Think MC5 with better vocals. Think of most bands and add better lyrics, ferocious howls and chants, and yes, Whitmanesque, barbaric yawps sounding from the stage…pure rock and roll, the way the White Stripes were. — St Louis Magazine. The Yawpers are a joyride in a stolen car, a thrilling taste of liberty in an otherwise humdrum suburban existence. — Surviving the Golden Age. The Yawpers highlight all that is good with the rowdy bar band vibe as they pull off a Steve Earle fronts Old 97s sound with a blue collar work ethic of Uncle Tupelo. — The Fire Note. Their sound is all its own, a volatile stew of punk, country, Americana, old timey and bluegrass music, and good ol’ rock and roll. — Glide Magazine The Yawpers craft tunes that are engrossed in creative context. Some might recall edges of the mid-1900s Delta blues, but only if those lived-in riffs were played by the MC5, broadcast through booming stadium speakers and drenched with pounds of fuzzy distortion and full-throttled punk rock energy. They conduct parallel frequencies with the ferocious and raw proletarian roots of Uncle Tupelo, the burning-hot thrashings and cavernous sonic space of Hot Snakes, and mix in derisive scrutiny that brings to mind Ween or the Minutemen (and might we add that Cook is the spitting image of D. Boon). The Yawpers’ third album Boy in a Well is a sensational tragedy set in World War I France about a mother abandoning her unwanted newborn child. But, like the band itself, there’s so much more roiling beneath the surface.
