California places a distinct sonic stamp upon the music born with in its boundaries. Owens had his Bakersfield, Parsons his Joshua Tree, and Malkmus his Stockton, and in their tunes you can hear dust, desert highways, and skateboards gliding over suburbia. The Donkeys have San Diego, and from that environment have woven a fundamental ease in their music - a rock, a roll, a sway, a slide - you could even call it a breeze. On Ride the Black Wave, The Donkeys continue their easy rolling, classic vibrations, but add a mystery and tension that make this record their most lyrically and instrumentally compelling.
Ride the Black Wave embodies what Jack Kerouac described of California’s coast as having an “end of the land sadness.” The Donkeys stare out at the ocean in a “fantastic drowse” - a kind of pensiveness towards their environs that summons the elements of sound and style that belong only to them. In “Blues In The Afternoon”, a collective mantra, the band runs out of land and asks of the ocean to offer suggestions about their fate. It is songs like these that prove the Donkeys are a band in the true sense of the word, sharing each other’s worry and wonder. With RTBW, The Donkeys have further caged their craft and have accomplished the delicate and artful challenge of taming the captured, while also letting it be wild.