The Wiyos were one of the best of the first wave of oldtimey Americana bands. Then they took an unexpected turn into psychedelic rock: their previous album, Twist, followed the plotline from the Wizard of Oz to places even trippier than the original. They’re back with a new album, One More for the Road (at Spotify - didn’t Lynyrd Skynyrd use that title at some point?) which reverts to the sound the Wiyos had mined so energetically in the beginning, but spiced with a harder-rocking edge. You could call it oldtimey stoner swing: some jump blues, some hillbilly boogie, some oldtime C&W as well as proto-rock sounds from around 1953, with funny and often very clever lyrics. Teddy Weber’s jaunty jazz-tinged guitar is the main instrument, although frontman/harmonica player Michael Farkas and bassist “Sauerkraut” Seth Travins (who has a side gig making that stuff) get plenty of space to contribute too. They’ve got a free concert coming up on July 17 at 7 PM at Wagner Park, just north and west of Battery Park: take the train to the Battery and just walk up the west side along the water and you can’t miss it.
The album’s opening track, Ride the Rails sets the tone with an upbeat, summery sway, purposeful trumpet mingling with laid-back accordion. Milwaukee Blues is another hobo song. “One wonderful day, MTA said you have to pay…I’m heading west,” Farkas asserts. “Way up in Jersey they’re talking smack, don’t look at your brother pissing on your back.” Milwaukee, here we come!
They follow that with a fingerpicked tribute to John Hartford that starts out serious but gets really, really funny with some droll muted trumpet and harmonica as the song hits a stomping peak. Seventeen Cars, with its torrential, tongue-in-cheek lyrics and elegant, jazzy guitar, goes for a pre-rockabilly vibe. The album’s most acerbic song, 1982, takes a spot-on swipe at the first wave of trendoids whose obsession with kitsch came to a limp climax with Portlandia and gentrifier twee-topias like Bushwick and Williamsburg, ad nauseum.
Radio Flyer could be an outtake from the psychedelic record: with its neat series of tradeoffs at the end and biting low-register guitar, it’s the album’s most musically edgy and interesting number. They wind up with Sauerkraut, another gut-bustingly funny tune about a girl who just can’t get enough of that salty stuff: the jokes fly fast and furious and they’re too good to spoil. And is that a muted trumpet, or a kazoo? Little instrumental touches like that make the songs even funnier. You can expect some smoke on the water just north of the Battery on the 17th.