As per Halloween tradition, the venerable Maryland Doom Fest has posted its as-of-now-complete lineup for next year’s edition, and MDDF 2025 looks like a rager. Set to unfold its massive billing across June 19-22 in the riffy epicenter of Frederick, Maryland, the fest will highlight newcomers and established acts alike, as veteran outfits like The Skull and Apostle of Solitude, Hollow Leg, Curse the Son, and others make returning appearances and new incarnations like Legions of Doom, Ages and High Noon Kahuna feature familiar players in new contexts. Always cool to see bands like Thunderbird Divine and Spiral Grave doing the thing, and I’ll admit that my eyebrows went up when I saw Virginia’s Lord would be playing, as I’d yet to encounter word of a reunion from that most chaotic of sludge metal outfits. Sonolith and Demons My Friends and Sons of Arrakis and plenty of others will be traveling for it — Ogre! — so I would expect some tours to be forthcoming, and Sun Years, whose Nov. tour begins — wait for it — tomorrow, will feature.

It’s a family reunion you probably already have on your calendar, so don’t let me keep you from perusing the poster and getting stoked on what you find. From Crystal Spiders to B&O Railroad, there’s both a lot here and a lot here to like, and always more waiting to be discovered by those bold enough to show up to Cafe 611 early in the day. Check it out:

MARYLAND DOOM FEST 2025 – June 19-22, Frederick, MD

WE JOURNEY FROM THE HEAVY UNDERGROUND AND STAGES ACROSS THE WORLD TO ASSEMBLE IN FREDERICK, MARYLAND, FOR A JOYOUS CELEBRATION OF DOOM, GROOVE, AND THE ALMIGHTY RIFF.

JOIN US.

After such a magnificent 10th anniversary celebration of #4daysofdoom in 2024, which involved reorganizing and coordinating two stages in one venue (Cafe 611), we are beyond stoked to share The Maryland Doom Fest 2025 roster and marvelous promotional artwork.

The art design was created by one of our Maryland natives in the local music scene—Ben Proudman, the Frederick, MD-based master artist at Key City Tattoo (IG: @tattoosbyprdmn). Ben is also the drummer for the powerful bands Thonian Horde and Foehammer. Our very own Bill Kole (IG: @BillyDiablo) handled the color design and layouts again this year. He majestically brought this piece to life!

Explore the heavy musical talent of these bands and performers and be prepared for the nonstop riffage party in June! Talent beyond words!!! We can’t wait for our doom community to congregate next summer!!!

Time slots, ticket sales, stage rosters, sponsors, and vendors will be presented by year’s end. — 💀DooM💀

THE SKULL + PSYCHOTIC REACTION + APOSTLE OF SOLITUDE + LEGIONS OF DOOM + COMPRESSION + CRYSTAL SPIDERS + HIGH NOON KAHUNA + RED BEARD WALL + WITCHPIT + STRANGE HIGHWAYS + AGES + SUNYEARS + HOLLOW LEG

FUTURE PROJEKTOR + ALL YOUR SINS + SONOLITH + SPIRAL GRAVE + LORD + SABBATH WARLOCK + GALLOWGLAS + SONS OF ARRAKIS + CROP + HOVEL + OGRE + DREADSTAR + THUNDERBIRD DIVINE + WYNDRIDER + SUN MANTRA + KULVERA + STYGIAN CROWN + CURSE THE SON + BENTHIC REALM + HOLY ROLLER

BLOODSHOT + DUST PROPHET + VANISHING KIDS + BLOOD AND EARTH + FIGHT THE FOLD + DAYTRIPPER + B&O RAILROAD + BAILJACK + COKUS + NEW DAWNS FADE + COMA HOLE + FLORIST + ABEL BLOOD + SEASICK GLADIATOR + ENTIERRO + HEX ENGINE + DEMONS MY FRIENDS + ABOMINOG + VRSA + HIGH HORSE CALVARY

https://www.facebook.com/MdDoomFest/
www.marylanddoomfest.com

A 42-minute masterclass in the righteousness of doing your own thing, Thunderbird Divine‘s Little Wars arrives as a five-years-later sequel to the Philly soul-sludge-rocking four-piece’s 2019 debut, Magnasonic — they’ve had singles and an EP out between — with nine tracks varied in intent and course united by the sense of scope overarching the entire affair. And like any good literature, Little Wars teaches you how to read it. The opening intro “Pony Express,” with far-off Western harmonica complemented by keys, leads into a Morricone build of snare roll and steady train-engine rhythm, and when the backing vocals start, you know they’re all-in.

The piece continues to swell, but for a record that hasn’t been on two minutes and which one might take on thinking ‘this is going to be rock and roll,’ they’ve begun decidedly outside the normal sphere of what that means, and the many subsequent divergences that take place all stem from that first one as they move toward “Times Gone Bad” and “Last Laugh,” a pairing that seems purposeful in pairing life’s ups and downs and highlighting the persistence to get through both. That “Black Rhino Mantra” follows immediately also feels like no coincidence.

But “Pony Express” tells you a lot of what you need to know about just how open the setting is, with a short burst of feedback and manipulated noise before they cut to the organ that starts out “Times Gone Bad.” Thunderbird Divine‘s Erik Caplan seems to be driving a lot of the arrangement choices — he adds not only theremin, guitar and vocals as usual throughout, but also sitar, the banjo on “Old Black Crow,” the aforementioned harmonica, various synths and drones and, I’m just copying the album credits here, “weird stuff,” which when you listen to the record, is a fair assessment of what you’re getting at times — but he’s hardly alone in his cause.

The band’s lineup has changed since 2019, with Michael Stuart returning on drums and the near-minstrel throaty vocals of “Old Black Crow” as well as new bassist Joshua Adam Solomon (also guitar, vocals, synth and percussion) and keyboardist Jack Falkenbach (also vocals, violin, melodica) making their presence felt in the material. If “Pony Express” subtly does the job of introducing some of the “weird stuff” so that listeners aren’t caught off-guard as Little Wars progresses, then “Times Gone Bad” works to establish the songwriting context that will serve as the backdrop and complementarity-object of all that revelry.

Above all else, Thunderbird Divine sound free. They’re plenty heavy in the tumult of “Times Gone Bad,” and I won’t take away from the ’60s-psych-informed organ and general Monster Magnetry of “Black Rhino Mantra” or the rhythmic urgency brought beneath the laid-over Hammond in “Highway Dawn,” with more backing vocals and a bluesy vocal from Caplan with a hook about driving into the sky. But more than ‘heavy’ as a central ideological goal toward its own ends, Thunderbird Divine craft their own definition of what heaviness is and does in music, and that’s as likely to be the later-Iommi riff that anchors “These Eyes” as the backing vocals and keys that build the song around it. The songs are thought through and fluidly arranged in the tracklisting — which is to say “Times Gone Bad” into “Last Laugh” makes sense musically as well as conceptually — but a strong sense of fuck-around-and-find-out in terms of studio experimentation remains.

They’re not the first in heavy rock to bring a theremin like that topping the start of “Tides” or the flutey sounds that follow, or to switch up between sundry synthesizer and keyboard sounds, but they do it especially well across the span Little Wars, and it’s a major factor in what makes the record feel like such a journey and such a victory for the band. More over, they’re not just throwing in that theremin (a longstanding feature in Caplan‘s arrangements going back to his days fronting the more outwardly-sludged Wizard Eye) for the hell of it. Whatever the “weird stuff” in question, it’s in the finished product of the recording because it serves the interest, impact and/or atmosphere of the song, and that’s true from “Pony Express” through “Old Black Crow” and into the creepy post-script vibe of the subsequent outro “Carousel,” which is less directly Morricone than the lead-in, meditating through a waltz with effects before, at about 1:47, stopping and resuming with the sounds more Tim Burton than Sergio Leone.

Because it’s been five years, this second full-length from Thunderbird Divine feels something like a culmination. “These Eyes” has a doomly majesty to its procession, and that’s probably part of it, but the band are no less at home in the funkified swing and stomp of “Last Laugh” or the psychedelic lean of “Black Rhino Mantra,” and somehow even “Times Gone Bad” feels celebratory on some level. But the freedom? That’s everywhere and in everything, and while there are structures in the songs and patterns of verses and choruses are followed where applicable, between the shifts in approach from one piece to the next and the goes-where-it-needs-to-regardless-of-genre sensibility overlaid across the tracklisting when taken front-t0-back, Thunderbird Divine have struck a rare balance between pursuing their own creative whims and creating a record that’s accessible for a genre audience.

It’s not that they’re unhinged. Hearing Little Wars, it’s just the opposite. Each cut sounds like it’s been hammered out and purposefully made into what it is. When and how that happened, whether it was through pandemic years or in the studio while they were waiting for somebody to come back from the bathroom, is secondary to the ultimate vibe the album casts, which is rich and encompassing without either getting lost in pretense or giving up a sense of ‘classic’ influence, however one might want to define that. Maybe they just have more to offer than the standard heavy band. They sure sound like it here. Little Wars is a record that justifies anticipation easily, and its meld of scope and space, grounded pieces allowed to soar — looking at you, second-half guitar solo and backing vocals in “Last Laugh” — isn’t going to speak to everyone, but will resonate that much deeper for the right kind of head for that. For whatever it’s worth, I’ll count myself in that number.

Thunderbird Divine on Facebook

Thunderbird Divine on Instagram

Thunderbird Divine on Bandcamp

Black Doomba Records website

Black Doomba Records on Bandcamp

Black Doomba Records on Facebook

Black Doomba Records Linktr.ee

Thunderbird Divine‘s awaited second full-length, Little Wars, was floated for Fall when they were announced as signing to Black Doomba Records a couple months back, but I gotta tell you, listening to the first single, “Last Laugh,” that’s a summertime party all the way. The backing vocals, the hard-swing, the funk, the heavy, sludgy grit and classic swagger — it all hits a mark that is so much the Philly rockers’ own.

That kind of individuality of approach is the kind of thing that’s led them last year to take on tracks from The Osmonds (premiered here) and Barry White (premiered here), and fun as those singles were, it’s even more satisfying to hear a new batch of originals. I just put the album on for the first time while helping my daughter build a Lego excavator in the Budapest apartment where we’ll live for the next month. Constructing sentimental attachment immediately, I guess. It’s been five years since 2019’s Magnasonic (review here) after all, so maybe that was bound to happen.

The PR wire brought info and art. Count me in:

THUNDERBIRD DIVINE Deliver A Cautionary Tale In “Last Laugh”, Announce New Album Little Wars

Drawing predominantly from the worlds of stoner rock and psychedelic, THUNDERBIRD DIVINE provide a heavy fuzz-filled sound in “Last Laugh”. The new single is taken from their forthcoming album, Little Wars, set for release on August 30th, 2024 via Black Doomba Records. Pre-sale begins August 16th.

The band comments on “Last Laugh”:

“‘Last Laugh’ is one of our older songs, written in the pre-Covid era,” says Erik Caplan, Thunderbird Divine’s guitarist/vocalist. “Lyrically, it examines how two friends in a disagreement can both think they’re correct, and when neither will budge on the issue, it becomes a stalemate. Nobody wants to admit they’re wrong. Both are stubborn. Neither will budge. When one party in the argument dies, the argument itself is dead by default. The reality is that nobody ever really wins in these situations. They both lose. And neither has the other anymore. It could be considered a cautionary tale, and the situation described here is absolutely autobiographical. And I’m definitely not laughing.”

“We certainly knew it should be a rocker, so we aimed for big, brash sounds overall, but we also wanted to introduce some possibly unexpected elements in order to keep it interesting beyond the first two verses,” Caplan explains. “For us, that could mean the addition of virtually anything from sitar to didgeridoo, but, in this case, we decided on sweeping backing vocals, lap steel guitar and piano in addition to our usual stew of guitars, bass, drums, organ and vocals. The feel from the bridge through the guitar solo has a triumphant feel, but the last statement in the song belies the idea of any kind of true resolution.

We demoed all of the songs in order to identify any potentially difficult areas, and Josh (Solomon, bass/vocals/recordist) really took the reins with scheduling and organization. Once we had a decent sketch of each track, we booked time at Retro City Studios in order to capture Mike (Stuart’s) drums and Jack’s (Falkenbach) B3 and Farfisa. The rest of the instrumentation and vocals were tracked at Josh’s East Airy Recordings. We took our time, so, for better or worse, what you hear on this record is very much where our heads were at the time of the recording.”

“Last Laugh” Credits:
Video was shot at The Reservoir by Sirius Cinema.
Recorded at East Airy Recordings with the exception of drums which were recorded at Philadelphia’s Retro City Studios.

Track Listing:
1. Pony Express
2. Times Gone Bad
3. Last Laugh
4. Black Rhino Mantra
5. These Eyes
6. Tides
7. Highway Dawn
8. Old Black Crow
9. Carousel

THUNDERBIRD DIVINE is:
Erik Caplan: Vocals, Guitar, Theremin, Sitar, Banjo, Harmonica, Synth, Drones, Weird Stuff
Micheal Stuart: Vocals, Drums, Percussion
Joshua Adam Solomon: Vocals, Bass, Guitars, Synth, Percussion
Jack Falkenbach: Vocals, Keys, Violin, Melodica

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://thunderbirddivine.bandcamp.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Thunderbird Divine, “Last Laugh”

The news that Philadelphia heavy rockers Thunderbird Divine have been picked up by Black Doomba Records for their next album is already a win even before you get to the manner of their delivery, which is with the charm-drenched video below filmed on what seems to have been a day like any other in the rehearsal space until it wasn’t pizza at the door. Good fun, and a Pulp Fiction reference at the end to boot.

Early last year, Thunderbird Divine unveiled standalone covers of The Osmonds‘ “Crazy Horses” (premiered here) and Barry White‘s “I’m Gonna Love You Just a Little More, Babe” (premiered here), following on from their take on The Yardbirds‘ “Happenings Ten Years Time Ago” that featured among the originals on 2020’s The Hand of Man EP (review here). 2024 puts us at five years and at least a partial lineup swap’s remove from their debut full-length, 2019’s Magnasonic (review here), so even seeing mention of “Fall of 2024” as a potential arrival date for their sophomore LP is welcome. I haven’t heard it yet, but I hear good things about it and the stretch after the first has only found them growing funkier, so here’s looking forward.

The PR wire makes it official, but don’t forget to watch the clip as well for a highlight 90 seconds of your day:

THUNDERBIRD DIVINE Rocks the Scene: Signs with Black Doomba Records for Explosive Fall 2024 Album Release

In an electrifying new partnership, the esteemed Philadelphia-based band THUNDERBIRD DIVINE has inked a deal with Black Doomba Records, signaling a bold new chapter in their already illustrious journey. This collaboration promises to unleash an album in the fall of 2024 that will further cement THUNDERBIRD DIVINE’s place in the pantheon of riff-heavy psychedelic/stoner/doom music.

Since their formation in March 2017, THUNDERBIRD DIVINE has captivated audiences with their unique blend of sonic textures and musical experimentation, drawing inspiration from the likes of Monster Magnet, Hawkwind, and The MC5. Their journey has seen them release critically acclaimed albums such as Magnasonic and The Hand of Man, alongside memorable singles and covers that showcase their versatility and creative prowess.

The upcoming album, set for release in the fall of 2024, is eagerly anticipated by fans and critics alike. It promises to be a testament to the band’s relentless pursuit of musical innovation, featuring compositions that are both emotionally compelling and sonically adventurous. This new project will not only highlight THUNDERBIRD DIVINE’s mastery of traditional rock songwriting but will also delve into complex textures and sounds, further pushing the boundaries of their genre.

THUNDERBIRD DIVINE comprises Erik Caplan, Michael Stuart, Joshua Adam Solomon, and Jack Falkenbach – a lineup of multi-instrumentalists known for their musical virtuosity and experimental approach. The band’s dedication to in-house recording and embracing technological advancements in search of the perfect sound has set them apart in the music world.

The partnership with Black Doomba Records, a label renowned for its dedication to the heavy music scene, marks a significant milestone for THUNDERBIRD DIVINE. This alliance is set to amplify the band’s reach and introduce their groundbreaking music to a wider audience.

Stay tuned for more updates on THUNDERBIRD DIVINE’s forthcoming album and their journey with Black Doomba Records. In the meantime, fans can connect with the band through their official social media pages and Bandcamp profile.

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://thunderbirddivine.bandcamp.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Thunderbird Divine, Black Doomba Records signing announcement

Look at the blue text below and you know what you’re gonna see? Yes, a whole lot of skull emojis. Like a lot. But it happens that each individual one corresponds to a demonstration of the labor of love and community that is the Maryland Doom Festival. From Abel Blood through Zekiah, Maryland Doom Fest 2024 celebrates its 10th anniversary edition with its standard sans-bullshit glut of heavy. Once more the Frederick-based event looks your square in the eye, drops for absolutely immersive days on you and asks if you’re up for it. Well, are ya?

I’m not sure what my summer travel plans are yet — this and Freak Valley have overlapped the last couple years for me — but it’s been since 2019 that I was last down there and oh I’d be so eager to show up and have the three or four people who recognize me (and thus make it feel like an absolute family experience; love love love everywhere you go down there) quietly think to themselves I’ve gotten older and fatter en route to obliterating myself with volume for about 96 hours straight. Fuck. King. A.

Oh, and I hear Thunderbird Divine have new stuff in the works and it’s amazing. So that’s a thing too.

Social media had it like this:

We are super stoked to share with you the Maryland Doom Fest 2024 rosters, schedules, and lineups!!!

#4daysofdoom

THE MARYLAND DOOM FEST 2024

✝️Thursday June 20

Cafe 611-

💀 Thunderhorse
1115-1230
💀 The Magpie
1010-1055
💀 Born of Plagues
905-950
💀 Stone Nomads
800-845
💀 Pyre Fyre
700-740
💀 Dirt Eater
600-640

Olde Mother Brewery-

💀 Spellbook
920-1000
💀 Strange Highways
820-900
💀 Bailjack
720-800
💀 Stone Brew
620-700
💀 Abel Blood
520-600

✝️Friday June 21

Cafe 611-

💀 Diggeth
1215-120
💀 Shadow Witch
1110-1155
💀 Red Beard Wall
1010-1050
💀 CROP
910-950
💀 Almost Honest
810-850
💀 Cobra Whip
715-750
💀 The Crows Eye
620-655
💀 Stereo Christ
525-600

Olde Mother Brewery-

💀 Ten Ton Slug
915-1000
💀 Thousand Vision Mist
815-855
💀 Crowhunter
715-755
💀 Asthma Castle
615-655
💀 Bonded by Darkness
515-555

✝️Saturday June 22

Cafe 611-

💀 WHORES.
1150-115
💀 AGE/S
1040-1130
💀 Bloodshot
935-1020
💀 O ZORN!
830-915
💀 Double Planet
730-810
💀 Sun Years
630-710
💀 When the Deadbolt Breaks
530-610

Olde Mother Brewery-

💀 Black Water Rising
915-1000
💀 Switchblade Jesus
815-855
💀 Wyndrider
715-755
💀 Indus Valley Kings
615-655
💀 Vermillion Whiskey
515-555
💀 Doctor Smoke
415-455

✝️Sunday June 23

Cafe 611-

💀 Cirith Ungol
1200-110
💀 Mythosphere
1055-1140
💀 Conclave
955-1035
💀 Compression
855-935
💀 Sons of Arrakis
755-835
💀 Curse the Son
655-735
💀 Kulvera
555-635
💀 Old Blood
500-535
💀 Cloud Machine
405-440

Olde Mother Brewery-

💀 Thunderbird Divine
920-1000
💀 Black Manta
820-900
💀 High Noon Kahuna
720-800
💀 Unity Reggae
620-700
💀 King Bastard
520-600
💀 Zekiah
420-500

52 bands over a 4 day weekend at 2 venues across the street from one another!!
#4daysofdoom

WEEKEND PASSES: https://www.eventbrite.com/e/the-maryland-doom-fest-2024-tickets-732298202637?aff=oddtdtcreator

https://www.facebook.com/MdDoomFest/
www.marylanddoomfest.com

Thunderbird Divine, “I’m Gonna Love You Just a Little More, Babe” (Barry White cover)

With headlining performances slated from a soon-to-retire Cirith Ungol, noise crushers Whores., mostly-local melodic heavy proggers Mythosphere, Switchblade Jesus, Conclave, Ten Ton Slug (from Ireland; I got to see them one time; way burly; they’ll do well in Frederick), and plenty of other returning acts and newcomers alike, the lineup for Maryland Doom Fest 2024 could hardly be more appropriate a celebration of the annual Chesapeake gathering’s 10th anniversary. Based in Frederick, the four-day ultra-consuming sensory assault of volume will once again take place at Cafe 611 and Olde Mother Brewing, and if you’ve never been, I’ll tell you outright there’s nothing quite like it.

I mean that. Maryland Doom Fest goes harder than the average festival. A day might start at 1PM and not end until 2AM. And now more than ever, as the fest has grown with the two venues running alongside each other, the bill is packed. I think this year was 50 bands? Well, they’ve got 52 for 2024, and while next June is a while out, there’s a tradition to uphold of Halloween announcements, and festival honcho JB Matson (Bloodshot, War Injun, Outside Truth, etc.) pays tribute to his regulars — Shadow Witch, Bailjack, Thunderbird Divine, Thousand Vision Mist (congratulations to Danny Kenyon of Thousand Vision Mist on recently kicking cancer’s ass), among others here — while also giving showcase to outfits like Pyre Fyre, O Zorn! (whose very moniker heralds weirdness), WyndRider and more.

Congrats to Matson and all at Maryland Doom Fest on their 10th anniversary. To do something of this scope once is a lot. To do it across 10 years, well, aside from being fucking crazy, it’s also deeply admirable.

The aforementioned announcement — brief as ever; the poster lands heavy enough to cover any lack of verbiage — follows, courtesy of socials. Ticket link is there too:

WE ARE EXTREMELY PLEASED TO PRESENT TO YOU, THE MARYLAND DOOM FEST 2024 LINEUP!!!!!
THIS WILL BE OUR 10 YEAR ANNIVERSARY CELEBRATION!!
(#128128#)(#129304#)(#128128#)

52 bands over a 4 day weekend at 2 venues across the street from one another!!
#4daysofdoom

WEEKEND PASSES: https://www.eventbrite.com/e/the-maryland-doom-fest-2024-tickets-732298202637?aff=oddtdtcreator

https://www.facebook.com/MdDoomFest/
www.marylanddoomfest.com

Ten Ton Slug, Live at Red Crust Festival 2022

Yes, Valentine’s Day is commercial schlock that’s taken the pagan love of screwing and the already co-opted Catholic hackery subsequent to it and adding capitalist greed for a final punch of awfulness to create a day that not only isn’t about love so much as making one feel inadequate, lonely and obligated to spend money. As holidays go, it’s pretty high on the bullshit scale. From the price of roses to the gendered performance of obligation, I have a hard time imagining a worse incarnation of a holiday that’s supposed to be about love or one that’s easier to hate in itself. And I lead a life that’s full of love. Every day. So no, I’m not just lonely.

Enter Thunderbird Divine, who stand in persistent and ready contrast to that-which-is-generally-terrible. The Philadelphia heavy psych rockers started off 2023 by unveiling the surprise cover of The Osmonds‘ “Crazy Horses” (premiered here), and in a similarly playful spirit, they offer the below take on Barry White‘s “I’m Gonna Love You Just a Little More, Babe” as a Valentine’s special. The track first appeared on the soul legend’s 1973 debut album, I’ve Got So Much to Give — the cover art above is a port from the album’s less walrusized original — and across its six-plus minutes as interpreted by Thunderbird Divine, the hook and characteristically sultry vibes become fodder for weirdo psych duggery, drifting guitar over a solid underlying rhythm, spoken word obscured by effects, and so on. Thunderbird Divine‘s cover is actually shorter than the original at 6:40, but it is still plenty of time for it to put you in the mood, either for love or maybe a snack, depending on your disposition.

It’s not Thunderbird Divine‘s first engagement either with the ’70s or with a particularly funky psychedelia — if only there was a handy portmanteau for that — but it’s good fun, and anything that injects actual enjoyment into Valentine’s Day is more than welcome as far as I’m concerned. You’ll hear White sampled, and other oddball additions to the foundation of the track, and sure enough, it flows with easy swagger. You’ll recall Thunderbird Divine‘s last studio release — before “Crazy Horses” — was 2020’s The Hand of Man EP (review here). They had been working on new originals as of 2020, but if they’ve shifted their attention toward building a backlog of cover tunes, well, I’m not hearing anything thus far in these two — or their prior jab at The Yardbirds, for that matter — to make me want to argue.

Send it to someone you love. If the response is positive, you know it’s meant to be. However it works out, I wish you more actual love and fewer manufactured celebrations.

Enjoy:

Thunderbird Divine, “I’m Gonna Love You Just a Little More, Babe” (Barry White cover) track premiere

Philly’s Psych Rock Collective, Thunderbird Divine, Releases Barry White Cover for Valentine’s Day

Thunderbird Divine serenades you for Valentine’s Day with a fresh recording of Barry White’s first classic solo tune, “I’m Gonna Love You a Little More, Babe.” The six-plus-minute psych-funk cover might seem an odd choice for any rock band other than Thunderbird Divine.

“Honestly, we all just dig the song,” says Erik Caplan, the band’s vocalist/guitarist/player-player-of-odd instruments. “(Drummer) Mike Stuart fell in love with that funked-up groove, and that opening riff is just too much fun to play.”

Naturally, the biggest challenge in tackling an R&B opus of this stature was the vocal line, which originally featured White’s signature baritone, not to mention his famous narration.

“Not gonna lie, that frankly scared me,” Caplan explains. “I’m not The Love Walrus, and, really, nobody is. Barry White had this ability to deliver a song with sincerity and frank smoothness. Not everyone can do that. My bandmates were encouraging, (Keys player) Jack Falkenbach told me ‘Don’t worry about doing it like Barry. Do it like you.’ And of course he was right. Jack usually is.”

As for the meat of the song itself, there are some notable deviations from the original to match Thunderbird Divine’s sonic sensibilities.

“We had to do our own thing with it,” says Caplan. “That certainly meant honoring the original, but it had to have our stamp on it. So we added some drones, mellotron, electric sitar, backwards stuff, Barry himself, ranting about cutting a spot for Paul Quinn college, a bass VI solo… but the root of the song is anchored by (bassist) Josh Solomon and Mike. Once we had that foundation, we were free to explore and build.”

The tune is available at the price of “Pay what you want” at Thunderbird Divine’s bandcamp page.

Thunderbird Divine is:
Erik Caplan – guitar/lead vocals/theremin/etc.
Jack Falkenback – keyboard/vocals
Josh Solomon – bass/vocals
Mike Stuart – drums/vocals

Thunderbird Divine on Facebook

Thunderbird Divine on Instagram

Thunderbird Divine on Bandcamp

Look, it’s a cool song, alright? And if it sends you, say, on an Osmonds listening bender for some untold period of time, maybe forever, who is anyone to judge? Who among us will stand in judgment of Thunderbird Divine drummer Mike Stuart, guitarist/vocalist Erik Caplan, keyboardist/vocalist Jack Falkenbach or bassist/vocalist Josh Solomon?

Shit, not me. Because I’ve heard the 1972, by-the-Osmonds version of “Crazy Horses,” and that’s a ’70s heavy groover all the way as well as a pop tune you’re going to have stuck in your head into perpetuity. Philly’s Thunderbird Divine take it on with due ceremony — they make it a party because it is one — and with respect to the original. Its spirit of homage, to the song itself and that weird and beautiful moment in the history of rock and roll, is palpable. Chunky riff out front, organ flourish not far behind, and Caplan‘s vocal quick into the verse, and yeah, they’re riding that groove and god damn right to do it. A gang-shout chorus is a nice touch, and various other hey-we’re-all-here-too-having-a-good-time backing lines in the verses reinforce the point, which is this is a blast. So come down off your own horse — high up as it is — and enjoy yourself for about, oh, three minutes flat. Dare you.

There is precedent, if you need it. Eons and eons ago, in 2006, New York’s Puny Human (still miss seeing Jim Starace on stage; he was incredible) took on “Crazy Horses” as part of Small Stone Records‘ compilation Sucking the ’70s: Back in the Saddle Again, sandwiched between the likes of Sasquatch and a Clutch/Five Horse Johnson collaboration, so yes, “Crazy Horses” is legit, however goofy its origins may be. Isn’t that what good art does? Takes what’s been done before and makes something new from it? I doubt the Osmonds new at the time their track would be come beardo-fodder half a century later, but if you can believe it, stranger shit has happened.

Thunderbird Divine, who’ve done some lineup jumbling since last I heard from them, are the perfect band to capture the vibe here — don’t forget, they also did up The Yardbirds that one time, though that’s a little more in-wheelhouse, genre-wise. For more from them, check out their 2020 EP The Hand of Man (review here) and find yourself hoping like I do for more soon. New album reportedly in the works, and apparently they’ve got something special coming for Valentine’s Day. Can you feel the love yet?

This one’s gonna be in your head forever, so you might as well get used to it and enjoy:

“I think ‘Crazy Horses’ is a secret golden ticket for rock musicians,” says Erik Caplan, Thunderbird Divine’s Guitarist/Vocalist/Weird Instrumentalist. “That album is a decoder ring for messages from a group of oddball ’70s superheroes. Folks of a certain age might only remember The Osmonds as a family of Mormons with exceptionally huge smiles who occasionally sang sugary sweet love songs in front of screaming teenage girls in middle America. While this is true, these brothers were also a very legit rock band with the skills to write and perform banger rock tunes. The title track and “Hold Her Tight” sound like Sir Lord Baltimore with horns. These guys could really play, and great stuff can often come from unexpected sources.”

“Musically, the song is a perfect match for us,” Caplan explains, “It’s got a driving groove, a weird synth part and a hook for everyone to yell. Jack (Falkenbach, Keys/Vocals) got into the freaky ribbon synth used to make the ‘horsey’ sounds. He went and found one of these things. Mike (Stuart, Drums/Vocals) became slightly obsessed with the song, and he did a deep dive into The Osmonds’ catalog. He also created the ‘Horse Fink’ illustration. I think he might be an Osmonds historian now. He crushed the drumming on this recording. Josh (Solomon, Bass/Vocals), the newest addition to our collective, took the song by the horns and dug into the production. He’s got a great ear for arrangements and wasn’t afraid to visit some experimental places with the recording.”

“Is our version a slavish reproduction of the original?” Caplan asks. “No. But that’s not what we do. As George Clinton said, ‘Nothing is good unless you play with it.’ We had a lot of fun in the recording process, and I can’t remember laughing so much at a session. And now it’s one of our favorites to perform live. Granted, we don’t have the outfits or the choreography, but, man, it’s a blast.”

Thunderbird Divine is:
Erik Caplan – guitar/lead vocals/theremin/etc.
Jack Falkenback – keyboard/vocals
Josh Solomon – bass/vocals
Mike Stuart – drums/vocals

Thunderbird Divine on Facebook

Thunderbird Divine on Instagram

Thunderbird Divine on Bandcamp