Champagne Bubblebath is the brainchild of Grant Schroff, the drummer of the great funk band, Polyrhythmics. The music is an elixir of trippy funk and acid jazz. The band is a blend of his Polyrhythmics bandmates, Jason Gray (bass) and Ben Bloom (guitar), along with famed Emerald City funk guitar OG Jimmy James (True Loves, Parlor Greens), with whom Schroff has old-school roots working with the Delvon Lamarr Organ Trio many moons ago.
The album is a throwback to a bygone era but at the same time brings a new potion to the party. The pairing of Bloom and James on dueling guitars is guaranteed to get your body grooving and your feet moving. Here’s my tale of the Mixtape track-by-track.
Originally conceived as a throwback beat-tape of minimalist garage-funk grooves, Seattle’s Champagne Bubblebath swaggers on the scene right on time and live on arrival. Champagne Bubblebath’s eponymous Mixtape: Volume One uncorks a vibey debut offering where space is the place; ten tracks rich in deep-pocket vamps and dubbed-out psychedelic soundscapes.
Track-By-Track
Juice‘s opening guitar salvo sounds straight out of a spy movie with intrigue at every turn. It sets the tone for the whole album wherein one guitar (mostly Ben Bloom I believe) plucks the main melody while the other (Jimmy James) drops in precision guitar chords with perfect timing. I could see the guitar chords being played by a horn section in new arrangements. The rhythm section of Grant Schroff and Jason Gray is a well-oiled machine on this and all the tunes.
Sprinkles has Ben open up with an amazingly strong hook, with Jason easing in with his distinctive bass sound. Jimmy and Ben then masterfully play a melody, simultaneously alternating notes. Grant is deftly laying down a soft, jazzy touch. As usual, Jimmy’s impeccable timing shines as he drops notes in narrow gaps. The conversation between Jimmy and the rest of the band is incredible.
Philly Cakes has the foursome gliding along with the main theme. Ben and Jimmy are tethered together in a repeating pattern with Jimmy finishing Ben’s sentences. Jason and Grant are walking a parallel path and it makes for a totally enjoyable journey.
Rose Tinted brings me back to Bootsy Collins’ “I’d Rather Be With You,” every time I hear the opening. Ben’s melodic line feels so lyrical to me and Jimmy’s dropping some funky chord drizzle on top. Indeed on the live YouTube version, they offer this apt description “Rose Tinted is a psychedelic, velvet-wrapped neo-soul confessional…(it) updates the blueprint for a greasy slow jam while drawing inspiration from Bootsy Collins, Erykah Badu and Childish Gambino. “
Jaba is a hazy, psychedelic stroll with Jason syncing up his bass with Ben on guitar and putting his imprint all over this tune. There’s even a delightful but brief bass bridge.
Knock Knock starts with a clang guitar riff that seems to be the knocking of the title. It repeats throughout the tune while the second guitar plays the head. There’s a terrific drum and percussion section midway through the tune with the continuous knocking. The tune has a touch of reggae embedded within. It’s also another tune with Jason’s bass all over it. The percussion close is unique to this tune for the album.
Spottieottiedopaliscious is a cover of the Outkast hit and the only nonoriginal on the album. It’s a fun take with a drumroll intro from Grant and booming bass with one guitar as the overall lead. The second guitar plays the original trumpet parts to great effect. The first guitar takes on the lyrical role, and the ambition of the tune is realized. It’s no easy feat to play such an iconic tune and do it well, but the team makes it happen.
Mr. Bubbles has an imposing bass line as an undercurrent for the duration. The lead guitar marches the melody aligned with the bass while the second guitar adds exclamation marks along the way. The bridge has a more sensitive guitar solo that segues back into the processional melody that closes out at a slightly more modest pace.
Seasons has Grant pumping the kick drum hard with some funky syncopation. The guitar plays a suspenseful sustained three-note pattern. The addition of some chimes or bottle percussion gives it a more mysterious feel. It’s very cinematic, and envision this as a face-off between two hombres in an abandoned warehouse.
Coco is the most bluesy tune on the album and adds the organ into the mix. This could be a gospel tune straight up, no chaser. The interplay of the guitars and organ is top-notch. It’s a fitting way to end this terrific album.