Umphrey’s McGee Songs Ranked

Umphrey’s McGee is an American jam band originally from South Bend, Indiana. The band experiments with many musical styles, including rock, metal, funk, jazz, blues, reggae, electronic, bluegrass, and folk. They have toured regularly and released several albums. Guitarist Jake Cinninger was added to the band in September 2000. Cinninger deepened the Umphrey’s sound, and also contributed a large repertoire of original music, much of which comprised the bulk of the catalog from his previous band, Ali Baba’s Tahini. The band also adopted several songs written by Karl Engelmann, Ali Baba’s Tahini frontman. (He now fronts Asheville, North Carolina-based rock band Mother Vinegar). Shortly after Cinninger’s arrival, the band released another live album, One Fat Sucka, which contained live performances recorded in the summer and fall of 2000. Here are all of Umphrey’s McGee songs ranked.

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10. No Diablo (Similar Skin, 2014)

“Similar Skin is a flawless album that pushes the band to its limits in terms of arrangements and instrumental possibilities within the two guitars, bass, keyboard, drums, and percussionist context.”

9. Women Wine and Song (Safety in Numbers, 2006)

“Umphrey’s McGee is an unstoppable force that seems to be gaining momentum and popularity every day. Some would call them a jam band by default, though this is not always apparent in their studio material, particularly _Safety In Numbers_, which is their most song-based studio release to date. “

8. The Silent Type (It’s Not Us, 2018)

“These guys are just plain great musicians. Individually they can really play and together they can play just about anything. This album is no exception to their previous work and contains everything from funk to jazz to prog metal.”

7. In the Kitchen (Anchor Drops, 2004)

“Talented and tightly written but a little too safe. not enough here grabbed me to make up for the revulsion the chorus of “In the Kitchen” made me feel.”

See more: Umphrey’s McGee Albums Ranked

6. Bridgeless (Mantis, 2009)

“This one is destined for my Top 10 of 2009, and might well be one of the top albums of this decade. I’m not familiar with the rest of their stuff, but this one simply blows my mind, it’s that good! Prog rock for the the new millenia!”

5. Cemetery Walk (Mantis, 2009)

“Cemetery Walk is one of the most traditionally progressive songs in the album, and possibly the catchiest. Starting with a soft, Floydian intro, it moves into a 7/4 section anchored in a repetitive piano figure before climaxing two-thirds into the song, flowing nicely into a huge crescendo that feels like a homage to I Want You (She’s So Heavy) by the Beatles.”

4. Turn & Run (Mantis, 2009)

“Turn & Run is a guitar fest, ending with a multi-minute shredding solo, and it’s just classic UM. Spires moves between Yes and Genesis-like piano and guitar sections, throwing some intricate and delicious string arrangements before ending into a Gilmourian guitar section with Beach Boys-esque vocal harmonies”

3. Nothing Too Fancy (Local Band Does OK, 2002)

“Local Band Does OK is a bit peculiar, though, since it’s UM’s jazzier album till date. Even though the prog-rock influences are evident, there are more jazz undertones all over the album, from the opener Andy’s Last Beer and its horn arrangements and the jazzy Santana guitar work in Prowler to the atmospheric Blue Echo or the driving closer Nothing Too Fancy.”

2. Ocean Billy (Safety in Numbers, 2006)

“I thought that Umphrey’s McGee’s new song, The Linear, was the best they had ever done until I saw and heard this. The video is most excellent and the music is even better. Everything that one likes in a Jam Band is here: rhythm, guitar effects and jazz influences with several transitions in the pace. For an old “rock and roller,” this brings new life to my interest in music! Gee, I hope these guys are scheduled to come to an amphitheater near me.”

1. Puppet String (Similar Skin, 2014)

“As good a jam as any rock song you will ever hear! Historically good music. Long songs aren’t particularly long because of unnecessary jamming, but because of songwriting choices. This is particularly evident in the progressive efforts like the distortion-heavy and bass-anchored Puppet String”