculation.

With that said, the title track has to be acknowledged as maybe the grooviest thing this band ever performed, full of swinging mod-'60s rhythms and prominent Mellotron apostrophes. And the mock-samba vibe of "Mami Gato" cuts through all the electronic clutter to reveal the energetic acoustic heart of the band still alive and beating.

It's hardly an unpleasant experience, and the performances (more than the writing, at any rate) are certainly up to par. But the eclectic variety of style heard on other MMW albums is missed.

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