With Everybody Needs a Dog, Spyderhuff offers genuine reflections on the ups and downs of the human experience. The EP touches on universal themes like growing older and feeling worn out in “Come Take the Bones,” navigating the pitfalls of social media in “Drag and Drop,” the heartbreak of broken relationships, and the steadfast comfort of a loyal pet in “Everybody Needs a Dog,” and a retro-futuristic take on what lies ahead in “Future.”

These tracks are more of a journey through life’s struggles and comforts, and the storytelling feels personal yet relatable. Spyderhuff’s Detroit roots are palpable in every note, blending their blues-rock foundation with rock ‘n’ roll spirit and a hint of Motown soul. With Tom Kuhr’s gritty vocals and multi-instrumental talent, Don Beyer’s bass grooves, Joey Gaydos Sr. and Jr.’s killer guitar work, Tony Mitchell’s rhythm on the congas and bongos, and James Carmichael Dooley’s drums, the band’s chemistry shines.

The EP is a raw yet polished testament to the band’s musical journey, with echoes of legends like The Black Keys, ZZ-Top, and Lou Reed. There’s something undeniably timeless about Spyderhuff’s sound, a quality that feels as familiar as old friends jamming together, and as exciting as discovering a fresh take on blues-rock.

In Everybody Needs a Dog, Spyderhuff celebrates life’s simple joys and inevitable hardships with a sound that is both nostalgic and forward-thinking, a nearly full-life journey in just one EP!

A group of veteran musicians hailing from Detroit, Michigan, Spyderhuff are led by Tom Kuhr, accompanied by a 5-piece ensemble. The sound coming from Spyderhuff is uniformly warm, weighted, and rich. On ‘Wichita Lineman’, the song’s repeated gentle explosion into the instrumental chorus is a clear showcase of the ensemble’s graceful musicianship.

A blazing solo also makes an appearance on this country rock cover of a timeless pop classic, courtesy of Joey Gaydos and his deliciously overdriven tone. The vocal chemistry between Kuhr’s lead vocals and the lush responses from Julie Noe is another sign of the delightful musicianship flowing through this group of players, and the tight rhythm section, transforming this piece from a lighthearted pop tune to an anthem for the highway is the cherry on top.

Spyderhuff’s ‘Wichita Lineman’ is a passionate recreation that pays great respects to the original, by taking it somewhere totally different, while retaining the song’s harmonic and melodic DNA at hand. A beautiful piece in its own right, standing confidently on its own two feet.

A 6-piece based in Detroit, Spyderhuff is boasting a one-of-a-kind approach to songwriting on their latest single. ‘Just Sit There’ sounds rich and varied, whimsical, and with a good flair of humor. A song full to the brim with ideas, revolving around a simplistic core that leaves massive room for instrumental imagination.

A song that can perhaps be safely labeled as blues, ‘Just Sit There’ first hit me with its solid 4-on-the-floor beat and snappy snare, next to sly bongos. An engaging drum part that quickly introduces the song’s chorused guitar that ceaselessly drips silken smooth licks throughout the song. The song also breaks down into elevator music-like piano-led sections that provide a bizarrely fun respite from the robotic, spoken word interjections that are describing the correct behavior for non-driver car passengers to follow. Did I say the song is a little strange?

‘Just Sit There’ is obviously all about a bit of fun, while delivering a message that can have a litany of meanings, depending on your perspective. A crisp sounding jam that showcases a 6-piece of musical veterans who were readily capable of extending that jam for much longer. Greatly enjoyable, Spyderhuff’s ‘Just Sit There’ is a song that can loop tens of times and you would never notice.

The band, consisting of friends and musicians, has a passion for bending and shaping musical genres. Their current project is a four-song EP, ‘GONNA BUILD ME A HOT ROD’, dropping one track at a time throughout early 2024. The name Spyderhuff pays tribute to automotive history, with members like The Black Keys, The B-52’s, Lou Reed, Dire Straits, Steve Earle, Tom Waits, Primus, ZZ-Top, Nick Cave, and Alabama 3.

The members of Spyderhuff are Tom Kuhr (vocals, guitar, harmonica, sax, synth), Don Beyer (bass,

synth), Jim Pauli (drums), Joey Gaydos (guitar), Tony Mitchell (congas, bongos, drums, backing

vocals), and Julie Noe (backing vocals)…and all together, they create fresh, unique and never-heard-before fusions and musical hybrids with strong melodic and performing elements.

“The Rhythm King” also drops with a music video that elevates the overall experience even more…

…the song has very unique bluesy vibes not found elsewhere, from the unique vocal performance and cadence to the electric guitar tone…

“The Rhythm King” is both bluesy and heavy, mellow and hard-hitting…it’s got a unique musical contrast that transcends genres, which makes the experience extremely unique and memorable.

The music video has some old-time-y shots that take you on a ride through a race track and some vintage cars footage…it’s a unique and interesting visual trip.

Make sure to check out Spyderhuff’s latest “The Rhythm King” and follow the band for more unique musical and lyrical experiences.

Wishing all the best to Spyderhuff.

Cheers!

Spyderhuff’s playful, fun sound pops up right from the way they opened Gonna Build Me A Hot Rod, building up into a blasting old-school rock n roll verse. Their open sound and extremely groovy riffs boost the listeners’ energy, creating unforgettable hooks with wild guitar work and a powerful catchy vocal melody. Gonna Build Me A Hot Rod has a bluesy classic sound and an exciting rocking attitude that keeps the energy going creating some engaging singalong parts that would sound awesome when played live, all within a laidback irresistible structure with moving ups and downs that kept their organic flow going.

Spyderhuff offers some awesome blues rock riffs on Gonna Build Me A Hot Rod with cool solos and licks thrown here and there, clearly showing their musicianship and well-knowledge of their mood and sound. They managed to create a solid uncompromised upbeat flow that’s enjoyable for a wide range of audiences. Looking forward to more from Spyderhuff, keep on rocking guys. Cheers!

Spyderhuff shook things up a bit in their take on Sympathy for the Devil, they boosted its sound to a bigger, guitar-driven one that turned it into a completely different song. The energetic drumming, rocking guitar licks, and groovy riffs added an entertaining dynamic layer to the song’s flow, while that powerful vocal delivery and crunchy bass added a touch of heaviness. Spyderhuff paid tribute to the original song by playing around its significant percussions and while almost everything else, all in a neat bright production that elevated the song’s dynamics and gave it a bigger brighter sound reflecting their own character and direction.

Symphony for the Devil shows Spyderhuff‘s dedication to creating their own sound and vision. Covering such a classic is a risky move that they boldly took, tweaking and steering everything in their way to serve their will and fulfill their end goal resulting in a unique sounding experience that adds to the original song. I’m always looking forward to more from Spyderhuff, keep on rocking guys. Cheers!

Spyderhuff opened The More That I Get – Greed with a psychedelic bluesy Pink Floyd-ish intro that set the mood’s footprint. The More That I Get – Greed has some insanely good guitar work, with licks and shredding solos flying everywhere, and a KILLER groove that makes you want it to keep going forever! The vocal melody is so intimidating and in mood and those vocal harmonies were beautifully hypnotizing, the vocal’s fluidity went along perfectly with the organic, improvisational guitar work, and the spacey atmospheric effects made their sound even more significant and more profound. Spyderhuff created a really clever and catchy structure, it feels like an unstoppable flow with dynamic enjoyable twists and turns that were well-written and arranged.

Spyderhuff shows off their fantastic writing skills and musicianship in The More That I Get – Greed. It’s a solid progressive tune with psychedelic influences and loads of eargasmic bluesy guitars, all within a groovy energetic structure that grabs the listener’s full attention. Will definitely be looking forward to more from Spyderhuff, keep on rocking guys. Cheers!

“Never Am I Full-Gluttony” opens with pure unmistakable country guitars, storytelling charismatica vocals, and dominating harmonica. The subtle bass line plays a great role in keeping the song’s pace and mellow vibes, while the electric guitars and harmonica engage in a playful, interesting conversation, forming the perfect setup for Spyderhuff’s folky/country approach. The vocal melody kept its expressive tone while keeping up with the music’s progression, and being backed by amazingly-timed backing vocals with perfect harmonies. Spyderhuff’s clear vision and direction appears clearly on the dynamics of “Never Am I Full-Gluttony ”, they managed to create an interesting flow without borrowing any out-of-genre elements or sounds.

 “Never Am I Full-Gluttony” is a solid country tune with a clear message and enjoyable mellow melodies. Spyderhuff’s sound shows determination, and well knowledge of their sound, creating a worth checking out catchy piece that’s appealing to any music genre lover. Looking forward to more from Spyderhuff, keep on rocking guys, cheers!

Spyderhuff is a Detroit-based rock outfit that puts out intense rock tunes with classic rock infusions, and their latest offering, titled ‘What You Have’, is the 4th song in their 7-song marathon, a song for each of the 7 deadly sins, this one handles the sin of Lust. The words are spoken, there is no singing here, but that doesn’t stop the words to have rhythm and swagger and be absolutely banging, with the dense southern accent and the dark humor in them. They are delivered via Tom Kuhr, who also plays a hot blues motif on a distorted harp that would fit quite snuggly into a Zeppelin album. The drums, courtesy of Jim Dooley, are also intense and vast with bongos and congas fluidly mixing in with the usual snares and kicks, putting in mind also the heavy, but mathematically accurate, hands of John Bonham. The riffs are fueled and are filled with gnarly overdrive, with chugs and scrapes, they pack a hefty punch. The general composition, courtesy of lead guitarist Joey Gaydos, is pure power blues, taking a page straight out of the ‘When The Levee Breaks’ book.

A passionately mixed song with outstanding confidence and character. It’s rare to see an artist carry out such an impressive feat and remain composed and strongly true to themselves throughout its execution like Spyderhuff Does here. And to that I wait for more and say “Well Done!”