THE BIRD AND THE BEE In­ter­pret­ing the Mas­ters, Vol­ume 1: A Trib­ute to Daryl Hall and John Oates (Blue Note Records)

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Get used to cuts from The Bird and The Bee’s new al­bum be­ing in heavy ro­ta­tion wher­ever the young and their re­la­tion­ship prob­lems min­gle.

Just when it seemed we had plun­dered all there was to steal from the tight-pants, big-sun­glasses ex­u­ber­ance of the early 1980s, here comes The Bird and The Bee with its lush nine-song cover al­bum, In­ter­pret­ing the Mas­ters, Vol­ume 1: A Trib­ute to Daryl Hall and John Oates. From “I Can’t Go For That,” to “Sara Smiles” and “Maneater,” it’s all here in lushly pro­duced mul­ti­tracked vo­cals that don’t stray far from the source. “There’s def­i­nitely no irony,” the band in­sists in a press release. Singer Inara Ge­orge (the bird) coos breathy vo­cals over the lush, retro synths of multi-in­stru­men­tal­ist Greg Kurstin (the bee). Ge­orge’s sul­try jazz-in­flu­enced wisp lacks the “rock & soul” bravado of Hall & Oates but that’s the point. Signed to stal­wart jazz la­bel Blue Note, The Bird and The Bee have in­stead crafted a slinky elec­tro key­board sound more akin to Air’s Moon Sa­fari or the elec­tronic trop­i­calia of Bebel Gil­berto. The group’s pre­vi­ous records have shown up on the sound­tracks to Grey’s Anatomy, For­get­ting Sarah Mar­shall, and the movie of Sex and The City. Get used to cuts from this record be­ing in heavy ro­ta­tion wher­ever the young and their re­la­tion­ship prob­lems min­gle.

— Casey Sanchez

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