Album Review - Everything Must Go by Goose
It's All In Motion Now
Goose released their fourth studio album Everything Must Go today via No Coincidence Records. The long-awaited follow-up to 2022’s Dripfield was produced by longtime collaborator D. James Goodwin and was recorded over a long period in 2023 and 2024 that maps a serious creative journey and shift for the band – the LP features now two former members of the band and heavily features live staples rather than focusing on newer material.
Studio efforts from jam bands rarely live up to the live energy and impact that the songs carry, Goose’s songwriting has largely been thought of in a different light – borrowing from their indie and contemporary influences more, we’ve seen tracks like “Hungersite” and “So Ready” get widespread radio play over the past several years. This brings me to a very important distinction that I didn’t think about until my second or third listen through EMG – a fan like me is not the target audience for this album.
There’s a lot about this record that I like, and it’s always exciting to hear a new take on songs I’ve heard so many times with the additions of horns and additional overdubs – but it does feel a tad overproduced in a way that just makes me crave the raw energy of the live versions of songs (though I’d expect I’d have that desire regardless of how the studio effort came out). Additionally, it was recorded over a two-year period where the band was constantly going through changes both in lineup and gear-wise – guitarist Rick Mitarotonda’s tone in particular was of a more shrill and scream-y quality in 2023 versus the much smoother tone driven by his switch to Fender amps in 2024.
We also recorded an in-depth episode of Always Almost There to break down the album as well - listen now wherever you get your podcasts as a companion to this write-up!
The album opens with the title track “Everything Must Go,” its anthemic live quality largely lost with the heavy e-drum presence, though Mitarotonda’s vocal performance comes across flawless, blended harmonies beautifully supporting his leads. Eschewing the minor-key jam and crescendo ending we get at shows, the song concludes with a mellow major-key guitar outro with vocal loops that eventually fades into the drone beginning of the next track.
Live Recs: 10/6/23, 6/26/24, 2/8/25
“Give it Time” comes next, its radio-hit potential possibly limitless with its catchy and meaningful lyrics, the emotion it carries clearly evident with each listen. This has already become a live staple for the band in the year since its debut and will likely carry more weight this summer after the solidification in the canon that comes with a studio release. Goose has also mentioned in interviews that this is the first track they recorded with drummer Cotter Ellis when he joined the band in early 2024, making it even more special.
Live Recs: Any version
Our first previously unheard track is up next with “Dustin Hoffman,” and it’s easily my favourite track of the record. That could be partially because I have no live version to reference while listening (it’s going to RULE this summer), but this is Mitarotonda’s songwriting at its best – upbeat, catchy lyrics and several memorable musical hooks all fitting together perfectly. The addition of a horn section on this track adds a great layer too, and I can see the “Red Bird”-esque guitar riff on the outro leading to some big jams, but this effect of pure joy and emotion is a phenomenal way to close it out (listen for the doubled harmonized guitar solo toward the end!).
Live Recs: N/A
“Your Direction,” another unreleased track, slows things down for a sunny yacht-rock vibe that is directly down the middle of the road and calls to mind Fleetwood Mac’s “Dreams” in its steady vibe and chord progression. This revived Vasudo song was written by Mitarotonda and Matt Campbell in the pre-Goose days and is a great addition to the catalog – watch for this to very quickly become a live first-set singalong staple.
Live Recs: N/A
A highly anticipated cut is up next with “Thatch,” a stalwart jam vehicle and fan favourite debuted in November 2022. This track captures the live energy of the song incredibly well, the minimal amount of overdubs breaking form with the rest of the album in a very positive way – though I’m not the biggest fan of Mitarotonda’s heavy echo effect on his solo, though that is also coupled with his shriller guitar tone from 2023, when this was presumably recorded.
Live Recs: 7/7/23, 9/22/23, 11/8/24
Since its debut in March 2023, “Lead Up” has been heralded as Goose’s next big radio hit, the song’s catchy lyrics and rocking riffs plus its relatively short runtime all giving the indication that it will be the case. This track is quite honestly perfectly captured in the studio, once again benefitting from a minimal amount of overdubs and a straight-ahead recording of the powerful live arrangement and layered guitars from Mitarotonda and Anspach.
Live Recs: Any version
In a complete pivot from how I’ve been talking about the use of overdubs so far, “Animal” actually benefits from the kitchen sink approach, being augmented by several layers of synth and sound effects, alongside Stuart Bogie’s flute and sax plus Dave Nelson on trombone and Andrew McGovern on trumpet. The horn arrangements themselves are punchy and elevate the song – with this article being published the morning after Goose’s NOLA Jazz Festival performance, I’m hopeful that we’ve gotten a big-band version.
Live Recs: 11/13/23, 2/6/25
“Red Bird” opens with Anspach’s signature Vintage Vibe sound, and comes bolstered by some smooth cello courtesy of Heather Woods Broderick as well as heavy usage of e-drums, the latter effect returning from earlier tracks. This is one song that just makes me yearn for a massive jammed-out live version, though I feel its eclectic sound could appeal to a certain type of not-as-jam-centric listener.
Live Recs: 2/12/22, 6/23/23, 4/9/24
Various synth pads elevate “Atlas Dogs,” faithfully re-creating its driving pace and energy with excellent drum work throughout the song. This is another song well-chosen for the album, its compositional elements remaining in a very accessible space while offering more thought-provoking lyrics and melodic hooks. Could possibly be a sleeper radio hit…
Live Recs: 2/4/22, 6/18/24, 2/6/25
“California Magic” feels like an odd duck, one of the few tracks that is extremely different from its live arrangement. The addition of horns is a welcome freshness to a commonly played song that doesn’t vary much from version to version, giving things a smoky lounge vibe. D. James Goodwin also makes a musical appearance with some pedal steel guitar, adding a cool and unique layer to the track – as is Anspach’s keyboard solo, which is taken on clav as opposed to his usual organ.
Live Recs: Any version
The next Anspach song, “Feel it Now,” is absolutely leveled-up with the slinky trumpet work, its filtered effect and jazzy runs not something you’d normally hear with Goose. The intro is unfortunately one of the reworked variations that the band tried out live before landing back on the original vocal melody beginning. The disco-fied jam features some ultra-smooth soloing from Bogie on sax, which offers a nice change from the Mitarotonda-driven live arrangement, keeping things at peak energy throughout. Definitely a cool take on the song.
Live Recs: 9/1/24, 11/9/24
“Iguana Song” is a quintessential Anspach composition even on first listen, its classic qualities of his songwriting all evident – immediate amazing musical hook with dual-guitar harmonization alongside playful and goofy lyrics. Mitarotonda offers his own flavour to the song in the chorus, switching up the vibe for a classic Goose-sounding segment with some great fuzzed-out synth bass. The laid-back jam section is a close sibling to “Butterflies,” the smooth drumbeat immediately making me excited to hear how this translates to a live setting with the rising tide of energy eventually culminating in an arpeggiated composed ending similar to “Thatch,” making this a clear favourite track of mine that will no doubt enter the canon of Goose songs in a big way this summer.
Live Recs: Hopefully several this summer ;)
“Silver Rising” has been long been thought of as one of the most impactful songs in the Goose catalog by many, and this studio version faithfully captures the live energy, augmented by a simple layer of Mellotron on the chorus that adds a more-than-welcome dreamlike texture. Excellent production choice for an incredible song.
Live Recs: Any version
Closing out the album is an appropriate choice of “How it Ends,” only played live once last April at the Capitol Theatre. This track has been long-requested by fans for a return – its cinematic and anthemic guitar lines and memorable lyrics bringing the “wolf” saga of songs to a conclusion with borrowed lyrics from “Silver Rising” as well as cues from “Atlas Dogs.” It’s a great way to end off Everything Must Go with a very clean take.
Live Recs: 4/10/24
In our recent interview with Mitarotonda on Always Almost There, he noted that Everything Must Go feels less like the snapshot in time for the band that Dripfield did, but rather a documentary through a lengthy transitional period for the band. After listening to the full record, I couldn’t agree more – this captures songs written across several years and features sounds and tones that are now no longer present for the band whether they be past members or pieces of gear, making EMG a truly unique record due to the circumstances of its recording.
It's an album that makes me even hungrier for this year’s extensive summer tour, but one that offers several cool takes on Goose song classics and a look ahead to some that will no doubt be ingrained in the canon going forward – and I eagerly await to see where the band decides to go on their next studio effort, which is already underway with D. James Goodwin once again at the helm.
