The Big Heist: Mo75 Vol. 1, 2, & 3 (2018)

 Release Date: September 29, 2018

Members: Matt Farley; Tom Scalzo; Chris Peterson; Doug Brennan

Vol. 1: The Longest Day; When the Beat Gets Settled; Loring Ave.; Lookout; Crossroads; Blue Creek; We're About to Have One Heck of a Night; Devil on My Side; Bucket Seats; It's a Shame I Let You Down; Campfire Connection; MO75

Vol. 2: All Set; Vitamin Vicky; Wild Child; In the Cathedral; Kitty Cookie; Skin of My Teeth; Rested and Tanned; I Didn't Come Here Not to fight; Brave Deeds; Your Turn to Deal; Used to Hear it All the Time; Chopping the Bop; Mr. Maldoon; Empire of Ash; Gonna Have to Find Me Another Girl; Dandelion Moonglow; Tied to a Tree; Bravest Deed

Vol. 3: Proof of Party; I Am the King of Late Night; Late Night Fight by the Rock; Natural Wizard; Magic Song; I Won't Go; Predecessors; Already Gone; Ready to Split; This is the Sweet Spot; Left Them in the Dust; Just Pretend That I'm Asleep; Run Myself Ragged to Forget Her; They're Already Nostalgic; You Don't Get Me to Kick Around Anymore; Here Comes the Sweetness; A Thousand Tries

Matt Farley has written over 25,000 songs and records under various pseudonyms, all part of Farley's Motern Media, which includes a long running podcast and an entire cinematic universe. Known for writing songs of all sorts from celebrity tributes to toilet humor to geographically themed albums, he'll even write a song about you, just give him a call!

The Big Heist took their name from the Chevy Chase comedy Funny Farm, debuted with no less than a triple album. The songs revolve around the concept of a group of young people (late teens/early 20s) gathering in the woods for parties over a summer. The time period is undefined, but evokes the 1980s. There's an evergreen quality to the themes and sound, the styles cover a sprawling canvas of post-Beatles rock. Thematically, American Graffiti, Dazed and Confused, and the canon of Cameron Crowe all come to mind.

Volume One opens with the angst ridden "The Longest Day" with the narrator of the albums sensing the summer ending, a cinematic overture of sorts. "When the Beat Gets Settled" is catchy rock and roll bravado. "Loring Ave" channels power pop, expressing a defiance and a longing, in a memorable refrain, "I can see I'm nonexistent/Just don't call me inconsistent." Of all the tracks, "Loring Ave" serves as a mission statement for the entire record, emotionally and thematically. 

"Lookout" is a contemplative number, evocative of Van Morrison. "Crossroads" sounds like a hazy remnant of '70s distortion. "Blue Creek" builds a harmonic energy not unlike a Beach Boys record. The jaunty and melodic "We're About to Have One Heck of a Night"  anticipates good times. "Devil On My Side" is a revival of British Invasion blues. "Bucket Seats" is about capturing a fleeting moment, "It's a Shame I Let You Down" is an after the relationship ended lament with the narrator gaining self-awareness. "Campfire Connection" reflects on a cryptic late night conversation. The first volume closes with "Mo75," a bittersweet tribute to the old party spot. 

Vol.. 2 opens with "All Set" who looks forward to a "night for the ages." "Vitamin Vicky" is a slight character sketch, "Wild Child" sounds like a flickering symbol from an old school FM channel. "In the Cathedral" evokes classic Bruce Springsteen with its nod towards spiritual growth, then the jaunty "Kitty Cookie" like a deep track from an early Billy Joel album. "Skin of My Teeth" imagines a missed rendezvous, then the country influenced "Rested and Tanned." "I Didn't Come Here Not to Fight" strikes an uneasy tone, then the jukebox ready "Brave Deeds" offers wavy melodies. 

The twangy "Your Turn to Deal" and the haze of "Used to Hear it All the Time" are suited for a long July afternoon. "Chopping the Bop" segues into rockabilly. "Mr. Maldoon" tackles emotional lows, "Empire of Ash" reflects on after the party ended. "Gonna Have to Find Me Another Girl" is wistful. "Dandelion Moonglow" gestures towards arena rock. "Tied to a Tree" is quirky and bass driven, and the reflective "Bravest Deed" reconciles with harsh realities. 

Vol. 3 begins with the exuberant "Proof of Party." "I Am the King of Late Night" revels in one last volley of glory. "Late Night Fight by the Rock" is all braggadocio and distorted guitars. "Natural Wizard" is like a Greek Chorus on the entire proceedings. "Magic Song" channels post-Pet Sounds Beach Boys, "I Won't Go" is all exhausted defiance. "Predecessors" is a melancholy confessional, a realization youth is fleeting and slipping away. "Already Gone" is more in the 90s Grunge mode, lamenting the swift passage of time. "Ready to Split" is pure Americana, a reimagination of the Cheers theme.

"This is the Sweet Spot" continues the existential musing motif. "Left Them in the Dust" channels a vague memory, "Just Pretend That I'm Asleep" recalls endless car rides deep into the night. "Run Myself Ragged to Forget About Her" continues the narrative from the previous song with hints of Rockabilly. "Possible Phenomenon" deals with time and misspent youth, anthemic in design. 

"They're Already Nostalgic" has the narrator observing a couple in total contentment. The Nixonian "You Don't Get to Kick Me Around Anymore" finds solace in the backbeats. "Here Comes the Sweetness" is catchy and cryptic, signaling emotional growth. The final track, "A Thousand Tries" finally flips the perspective to the present, out narrator reflects on the late night parties at the Mo75, the point when the past appears as a phantom. 

An Americana epic traverses through these three records. The first volume runs on adrenaline, the second becomes more expansive and atmospheric, and the final volume blends tempered defiance with reflective acceptance.