On Flood, Moreland & Arbuckle's debut release, the rootsy, hard-driving group from Kansas takes music itself to places it's never been. Featuring mostly original tunes, Flood presents a dynamic mix of thirteen acoustic and electric songs, each performed with all the subtlety of a passing freight train. Moreland & Arbuckle are traditionalists and innovators at the same time, merging old school Chicago and Delta blues with garage rock sensibilities. While Arbuckle was mostly influenced by the Mississippi blues, traditional country music and bluegrass, Moreland grew up listening to everyone from Led Zeppelin and Black Sabbath to Charlie Patton and Muddy Waters.
They say that good things come in small packages, and this CD would seem to be the musical proof of that statement – certainly there are few more unassuming releases in Bernard Herrmann's output. Joy in the Morning is one of the more obscure movies ever scored by Herrmann and, as is pointed out in the notes by Christopher Husted, it was also the composer's last successfully completed major studio project, coming just ahead of the calamity that attended his work for Alfred Hitchcock on Torn Curtain. It has fallen between the cracks across the years, principally because the movie itself was a good deal less stellar than most of the Hitchcock projects (or, for that matter, the Ray Harryhausen projects) with which Herrmann distinguished himself in the early/mid-'60s. This CD is astonishingly good, however, being not only a close cousin to Herrmann's music for Hitchcock's Marnie (1964) but also containing thematic material in common with his clarinet quintet Souvenirs du Voyage, and string writing that also recalls his work for Vertigo and even Psycho, as well as writing for the reeds and winds that have echoes as far back as Beneath the 12-Mile Reef and The Day the Earth Stood Still.