If you had asked me in my senior year of college if Bad Rabbits would ever make it big, I would’ve said, “No.” Why? Because I would’ve said that the world is not ready for musicians of this caliber. I am proud to say that I am now eating those words, and I’ve never been happier to do so.
Here is my short story of how I learned of and eventually met Bad Rabbits.
It was around 2008 or so, when a well-known band from Boston by the name of The Eclectic Collective set out on what would be their final tour as a group. The band had been around since 2004, and I managed to miss the magic for most of their formative years. It was a radio promo of the band’s second album “The Flux” that was floating around in the stacks of my college radio station that caught my attention.
After playing the album once, it quickly became a regular in my rotation – especially after I jacked it from the station. Unable to get these guys out of my brain, I knew I had to see them play live. By this time, their farewell tour was underway, and over my Christmas break, they were stopping to play in New York at B.B. Kings in support of Slick Rick (to whom they were serving as a backup band).
After catching most of their amazing set – and knowing that this may be the last time I would ever see them – I made it my personal quest to make contact and introduce myself. At that point, I attempted to go to who I thought was at the top (Lesson 1: Not every frontman of a band is the businessman of that band. Do not assume you can even speak to this person either). I went to approach Dua Boakye, to see how I can get the E.C. at my school and was almost immediately flooded in a sea of women jumping over each other to get to him.
After about 2 minutes of this I opted to seek out someone else. It was at that point that I met Sheel Dave, who explained to me that I really wanted to talk to Salim Akram, the person who handled booking at the time. He was very welcoming and receptive to my rookie communication skills and handed me a business card (Yes, a business card for all you aspiring musicians reading this).
Fast forward to the spring, and I am now trading e-mails with Salim. He explains to me that the E.C., for better or worse, is not an option at the moment and suggests I consider a new band called Bad Rabbits, named after a song by Gavin Castleton from his EP, Fort Night Shift.
I am both concerned and worried as I had signed on and promoted an act that I had never heard live without considering the consequences! It was the best gamble I ever made for that show. Fast-forward and you will see that this band was a great success that evening. They of course entertained the crowd with their own bravado and eclectic tastes for both synths and crushing rock riffs. This however is not the band you will hear on their new album American Love.
This album will be both amazing and very much entertaining to anyone who has never heard this band before. The best part of this record is that it is very accessible for most listeners – let’s face it (Bad Rabbits is a party band).
Sound Quality – There is nothing poor to speak of. This not a demo, and yet Bad Rabbits are currently not signed to any major labels. In 2013, the major label game is almost 85% gone as most bands are taking initiative in making a terrific product in-house. They now have the processing power to do so. As a result, Bad Rabbits have achieved an impeccable standard for sound recording, and it shows here. The recording done in Brighton Massachusetts is clean of ambient noises and very much a consistent environment throughout the recording.
Concept– While there is no underlying concept to the record, the tracks flow seamlessly. American Love takes you from one emotion to the next while entertaining you enough to get to the next song. It’s very rare that you can listen to an album in its entirety in one sitting, but I found it to be easy, as I was enticed by the broad vocal range of Dua Boakye, as well as the extensive guitar work of Santi Araujo, who managed to summon sounds I would only relate to guitar from a Michael Jackson record.
It also gives space for Salim Akram to blend in sounds that you wouldn’t hear on an MJ record. Akram’s playing adds several small layers of detail that are essential to the recording. Sheel Dave’s drumming is always on par with everything going on around him, while making room for nuances that make his playing specific to Bad Rabbits signature sound. Sheel’s drumming and Graham Masser’s bass provide a framework that Akram, Boakye and Araujo play within and sometimes leave and return to with precision and dexterity.
Diversity In Arrangement– The band sticks to their initial instrumentation for the entire recording, with the additional keys and backing tracks serving as the only unaccounted-for variable. That said, every musician earns a place on the record, to the small bass breakdown on “Doin It”, to the drum explosions on the intro to “Sayonara.” They exercise their instrumentation appropriately and in a fashion that doesn’t really allow you to get bored with it.
Lyricism/Delivery– Dua Boakye’s vocal delivery is entertaining and impressive. He knows when it’s okay to croon, scream, and when it’s time to find that specific falsetto that carries the band back into their song’s chorus. His lyrics are discernible and clear, as he gives himself enough room to deliver his message in a concise format. That said, the vast majority of these songs have to do with relationships (“Can’t Fool Me,” “Get Up And Go,” “Fall In Love”), one night tension-filled love (“Dance Moves”) or admiring women (“Dirty,” “Take It Off”). However, without a second release, I cannot decide whether this is the distinct direction of Bad Rabbits’ lyrics or if they will ever visit other topics of life. My suspicion is that it is here to stay, but I hope for broadening horizons in their future.
Overall: These guys are entertaining, hardworking and very original. If you give no other band your time in 2013, take the time to hear these 10 tracks that were so eloquently put together by this band.
Favorite Tracks:
“Can’t Fool Me” is my favorite song on this album, as the additional keys played by RP Thompson are reminiscent of George Clinton’s “Not Just Knee Deep”. The verses are also really enjoyable; it is clearly the best choice for a single, which was confirmed on Jimmy Kimmel.
“Dirty” is another fun track from this record.
“Take it Off” is sure to get ladies in the rafters naked while these guys are on tour, the thought of that alone makes the track good (joking). That said, it is a good tune, and definitely something you would see catching wildfire on radio this summer.
Album As A Product: This is a great first release for this band. That said, for many bands just starting out, there is a limit to how much comes with this product. I purchased this record of 10 tracks at a price of $15.00 (shipping and handling included) and found it to be just fitting to my price range if you consider that most acts of this caliber are not distributed in stores. If you can’t afford the CD itself, that is certainly okay – you can get the same magic in MP3 format on Amazon for 8.99 and iTunes for 9.99. BUT, if you need an album with a cover that is comparably as perverse as The Urge’s “Too Much Stereo” then I implore you to pick up this CD at ANY cost. Anyone who saw Jimmy Kimmel’s face when he held it up knows how awesome it really is. Accidental Grade: Flat
Recommended If You Like: Boston (the city, not the band), The Eclectic Collective, Jodey Watley (Dare I say?), Frank Ocean, Eye Alaska, MGMT, Stereolab, George Clinton, Zak Waters.