Just when summer is winding down, O.A.R. shows up with their latest album, allowing listeners to savor the mood signature to those lazy sunny days. “King,” the band’s seventh album, released Aug. 2, secures their place as royalty in the reggae-rock genre.With Billboard-topping hits, consistently sold-out concert tours and the confidence to proclaim themselves Of a Revolution, it would seem the band always knew they were destined for fame and stardom; in reality, they are just a group of guys who love to jam out — and it shows.
Reflecting their hometown roots, O.A.R. is best known for riveting live performances that transport audiences back to their days as a garage band. Their top-notch brass section, including trademark saxophone player Jerry DePizzo, sets them apart from other electronically enhanced bands, and explains why they have sold more concert tickets than albums. Because of their love to jam out and rebel against musical standards, no song is ever performed the same way twice, and recordings just can’t compare to the real thing. Still, audiences download songs for even the smallest taste of the live O.A.R. experience. The first several albums released remained true to their signature big band meets reggae-rock style, which kept original groupies content, but didn’t appeal to the mainstream Top 40 audience. In 2008, the band recorded “All Sides” in an attempt to appeal to, well, all sides of the musical spectrum. Ultimately, it was a success, and their single, “Shattered (Turn the Car Around)” gained them the Billboard approval they were after. However, many O.A.R. diehards were skeptical of the new style, in fear they would completely stray from the sound that made them stand out. Thankfully, listeners will hail “King,” which includes new experimental sounds done the right way by including that familiar O.A.R. funk at the core.
The album begins with a bursting melody of horn and saxophone — a signal to fans that fame will not revolutionize the band’s sound. This is reassured by “Taking on the World Today,” “Gotta Be Wrong Sometimes” and the single destined to be their next chart-topping hit “Heaven.” But the biggest difference between “King” and its predecessor are three interludes — breaks that solely feature brass and percussion sections, providing the signature O.A.R. touch previously missing. Although some of the pop influence remains in the new album, no song disappoints. In fact, “Over and Over,” a ballad solo for lead singer Marc Roberge with slight piano accompaniment, sends listeners over the edge, proving O.A.R. can successfully pull off other genres.
While O.A.R. can only be appreciated to the fullest in a live performance, “King” takes the crown for capturing the high-energy essence of the shows and making it easier for anyone to become the next O.A.R. groupie.