Unveiling their newest album, Let The Record Play, Moon Taxi delivers a fresh outlook on the pop-rock scene. Filled with modern synths, melodic choruses, and new age bass drops, the band still manages to pay homage to their rocking Nashville roots.
Gracing the background of “No More Worry,” you’ll hear riffs of acoustic twangs. On “Moving To The City” electric currents sizzle, while drum cymbals clang in a heavy, rock vibe. Yet, “Not Too Late” boasts of radio pop. The album is a musical compilation, showcasing their creative energy to bring forth something so versatile.
Since beginning in Nashville 10 years ago, Let The Record Play will be Moon Taxi’s first album released through a major label - Moon Taxi signed to RCA Records in Sept. 2017. The band’s keyboardist, Wes Bailey, delivered Ones To Watch an exclusive look into the band’s top 5 influences for the making of the new record.
Reminiscent of bands like Kings of Leon and The Black Keys, you can catch Moon Taxi on tour now.
The Allman Brothers
Gregg Allman passed away as we were making the album. In the songs “No More Worry” and “Trouble,” we used a few moves from the ABB playbook: harmonized guitar lines and bluesy guitar and keyboard solos. Some of my favorite moments on the record…
As we started diving into the recording process, Spencer and I were obsessively listening to the Lucius album, Good Grief. We loved the production style and thought many of that album’s characteristics would work for us as well - organic, but also sleek and using modern sounds.
On songs like “Let The Record Play” and “Not Too Late,” we wanted worldly rhythms reminiscent of something Police drummer Stewart Copeland would have played. On “Not Too Late” we had a different Police-esque guitar part that was scrapped because according to Spencer, it was, “like non-sexy Sting.” Impossible to imagine, I know!
We brought more guest musicians into the studio than we have on previous albums. Steely Dan used to get the best players in the world to join them in the studio; seemed like a fun thing for us to try as we were arranging the songs. We brought in a 5-piece string ensemble, a children’s choir, as well as local musicians that we admire. This included our production manager/sound engineer, Tim Burkhead on auxiliary percussion. Shoutout to Tim!
The Women’s March
Not a musical influence, but worth noting. The impetus for our song “Two High” was an auto-correct fail on my phone that triggered the misspelling of “too high.” The phrase looked interesting to me, and I showed it to Trevor before a gig at the Orange Peel in Asheville, NC. He said it instantly made him think of a peace sign. The next day before our soundcheck in South Bend, IN, The Women’s March was happening in cities across the country. The lyrics poured out of Trevor, Spencer, and myself while watching the images of division and unrest on our bus’ TV screen. We felt our country needed a song of hope for those who may be living in fear. It’s been truly amazing to see the response so far.