Send "The Devil Makes Three " Ringtones to your Cell 
| Popmatters |
 The Devil Makes Three has been around for almost a decade now, and they’ve developed a grassroots following with their brand of down-home Americana. Stomp and Smash is their second live release, and it draws from all three of the band’s studio albums yet throws in a pair of new songs. This is one of those occasional live albums that actually succeeds in capturing the energy of a band in concert. Recorded over two nights in front of a rowdy crowd in Petaluma, California, Stomp and Smash finds the Devil Makes Three clearly enjoying themselves and playing with intensity. The recording by Kark Derfler is crisp and clear, putting Pete Bernhard’s vocals out front but letting all the instruments be heard.There’s a bluesy, boozy quality to the Devil Makes Three’s music that pretty much guarantees a strong audience response, and that comes through on Stomp and Smash through a low buzz of crowd noise that runs through the whole disc. For many bands, the cheering, hoots, and hollers might be a distraction on a live album, but in this case it fits perfectly. Since this is my first experience with the band, I can’t comment on the tracklisting in terms of what didn’t make the cut, but what is here is very good. “For Good Again” is a strong opener, as Bernhard tells the tale of how he ended up in the band. Lyrics about the drinking and drugs of small town life could come from any alt-country or Springsteen-influenced indie-rock band, but Bernhard puts his own distinctive stamp on the tale. You don’t expect a country stomper to include lines like “Our drummer couldn’t figure out whether he was straight or he was gay,” and “You’ll never understand the things my friend Aaron put us through / He had this Powerpoint presentation about this girl he wanted to do.” Bernhard’s willingness to be unconventional with his lyrics also pays off in the new song “They Call That Religion,” which directly takes on corrupt religious figures including Ted Haggard and L. Ron Hubbard. The chorus, “They call that religion / But you know he’s going to Hell when he dies” is both blunt and hilarious. While the trio sometimes bucks string band conventions, one they embrace is the lack of a drummer. Much of their material is plenty percussive, with bassist Lucia Turino on the downbeats and Bernhard’s guitar on the upbeats. This leaves Cooper McBean’s banjo or guitar to handle a song’s main riffs and Bernhard’s vocals to fill in the melody, a task which both men handle adeptly. Fiddler Andy Lentz is also on hand for much of Stomp and Smash, and he adds a lot of color to the jig-like “Black Irish” and the jaunty “Do Wrong Right”. His solos on slower tracks like fan favorite “Old Number Seven” and the creepy “Graveyard” made me wonder if the band shouldn’t consider hiring him as a full-time member. Since Lentz already has gigs in at least three other bands, that probably won’t be happening....full text |
| Hearya. |
| Have you ever had a buddy tell you, (insert band name) is great, but you really need to see them live? You roll your eyes and call him (insert derogative name) and move on with your day. Well, get ready because that’s the message I am about to deliver to you. There are a number of bands rolling around the country these days that get people worked up, but I have yet to see one who whips the crowd into a raucous frenzy like The Devil Makes Three. As I mentioned back when we had them in for a session, they are a band to be truly appreciated on the stage. I have seen them a few times and people literally lose their rag when they see them live. The crowd is a hodge-podge of America – Young, old, punks/deadheads, hipsters/normal people, greasers/soc’s, rich/poor, etc., etc. So after their fantastic third effort, Do Wrong Right, the Bay Area trio thought they would deliver a taste of themselves playing in their most comfortable element – the stage. The album opens with one of their strongest tunes, “For Good Again.” And while sometimes, the crowd noise can feel forced on a live album, for anyone who’s seen DM3, the whoops and hollers feel natural. Following up with “Statesboro Blues,” I can almost feel the crowd stomping to the furious banjo picking, not to mention the orgasmic screams that some young lass provides throughout the tune. Crowd-favorite “Old Number 7,” complete with some rad fiddle playing is smack dab in the middle of the collection....full text |
| Americansongwriter |
| There is something vaguely familiar about The Devil Makes Three. At moments their sound brings to mind early Johnny Cash, full of the youthful fire that emanated from his Sun Records releases. Other times Old Crow Medicine Show seems like an apt comparison, with their high paced bluegrass sound that betrays a punk attitude. But trying to describe The Devil Makes Three by comparing them to other musicians falls flat after listening to a few different songs. While it may seem strange that a band who has only released three full-length albums is already releasing their second live album, The Devil Makes Three have done exactly that. Stomp and Smash is a great introduction for those who are only now discovering the band, who blend genres seamlessly and obviously thrive in a live setting. In a time when many artists rely on lip synching and AutoTune, their unapologetically retro sound is refreshing. The Devil Makes Three may not have the profile that bands like Avett Brothers and Reverend Peyton’s Big Damn Band yet, but they are releasing high quality music that translates well into a live setting. Stomp and Smash is strong enough to impress current fans of the band, despite only including two new songs. It also serves as a great starting point for people who are curious about the band. The balanced blend of songs from each of their albums and the inclusion of a couple of new tracks makes Stomp and Smash worth the purchase as not only a solid live release, but a necessary greatest hits compilation....full text |
The Devil Makes Three lyrics
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