The Magic Numbers – Those the Brokes

EMI Records, 2006

Ah finally, I can play a game with my readers.  Quick!  Pick out who in the album art is not a woman.  Hurry, you’re running out of … oh, yeah, the ones with beards.  Well, they all have nice sets of hair, eh?  They also look very relaxed and rather content staring out of the window at us.  The really hairy guy is even waving at us.  Unless this is some kind of black metal ruse pitched at luring us in for the epic assault, these guys are probably cute and cuddly with their music.  Well, wouldn’t you know!

This British quartet know how to spin a very fine pop song.  I don’t know how anyone who is into pop music couldn’t excessively salivate during the opener of “This Is a Song”.  Granted, it’s five minutes which doesn’t typify a pop length, but it has all those elements that can sweep one up (if one allows one to get swept up).  From the light vocals of Romeo Stodart to the pretty backup vocals of Angela Gannon and sister Michele Stodart to the appealing changes across the choruses and verses, “This Is a Song” sets this album up to be a great one.

“Take a Chance” is another excellent song that has an intro that reminds me of M83 (circa “Before the Dawn Heals Us”) as well as the Strokes (circa always).  The quick, cheerful tempo combined with Romeo Stodart’s honeyed vocals easily make it an instant hit.  The group slow grooves it with “Boy”, which I guess was inevitable because if they had kept going as they were going I was going to explode with self-hugging gushiness.  Whew, dodged that.  The song might come across as too delicate, especially near the end when the ladies are singing forlornly, but one could give them a pass after the earlier greatness.  It takes a few songs to get to “Keep It In the Pocket”, which is another sureshot pop beauty.  I confess, it has a lot to do with the “ooh ooh ooh ooh”s that the group excellently employ between verses.  Honestly, how easy and yet how wonderful do a few oohs sometimes sound?  The Magic Numbers know how to do it without sounding too forced.

I have to say, after hearing the first half of the album I was searching around the Internet wondering where these guys ranked in the top 50 albums of 2007.  I mean, wow, this is some seriously awesome pop music!  I’m really liking it and what the heck?  Not even in the top 50 of 2007?  Are you KIDDING me?!  I mean, how could this fantastic record get utterly ignored in 2007 unless something murdered the successful build up of the first seven tracks?  There’s no way that the last four could’ve done something so terrible as to … oh, but they do.

As it was hinted on “Boy”, the Magic Numbers do have a penchant to get a bit slow.  Well, the last four tracks are all slow and make the final stretch a little dull.  Why’d they kill the momentum?  “Take Me Or Leave Me” is forgivable in that it could just pose as the serious, heartfelt quiet song that employs strings and wilting vocals by one of the ladies.  Too bad it takes nearly five minutes, which probably makes it feel a lot longer than it really is.  Unfortunately, it sets up the derailment in interest until the end of the record.

“Let Somebody In” is another slow plodder that is quaint but man, not after “Take Me Or Leave Me”.  Too much is too much.  “Runnin’ Out” tries to save things with its overabundance of momentum, but it just doesn’t have the same hook as “Take a Chance” or “Keep It In the Pocket”.  No matter, for whatever rekindling of pop fervor it could have alighted “Goodnight” ends up much too sappy as a finish.  And hey, to add a little salt to the final run of songs the hidden track that lurks is even slower and quieter than anything heard before.  (snore)  Ultimately, the last group of tracks are a real let down to listen to the end of the record knowing how excellent the lead up was.  So yeah, that’s probably why this didn’t get on many (or any) 2007 lists.

The Magic Numbers have a very neat, professional-looking website to check out.  Then there’s MySpace.  We all know about MySpace.  By the way, one of the genres the site lists the band as is ‘psychedelic’.  Oh, that’s a good one.  I will say that MySpace sometimes looks psychedelic, though.

Well, where to go from here?  The Magic Numbers had a record before and after this one, so one could take a chance on their earlier stuff as possibly being more poppy and fun.  One could also hope the Magic Numbers created a few more good tunes on their follow up record, yet at the same time dread that they went completely soft.  I’ll have to find out and let you know.  In the meantime, the Magic Numbers are still out there making music that you might be able to catch live at some point when they’re Stateside.  They’re certainly a band to go check out if you like your indie pop at a level that rides the line between catchy and catch z’s.

New Model Army – Great Expectations (The Singles Collection)

Superperfecta Recordings, 2003

I hate feeling behind the times or ignorant of something important that has occurred.  I occasionally worry that someday someone will ask me for a particular detail of a war fought or a famous person that lived and I will draw a befuddled blank.  When I picked up this record and saw that it was a singles collection of some group named New Model Army, I looked around nervously.  I, uh, have never heard of New Model Army.  I know a little more about NWA than I do about NMA.  Opening the CD case I saw a few pictures where the lead singer was shown with four different haircuts, meaning the group had been around awhile.  Unlike a previous group I reviewed, these guys looked legitimately like long term veterans.  (gulp)  Before I risked further musical cred indecency, I brought the album up to the counter and picked it up.  I refrained from saying “I love these guys” to the lady at the counter…

When I looked up the band when I got home the truth hit straight and center:  New Model Army has been around for thirty years and they’re rather big in England.  (sigh)  Well, better really, really, really late than never, right?!  Since this collection of songs range a full thirty years, one is going to hear a whole lot of fluctuation of sound.  Songs like “Great Expectations” and “The Price” sound like they’re from that big hair, bright clothes era, while “Orange Tree Roads” gives a more modern impression.  Before I get into song specifics, I will say that despite some instrumental differences the band has been quite consistent in its sound for thirty years.

Most songs on the collection are uptempo rock ‘n roll with a few slower tracks here and there.  The band really doesn’ t get all that creative when it comes to instrumentation, nor do they bother with gimmicky silences, sax solos, or any other sort of sound that diverges from their usual drive.  “Here Comes the War” is a typical song of theirs with a consistent drum tempo and rousing choruses.  Along with the band’s ability to simmer with drawn out energy, Justin Sullivan’s vocals probably serve as the strongest instrument.  When he delivers the verses he sounds resigned with hints of frustration, yet on the chorus he is shouting a call to arms.  Sullivan tends to do this throughout the entire album, preventing the listener from assuming too much of how a song will flow.

What is quickly evident about the early New Model Army songs is that they don’t have your usual light-hearted, whimsical lyrics like most eighties songs.  The “Great Expectations” song could easily be considered as a straightforward rocker from the post-punk days, but it has a real yearning about having hopes dashed due to the expectation of joining the capitalist legions.  “Green and Grey” reads as this love letter to a disgruntled man who is fed up with living in a small town and heads off to the city, only to leave his confused buddy behind in the small town.  The song “51st State” definitely rings a bit close to home, considering it appears to be about the fact that England is a little too friendly with what the United States are interested in.  Yeah, given that this song was written back in the eighties during the Reagan years with Tony Blair and 9/11 still in the future, the song’s stinging words still seem to resonate.  Just these three songs alone show that while the U.S. was feeling good about lucky stars, walking like an Egyptian, and oh Mickey you’re so fine in the eighties, these guys were bringing the serious over in England.

I found that of all the eighteen tracks on this collection, one of the songs that would make me want to hear more of New Model Army is “Orange Tree Roads”.  This song surprised me, for the song came out in 2000 and track record has it that a band tends to lose a lot of its allure the older it gets.  For instance, rarely would I even bother to listen to a Stones, Bowie or Who track now over something they did thirty years ago, for usually the recent tune sounds tepid and watered down.  However, with New Model Army’s consistency “Orange Tree Roads” sounds rather fresh and engaging as if the group was many years younger.  Though Sullivan is the last original guy left, the band still sounds like it could entertain long time fans as well as curious new listeners.

Of course, a band around this long has a website and MySpace page.  However, if you’re up for some British history as well, check out the original New Model Army.

The fact that I actually scored this album for a quarter adds to its Bargain status, but ultimately it’s a solid collection of rock tunes from a band that isn’t all that well known here in the States.  I imagine that if one were to hang around London for awhile they’d not only get a better idea of the band’s popularity but also a chance to see them live once in awhile (which would very likely be worth the time).  For those looking to explore a group that has some real history and fans behind it, put a few spins aside for New Model Army sometime.

Starsailor – Love is Here

Capitol Records, 2002

Picking up an album that has songs like “Lullaby” and “Love is Here” usually induces my gag reflex, but sometimes the price dictates the irresponsibility.  Starsailor’s debut album didn’t cost me a full buck, which really helps to stoke the free-wheelin’ fires that tend to keep my wallet warm.  I could say that I went off the deep end that day, but that’s another story for another time.  I will say that regardless of the price the album cover has a bright, yet desolate, vibe.  Include the color scheme as well as the cliched line of ‘where is my life’s train track going?’ and the cover made me feel that Starsailor was going to try and beautify and enrich my listening experience.   Well, either that or this is the view of the listener tied and bound to a train track while Starsailor cackles from afar.  Someone save me?

The album begins solemnly enough with “Tie Up My Hands” and … hey, wait, tie up my hands?!  I AM on the train track!  Someone get me out of here I’m with Starsailor and they are rubbing their hands evilly and (slap, slap) okay … okay … to continue.  The lead singer, James Walsh, pops in and curiously sounds like the guy from Swell Season.  It’s got a high pitch that quivers at its peak and contains the yearning necessary for the given song content.  Considering that the voice never wavers from this approach, it could get a little stale and ineffective as one is swept along from song to song.

Though “Hands” is a quieter track, Starsailor tends to aim for mid-level.  The band builds and maintains a comfortable tempo on tracks like “Poor Misguided Fool” and “Lullaby”, accentuated with a consistent inclusion of piano.  Most tracks are introduced with said piano as a quiet beginning, only to inevitably build up to a swirling pop concoction as evidenced in the popular British single “Fever”.  Really, if you listen to that track on itself you’ll know whether or not you’ll be into Starsailor at all, for it has got all of Starsailor’s musical tricks and choices wrapped into four minutes.

Other songs, like “Way to Fall”, pick up really nicely more than halfway through, but it’s a long three and a half minutes before getting there.  “Talk Her Down” is a great song until the nasally quivering exit. Oof, bad aftertaste.  Finally, given that this is an album that was released in the early 2000′s and certain gimmicks were still around, there’s a hidden track.  But Starsailor blows it.  The hidden track shows up after more than ten minutes of waiting and, surprise, you wait all that time to hear the guys get together and hum for less than a minute. I roll my eyes at you and your decision making, Starsailor.

Given their longevity, Starsailor is all over the place on the internet.  Check out their website, MySpace or Last.fm site if you want to experience some modern British pop.

I guess these guys were noted as a big upcoming band in England during the time that this record was released, and despite what one may think of the vocals and quality of their music they are still releasing albums with modest success.  One could say that Starsailor is wonderful for some people but a little overdone for others, so that means that Starsailor will always find an audience as long as they keep doing what they’re doing.  However, it seems that the group is on haitus so Walsh can pursue a solo career.  Doesn’t that always seem to happen?

Whether it’s the band or the solo artist, Starsailor is still around in some form after a decade.  Therefore, if you end up following Starsailor’s train track into the distance rest assured it’ll probably be a long ride.  Unless, of course, they’ve tied you to that train track.  Then you don’t have long, my pretty.

The Rumble Strips – Girls and Weather

Gigantic Music, 2007

I am pretty sure this is the best album cover I’ve ever come across in a dollar bin.  There’s been some real eye poppers and a few pretty, artsy ones, but this one is the current winner.  It’s a combination of the positioning of the band members, as well as the band logo on the immense drum, that seems to work for me.  The scenery is also spectacular, and though I have no idea why these guys are trying to get that giant thing up a hill, at least they’re taking the scenic route.  I didn’t care what these guys sounded like when I brought this album home.   I know, I could have fallen into an aesthetically quirky trap.  I’m used to it.

The Rumble Strips are British indie rock, which adds a slight level of excitement because hey, dig that British accent!  The album begins with sorrowful Charlie Waller singing that he has got “No Soul” with only a trumpet as an accompaniment.  After thirty seconds of it, if you couldn’t tell that the song is going to lift off with jubilation, then you haven’t been listening to enough modern indie music.  Hey, you’re better off than me if that’s the case, because it certainly wasn’t a surprise when the Rumble Strips promptly picked it up for an exciting conclusion.  Thankfully they don’t try to pull the same trick anywhere else on the album, for that move is a bit tired.

Aside from the accents, the Rumble Strips could get written off as just another peppy pop band with rock affectations.  However, the addition of a trumpet and saxophone does add some extra strength to the commonplace quartet of the usual instruments.  This is especially evident on the strong “Time” track, which interweaves a horn and guitar early on and, after some Waller wailing, really picks up and jumbles with a heavy dose of drums at the end.  “Alarm Clock” also includes a lot of horns, yet their sound is reminiscent of a few ska tracks I’ve heard in the past.  The horns are just enough to make rather typical British pop rock songs into a little bit more, which only makes them more appealing.

After giving this album a few listens, the only part that I still can’t seem to shake is Waller’s vocals.  Waller sounds like the guy from Art Brut if he decided to sing instead of speak most of his songs.  Better yet, if you’ve heard the Futureheads you’ll get a better idea of how Waller sings, which is slightly over the top and British.  Thing is, the Futureheads have the speed and brevity that makes each song more focused on the notes than the vocals.  By design, the Rumble Strips tend to take more time with their songs and thus Waller has more exposure.  I guess that’s what kills it for me a bit, which I’m sure may not be the case for others.

The Rumble Strips can be heard on their MySpace page but also have a working website as well.  Get your British kicks!

Despite my reservations of the vocals, the Rumble Strips are actually pretty good.  There’s plenty of indie pop rock bands out there but the musical additions, as well as the craftsmanship of the pop songs, make this for a peppy listen.  After a decent enough showing on the UK charts for their second album in 2009, the band hasn’t gotten anything out since.  Lucky for all you blokes and blokettes out there that these guys are merely taking a hiatus to write more for their next album.  Perhaps you can see them roll a drum up to a nearby club or festival stage soon enough!