Widespread Panic
Ain't Life Grand

The producer changes and the sound of Widespread Panic stiffens a bit, becoming heavier and losing a touch of the funk component in this their fourth album (1994). The initial "Little Kin" thus sounds decidedly resonant for their standards, almost hard rock, aggressive and shaped, with less groove and more "depth."

In the next track, which also lends its name to the album, keyboardist John Herman makes his debut as a lead vocalist. His modest and tonally limited voice creates a diversion from the solemn and gritty timbre of frontman John Bell, a diversion necessarily episodic given Herman's limited talent, although he is also made to persist in "Airplane," resulting in it being the least interesting track of the work.

Thus, Bell’s return to the spotlight in "Can’t Get High" is almost a relief; it is a sound and boastful rock blues. The new production chooses to slightly downplay Domingo Ortiz's percussion, instead bringing forward Todd Nance's bass drum and snare, and, I repeat, making Widespread sound slightly more mainstream, like a Southern band among many rather than an ensemble dedicated to groove, jam sessions, psychedelic wandering, changes in tempo and atmosphere within the same song.

Even "Heroes" is an American-style hard rock, meaning balanced and layered, decent but completely forgettable. Not so "Rise the Roof," which, although sung by the duo of Herman (ugh) and Bell, benefits from a strong and striking melody; it develops as a slow, semi-acoustic ballad, dominated by the voices, except for Hauser's flowing acoustic guitar solo.

"Junior" once again takes the album down the path of tough rock blues, finally causing me personally a few headaches… For example, the divine bassist David Schools in these circumstances disappears from the radar, put to work on the tonic notes of the rock chords and intervals like anyone, no longer delighting with the creative and brilliant funk routines of the past. Fortunately, "L.A." manages to restore a little of the primitive Widespread vibe: it's a shifting 6/4, made peculiar by a resounding oboe intent on describing an obsessive counterpoint riff.

"Blackout Blues" instead provides a Southern mood to the repertoire, with those drawling, half-country-style choruses reminiscent of the Allman Brothers on a boldly rock base, and some subtly jazz tempo changes. The initially calm "Jack" starts to sway between blues suggestions and clichés of the "Americana" genre, with that organ sound akin to Bob Dylan, Springsteen, or Tom Petty, or The Band… until Hauser's extended solo, which certainly doesn't fit that frame and lifts spirits a bit; then followed by a (rare) solo by singer Bell, the supporting guitarist.

The funky rhythm of Widespread is fully showcased only in the final "Fishwater," where finally percussionist Domingo Ortiz can be heard well, especially on the bongos. But it is the usual stretched and monotone half blues, without a melody worthy of the name, refreshed only by the noble percussion attack. Thus, its only peculiarity is serving as a prelude to a hidden track, a couple of minutes of solo acoustic guitar, allowing the total running time to exceed sixty minutes.

The least interesting work by Panic so far, and perhaps overall. This does not mean it is not more than respectable.