Barenaked Ladies - Hits From Yesterday & The Day Before

Barenaked Ladies – Hits From Yesterday And The Day Before
2011, Rhino Records

It takes some moxie to last in the music business for twentyyears.  It takes real chutzpah to notonly survive chart-topping single and still be making music more than a dozenyears later in spite of losing a principal songwriter and vocalist, But aboveall it takes talent; something the four remaining members of Barenaked Ladieshave never run short of.  On September27, 2011, Rhino Records will release HitsFrom Yesterday And The Day Before, Barenaked Ladies second greatest hitscollection.  This career-spanningcollection will seem mostly redundant if you already own Disc One: All Their Greatest Hits, but will be an ideal startingplace for new fans.

Cited by no less than Sir Paul McCartney as one of the mostinteresting bands in rock and roll today, Barenaked Ladies have long blended asingular musical talent with a nerd-rock aura and boundless energy.  The divorce of co-founder Steven Page fromthe band in 2009 might have meant the end for some bands, but Ed Robertson(vocals/guitar), Kevin Hearn (vocals/keys), Jim Creeggan (bass/vocals) andTyler Stewart (drums/vocals) set their eyes upon the future and have refused tolook back.  Hits From Yesterday And The Day Before closes the book on the firsttwo decades of Barenaked Ladies, and shows a marked development of sound, styleand maturity over the years.

Classic Barenaked Ladies hits are featured mostly in theiroriginal, recorded forms.  Songs such as “IfI Had $1,000,000, “Brian Wilson (live)”, “The Old Apartment” and “One Week”, aswell as moderately successful radio singles such as “Pinch Me”. “AnotherPostcard” and “It’s All Been Done”.  Verylittle representation is given to the last three BNL Albums (Barenaked Ladies Are Me, Barenaked LadiesAre Men, All In Good Time), most likely due to these albums being releasedindependently by the band, whereas Rhino owns the rights to much of thematerial presented here.  The only trackhere not previously available on CD is the full version of the “Big Bang TheoryTheme”, which mixes Robertson’s sometimes frenetic talk/sing style and classicBNL kitsch. 

If you’re a dyed-in-the-wool Barenaked Ladies fan, then Hits From Yesterday And The Day Beforeisn’t likely to hold much appeal.  You’regoing to have all of the tracks here already. But for new fans just acquainting themselves with the band, it’s atremendous collection-as-introduction. What’s more intriguing, and somehow still secretive, is the deluxeedition of the greatest hits collection, also supposedly due on September 27,2011.  Stop Us If You’ve Heard This One Before is rumored to be a two-discset that includes the greatest hits disc plus a second disc of never beforeheard songs.  No track list has beenpublished to date, and no listing has yet to appear on major retailers such asAmazon, Target, Walmart, FYE, CDPlus or CDUniverse.  This is the collection that will cause longtime fans to open their wallets. 

In the end, Hits FromYesterday And The Day Before is a solid collection for beginners, butprobably not worth shelling out the money for if you already own several BNLalbums.  The “Big Bang Theory Theme” iscertainly worth hearing, but isn’t enough of an upgrade, in itself, over Disc One to make it essential.  Stop UsIf You’ve Heard This One Before, if it makes it to market, will be a musthave for all the die-hard fans out there.

Rating: 3.5 Stars (Outof 5)

(Note: In this case, the rating is more of thecollection than the music thereon.  Therejust wasn’t enough new material here to justify a second greatest hits package,but the music itself is fabulous.)

Learn more about Barenaked Ladies at www.barenakedladies.com or www.myspace.com/barenakedladies.  HitsFrom Yesterday And The Day Before is available for pre-order via Amazon.comboth on CDand as a Download.  Preorders are also available via iTunes.

Be sure to check out the new video for the "Big Bang Theory Theme", featuring members of the cast of the show!

Jason Plumb & The Willing - Alive And Willing

Jason Plumb & The Willing - Alive & Willing
2011, Soccermom Records

Jason Plumb rose to prominence as songwriter and lead vocalist of Saskatchewan folk-rockers The Waltons in the early 1990's, touring with bands such as Barenaked Ladies and Junkhouse.  Darlings of the Toronto indie rock scene fueled by the then vibrant radio station CFNY, The Waltons enjoyed considerable success across Canada but never quite caught on in the US.  The Waltons were essentially done by the turn of the millennium, but Jason Plumb continued to write songs and has built a successful and highly respected body of work both on his own and with The Willing.  Early this year, Jason Plumb & The Willing released a DVD set entitled Alive & Willing, memorializing a show recorded live in Plumb's hometown of Regina, Saskatchewan, and featuring the Broken Heart Strings, an offshoot of the Regina Symphony Orchestra.

Alive & Willing finds Plumb culling material from across his career in a dynamic live set that aptly shows off his brilliance as a lyricist, composer and performer.  Relying heavily on material from his album Beauty In This World, the show also features songs from Under And Over and some highlights from his career with The Waltons.  The main concert is a real treat, but the big surprise is something called The Neighborhood Dog Episode, a bonus movie featuring a series of home concert performances and anecdotes.  The set also includes a live CD covering most of the audio from the main concert.  Highlights include “Beauty In This World”, “Drive”, “Protest Song/Colder Than You”, “The Water Well & The Farmer’s Hand”  and “Lolita”.  The latter is only on the DVD and not on the companion audio CD. 

The video and audio quality throughout the set is superb.  Jason Plumb & The Willing are everything you could ask for musically.  Plumb sings from the heart; without affectation, and his songs as accessible and timeless.  Alive & Willing is a don’t miss release.

Rating: 4.5 Stars (Out of 5)

Learn more about Jason Plumb & The Willing at http://www.jasonplumb.com/ or www.myspace.com/jasonplumbandthewilling.  Alive And Willing is a limited edition release, and is available from MapleMusic.com.

Tally Hall - Good & Evil

Tally Hall - Good & Evil
2011, Quack! Media

Tally Hall had it all in 2008.  A major record deal to release their 2005 Indie smash, Marvin's Marvelous Mechanical Museum had been signed with Atlantic Records.  Expectations were for Tally Hall to catch fire throughout the Western Hemisphere the way they had in the Upper Midwest of the United States.   Atlantic seemingly signed Tally Hall with the expectation of quick profit from a regional powerhouse with a ready fan base and a proven album.  Consequently, little or no push ever materialized, and the major label release essentially tanked.  This is no reflection on the album, which remains one of the most creative and original musical creations of its decade. Tally Hall recently emerged with their second full-length album, Good & Evil.  Produced by Tony Hoffer (Beck, Depeche Mode, Belle & Sebastian) and originally funded by Atlantic Records, Good & Evil finds Tally Hall stepping back into the Indie world.

Tally Hall's mix of Beatles-esque melodies and arrangements, humor, and unusual perspective enhanced their distinctive blend of pop, classic rock and rap and helped make them one of the best known bands in Middle America over the past five years.  Those elements remain on Good & Evil, but with a bit more subtlety and maturity than in the past.  "Never Meant To Know" opens Good & Evil with a quasi-spiritual perspective on the wider world.  It's an acknowledgement of place for humanity, trimmed in a wonderfully compact pop/rock arrangement built on melody that will stay with you.  "&" is classic Tally Hall, a story song that starts somewhere in the middle and challenges the listener to catch up.  Big vocal harmonies and a quietly irresistible melody will grab and hold your attention across multiple repeats. 

The first single from Good & Evil, "You & Me", builds its chorus piece by piece, into a deliciously catchy and simple construction with 1970's AM pop influences.  This has real commercial potential, particularly in the licensing realm, and serves as a solid reminder that for Tally Hall, melody is always a distinct consideration.  "Cannibal" uses melody and harmony as a weapon, buttressing one of the catchiest tunes to cross this desk in 2011.  Release this as a single, and you'll have a moderate hit at the very least.  Given the right timing and backup, "Cannibal" could garner Tally Hall all of the recognition they deserve.

"Sacred Beast" is a catchy, off-the-wall pop tune with an infectious melody.  The combination of quirky pop structure, gentle humor and a tune you simply can't get out of your head might deceive you into thinking this is pure fluff, but there's actually some fairly insightful allusions to human behavior and imperfection woven deep within.  "A Hymn For A Scarecrow" has an almost epic pop feel to it, exploring a quirky spiritualistic embodiment of the song's subject in a beautifully constructed number that takes liberties with traditional pop song structure ala The Beatles.  "The Trap" is a meandering musical exploration of the powerful nature of expectations to hem us in.  Playing almost like a run-on thought, Tally Hall builds in sonic surprises along the way to keep it fresh.

"Turn The Lights Off" is a driven, quirky pop number with an unforgettable chorus.  Kudos if you can sit/stand still through this number, which gives "Cannibal" a run for its money, and fits in sonically with latter day Barenaked Ladies material.  "Misery Fell" is built on the sort of melody and simple pop arrangement that made McCartney such a success with the Beatles and afterward.  After all that, it's also a song that will make you think, particularly in light of the difficulties the world faces in the present day.  "Out In The Twilight" would have been a major hit in the late 1970's or early 1980's, showing a bit of Alan Parsons influence in the songwriting and sound.  The vocal triads layered over the arrangement create a glorious sound that is an aural treat.  "You" shows the band's contemplative side, an almost melancholy song of devotion that stands out for its utter singularity on the album.  "Fate Of The Stars" is a sonically gorgeous song written in non-traditional structure.  This is Tally Hall at their most creative, stitching together musical ideas into a sonic quilt that is both surprising and refreshing in its originality and continuity.

Good & Evil took six years to make, and shows both the distinctive musical and compositional talents Tally Hall showed on Marvin's Marvelous Mechanical Museum and a growing maturity and subtlety that is the sign of artists growing in the confidence of their craft.  Both more and less than their previous work, Good & Evil will continue to build the Tally Hall mystique, on a road that seems destined to have Tally Hall one day headlining tours in major amphitheatres and stadiums across the country.  While perhaps a reflection of the current state of Tally Hall's collective muse, the rap components infused in their prior work served to broaden the band's sonic appeal, and the absence here is notable.  Nevertheless, Good & Evil shows that Tally Hall has managed to bypass the dreaded sophomore slump.

Rating: 4 Stars (Out of 5)

Learn more about Tally Hall at www.tallyhall.com, where you can also watch all ten episodes of  Tally Hall's Internet Show.  Good & Evil is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

The Grownup Noise - This Time With Feeling

The Grownup Noise - This Time With Feeling
2011, The Grownup Noise

The Grownup Noise has been a work in progress for several years now.  Percolating their Indie Power Folk sound in the musical cauldron of Boston, the band made a distinctive impression with their self-titled debut album in 2007.  Four years and five coast-to-coast tours later, The Grownup Noise continues to evolve their eclectic brand of avant-garde folk and pop, offering up a plethora of sounds and styles on their sophomore album, This Time With Feeling.  The four Berklee College of music grads who make up The Grownup Noise, Paul Hansen (vox/guitar/keys); Adam Sankowski (bass/keys/vox); Katie Franich (cello/keys/vox) and Aine Fujioka (drums/vox) continue to surprise with outlooks and arrangements that are atypical yet surprisingly gratifying.

This Time With Feeling opens with "The Strawmen", a socio-political commentary on a rudderless society with clueless or worse individuals in charge.  Delivered in a conversational melodic style reminiscent of Kevin Hearn (Barenaked Ladies); the stark chorus and streaming verses are a nice touch to open with.  "Anthem For Second Place" is mildly catchy but too mono-thematic to really maintain the listener's attention.  There's a lack of dynamics here that is disappointing.  "Flower" suffers from the same malady, although the instrumentation could be magical with a bit more range involved.  The lack of dynamic change gives this one a droning sound it doesn't deserve to bear.

"Carnival" documents the intriguing tug and weave of relationships, needs and preconceptions.  The Grownup Noise hit the ground running with a memorable melody that grows into an even better chorus.  While a bit obscure stylistically, the song weaves a straight ahead story-telling style into an enigmatic arrangement that will have you hitting repeat.  "Six Foot Solemn Oath" delivers a power-folk sound that's full and layered under a constant lyrical barrage.  Franich offers superb depth with her backing vocal here.  The band achieves a quasi-new wave feel on "The Artist Type", juxtaposing a sense of manic excess with an understated style that works better than you might expect.  The fact that the melody is virulently catchy helps the process along.

"So It Goes" offers some of the most impressive instrumentation on the album, giving a glimpse of the depth of musical talent in the band.  "Just So You Know" builds a solid hook into a great chorus that will set up shop in your noggin and stay awhile.  The Grownup Noise build a pretty shell of instrumentation that's peppy, while the lyrics convey a hopelessness that is simultaneously in conflict with and complementary to the arrangement.  "Attention" documents the fleeting nature of time and the freedom of youth.  It's a great, atypical number and is among the best work The Grownup Noise has done to date.  On "Gone Is A Four Letter Word", the band takes listeners through eight minutes of musical reflections on a relationship lost and hanging on to whatever scraps may present themselves.  Written in two distinctive song parts, the song just hangs on too long.  This Time With Feeling closes with the anti-climactic and mundane "Somehow We Escaped".  The song bookends the album well from a content perspective, but together with "Gone Is A Four Letter Word" forms a clumsy closing duo that seem inconsistent with the vibe The Grownup Noise has spent nearly forty-five minutes building.

This Time With Feeling represents a number of interesting choices by The Grownup Noise.  It appears to be an album about decline, whether in the wider world or in a particular relationship.  It's interesting because there are clear signs that the band has taken significant steps forward since the release of The Grownup Noise in 2007.  Nevertheless, there are also signs that the band is stuck in some of their own pre-conceptions about what their sound should be.  At times it almost appears that they are fighting against their own natural musical tendencies to create an intended sound rather than to simply create.  It is a mark of each respective member's inherent musical talents that This Time With Feeling turned out as good as it did; and it is quite good.  There's just a sense of conflict and uncertainty here that could become The Grownup Noise's Achilles heel, or be the catalyst that drives them on to greater things.  Here's hoping for the latter.

Rating: 3 Stars (Out of 5) 

Learn more about The Grownup Noise at www.thegrownupnoise.com or www.reverbnation.com/thegrownupnoise.  This Time With Feeling is available on CD from Amazon.com.  The album is available digitally via iTunes.

Bruce Cockburn – Small Source Of Comfort

Bruce Cockburn – Small Source Of Comfort
2011, True North Records

Bruce Cockburn has based his life on deep experience.  Over the years, Cockburn has travelled to the world’s trouble points, to see the truths of human existence for himself.  Cockburn has documented these experiences on thirty albums over the years, with a sense of subtlety and musicality that is rare in rock n roll.  An Officer of the Order of Canada and a member of the Canadian Music Hall Of Fame, Bruce Cockburn’s music has been covered by such artists are Barenaked Ladies, Anne Murray, Ani DiFranco, Dan Fogelberg, Judy Collins and Jimmy Buffett.  On March 8, 2011, Cockburn releases his 31^st album, Small Source Of Comfort.

Small Source Of Comfort opens with “Iris Of The World”, commenting on the tendency of humanity to grab onto meaningless things while overlooking things that matter.  Semi-autographical, the song finds Cockburn perhaps sharing his own role in the human play; recognizing the beauty of a moment and sharing it with others.  This is classic Cockburn, finding the subtle depths of an experience and exposing them in a complex, highly rhythmic and oddly beautiful arrangement.  “Call Me Rose” is a tongue in cheek story song about Richard Nixon reincarnated as a single mother of two kids living in the projects.  It’s something of a Great Reversal concept (“the last will be first and the first will be last”) born of Judeo-Christian theology, but is very amusing and is written from a very human perspective.  In Cockburn’s musical daydream Nixon sees himself for who he was and is a better person for it, even if he continues to long for the old days.  Cockburn sticks to a fairly straight-forward folk-rock arrangement this time around in order to let the story shine through.

“Bohemian 3-Step” is a pretty instrumental that plays like a slow waltz, relying on cross-rhythms, or a variant, to create an intriguing sense of rhythm.  The piece has great energy, and is beautifully crafted.  “Radiance” is a musical meditation on beauty, both in lyrics and music.  Cockburn impresses with unusually beautiful guitar work, capturing an abject loneliness in both his instrument and voice as he looks on from afar.  The cello is a nice touch, completing the tragic displacement of the vocal line in dark and dulcet tones.  This is a musical ‘wow’ moment; a song that’s both heart-breaking and uplifting in its beauty.  “Five Fifty-One” is an edgy story song that plays on the edges of folk, rock and blues.   The story here is a bit disjointed, a calculated effect given the state of mind of the story teller.  The cops show up at his house in the wee hours of the morning and we’re never entirely certain why, but the overall impression is of someone who is dancing on the edge of madness.  Cockburn creates a highly rhythmic arrangement that leaves ample room for acoustic guitar-driven sidebars that will make the most of the would-be guitarists out there wish they could play like that.

“Lois On The Autobahn” is an energetic instrumental that plays off Cockburn’s guitar against a dancing dervish of a violin, capturing a sound not dissimilar from that of Django Reinhardt and Stéphane Grappelli.  “Boundless” is a spiritual exploration in song; exploring the similarities between the boundlessness of space and of belief.  Cockburn creates an ethereal feel at the opening with a multitude of bells, but moves quickly into an urgent vocal line over (for Cockburn) a relatively simple arrangement.  The imagery used here has many levels; delivered in poetic prose that is laced deep with references both cultural and theological.  Wit takes over on “Called Me Back”, a humorous take on a call that never comes, and the resulting anxiety over what might have happened to a close friend.  It’s an entertaining turn; a well-placed moment of levity that both highlights Cockburn’s depth as a songwriter and works in much the same fashion as a comic song placed in the middle of a big Broadway musical. 

“Comets Of Kandahar” is a dark instrumental that again pairs Cockburn’s guitar with violin; this time the result is dark with a disturbed energy.  The composition itself is amazing, and was inspired by Cockburn’s trip to Afghanistan to play for Canadian troops in theater.  “Each One Lost”, inspired by the same trip, is a somber tribute to those who have given their lives.  The song is full of heartbreak and plays like a lonely hymn, punctuated by a lonely accordion.  “Parnassus And The Fog” finds Cockburn’s guitar once again paired with violin in a lilting instrumental ballad that plays like a love song.  “Ancestors” is a gorgeous, haunting instrumental full of staccato guitar against a dreamlike background of musical ether.  The affect of the piece is subtle and compelling, as Cockburn builds a story into the rhythm of the song.  Small Source Of Comfort closes with “Gifts”, a quiet celebration of the moments in life that illuminate an emotion, person or place and define meaning for us.    It’s a gorgeous, quiet arrangement that whispers quietly to you about the truth of what’s important in the world.

Bruce Cockburn is a rare gem in the world of singers and songwriters.  His depth and subtlety as both a musician and lyricist puts him in rarefied air.  Small Source Of Comfort is an album that, if not at peace with the world around it, has certainly found the peace that comes with understanding hard truths.  A decade or two ago Cockburn would have railed at government and political machines in a mad frenzy, driving the intricate beauty of his music into exile under the constant barrage of verbal artillery aimed at the injustices of the world.  Small Source Of Comfort takes deadly aim at the same sort of social inconsistencies, but with a subtle grace and veracity that cuts far deeper that some of his past efforts.  Where a younger Bruce Cockburn would have imbued his message with the power of righteous indignation, the songwriter now allows the simple power of truth to blend with the intricate beauty of his musical creations to reach beyond the defenses of even the most politically hardened psyche.  Small Source Of Comfort stands amongst Cockburn’s finest works, and is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Bruce Cockburn at www.brucecockburn.com or www.myspace.com/officialbrucecockburn.  Small Source Of Comfort drops in the US on March 8, 2011.  You can order the CD or Digital album through Amazon.com.  The album is also available digitally from iTunes.

Former Barenaked Ladies vocalist engaged...

Steven Page, the former co-lead vocalist for rock band Barenaked Ladies tweeted in the early hours of this morning that he is now engaged to his girlfriend of four years, Christine Benedicto.  The pair have registered for Crate & Barrel's Ultimate Wedding Contest and are seeking votes.  You can check out their entry here.

Page is one of the co-founders of Canadian rock quintet (now quartet) Barenaked Ladies.  Page and Ed Robertson wrote/sang many of the band's signature hits from its inception in 1988 until Page's departure in 2009 for a solo career.  Page released his second solo album of original material in the Fall of 2010.  You can check out our review of Page One here.

Wildy's World Top 60 Albums of 2010: 20-11

 Today we work ourselves down to the brink of the top-10.  The great music keeps rolling!  I know we're all excited to get to 2011, but this is one last chance to remember the great albums we talked about in the past year.  Let's roll...

20. Social Code – Rock N Roll
The Edmonton rockers pack a punch while retaining a distinct pop sense in their US debut, a big rock album that manages to be commercial without sounding like that was the point.

19. Steven Page – Page One
The former Barenaked Ladies co-front man proves he can make it on his own, bring his own special blend of darkness and pop sensibility to Page One.

18. Sami.The.Great – Nothing Left To See
Sami.The.Great is going to be a star someday.  Nothing Left To See is perhaps a reference to Sami's heart, which she wears on her sleeve.  It's certainly not representative of her songwriting.  You'll want a long musical relationship with Sami.The.Great.

17. Alexis Foxe – To Have And Want More
Alexis Foxe is over the top, ala Lady Gaga and Madonna.  Luckily she has the singing and songwriting talent to back up her musical hubris.  To Have And Want More is a brilliant start that will appeal to music fans of all ilks.

16. JD Eicher & The Goodnights – The Shape Of Things
Perhaps one of the most understated pop efforts of 2010, The Shape Of Things sneaks up on you, settles into your brain and takes you on a ride you won't soon forget.

15. Barenaked Ladies – All In Good Time
No one knew what to expect from Barenaked Ladies after the departure of co-founder Steven Page, but it's safe to say that the band surprised fans and critics alike with their most mature and musically satisfying album to date.

14. Scarlitt – Hope Unseen
Scarlitt avoids the comic-book character quality of many new pop/metal bands to deliver an old-school, wall shaking collection of songs so well constructed musically you won't quite believe what you're hearing.

13. Laura Roppé – I’m Still Here
Roppé  is the comeback kid; not only kicking cancer to the curb but remaking herself as an artist in one of the most brilliant and emotionally naked artistic turns of 2010.  Roppé jettison's the glitz and polish of her debut album for a depth of emotional honesty that is startling and welcome.

12. Trout Fishing In America – Lookin’ At Lucky
Trout Fishing In America returned in 2010 with their first album for adults in more than a decade, an amazing collection of songs that show maturity and nuance blended with an ear for melody that is incomparable.

11. Gunnar Madsen – Two Hands
While you might not think of Madsen as a piano virtuoso from his work with The Bobs, Two Hands is by far the most impressive instrumental album of 2010.

Steven Page - Page One

Steven Page - Page One

2010, Anthem/Zoe/Rounder Records

The past eighteen months have been a real-life roller coaster for Steven Page.  The former Barenaked Ladies co-founder, vocalist and songwriter has lived through legal troubles, relationship upheavals and well-publicized schism with his former band mates.  Longtime fans of Steven Page and Barenaked Ladies tend to have highly polarized thoughts on the matter, but there's little doubt that Page's voice is one of the most distinctive in pop music over the past two decades.  Page has done well for himself in the days since the breakup, reinventing himself as an artist and recapturing his love of songwriting and performing with the newfound freedom and lack of a safety net implicit in being a solo artist.  Earlier this year Page released The Art Of Time Project, a collection of classic cover tunes done with classical instrumentation and Page's iconic vocals, but you just knew it wouldn't be long until Page came back with original material.  This week Page released his third solo album, Page One, leaving behind some of the cynical darkness that marked his later work with Barenaked Ladies.

Page One opens with “A New Shore”, a bright and airy tune about starting over.  Page brings the same pop sensibility that characterizes his previous work but with a more orchestral feel.  Page explores hope as a new concept after coming through dark times and finding life and love again in a solid and promising opener.  “Indecision” is delicious pop; sounding like the Beatles if they’d broken out two decades later.  The song has a classic bachelor theme: the inability to commit or decide.  Page takes a brave step in acknowledging his legal issues from 2009 in oblique terms, capturing the larger picture that may have been missed in the press at the time.  Page manages to turn lemons into pop lemonade with subtly pointed self-commentary.

“Entourage” takes on the societal obsession with celebrity culture in biting and satiric terms.  This is classic page, sounding purely reverent on the surface while ripping and shredding in the seams.  It’s a great song.  “Marry Me” is a new wave love song with a classic chorus right down to the sha-la-la’s in the backing vocals.  Page takes on the conundrum of two individuals who march to their own drummer yet find themselves in love just like everyone else in a wondrous pop arrangement.  “All The Young Monogamists” could either be a prologue or epilogue to “Marry Me”.  Opening in baroque musical stylings, “All The Young Monogamists” illuminates the love story of two jaded souls who have been around the block and made their mistakes, promising to be true while acknowledging that it’s not in their nature.  Page again hits multiple levels in song, expressing the intent to love forever while acknowledging the underlying imperfection of humanity that sends best intentions awry.  The arrangement here is nothing short of brilliant.

“She’s Trying To Save Me” gets into the sort of zany darkness seen in Page’s best material with Barenaked Ladies.  Page gets a songwriting assist from Stephen Duffy here, and the pop sensibility is through the roof.  This one is ripe picking for a soundtrack, as the theme might be very appealing for a motion picture, and the song might be the most radio-ready on the album.  Page explores depression and self-destructive tendencies within a relationship in “Over Joy”, telling his beloved to let him go as she’ll be better off.  It’s a remarkably mature bit of songwriting; something Page has shown a touch for in the past but perhaps never quite so cogently as here.  The melody is memorable and the hook in the chorus will keep you coming back.  Page has a great sense of theater as well, completely changing Page One’s tone with the snarky dance tune “If You Love Me”.  The theme here is ignoring all of the damage and destruction in an individual or relationship and simply being in a moment.  It’s a fun, emotionally dysfunctional tune that’s either extremely tongue-in-cheek or an outward expression of sociopathology in song.

“Leave Her Alone” finds Page intersecting two generations of music and ideals while exploring the clash of an older generation who grew up by getting out of home as soon as they could and contrasting it with today when kids return home after school and stay.  The big band jazz opening cedes to rock n roll in the bridge and chorus with a transition that happens so fast and so clean you might not notice it right away.  “Leave Her Alone” takes a laissez-fair attitude, a sort of “everyone finds their own path in their own time” concept drenched in a brilliant melody and arrangement.  Page vamps like a Vegas pro and gets a big assist from Prince’s NPG horn section.  “Queen Of America” feels a bit like an incomplete thought, but manages to convey the importance of breaking out of conformity and being yourself.  The song is delivered in 1960’s pop style with a mild techno beat.  Page One closes with “The Chorus Girl”, a bit of mellow musical détente about dreams and directions to come in a dreamy pop moment that shows off Page’s more lyric side. 

Stephen Page rediscovers his love of making music on Page One.  There is fluidity to the songwriting here that will be recognizable to fans of his early work with Barenaked Ladies.  Page has grown up both personally and musically over the years, but the sense of musical spontaneity that makes Page great is back.  The over-arching sense of darkness in Page’s later BNL work has been tempered here with humor and grand melodicism; the result is more balanced songwriting that is mature, reflective and laced with wit. The voice that makes Steven Page instantly recognizable is still here and still as dynamic and wonderful as ever.  Page gets songwriting assists from Stephen Duffy and Craig Northey (The Odds).  Musical assists come from Will Owsley, Esthero, Glen Phillips (Toad The Wet Sprocket), Dorian Crozier (The Rembrandts, Pink, Miley Cyrus, Celine Dion) and others. Page One is a declaration of independence and a brilliant step forward for Steven Page.

Rating: 4.5 Stars (Out of 5)

Learn more about Steven Page at http://www.stevenpage.com/, thestevenpages.blogspot.com or www.myspace.com/stevenpagemusic.  You can order multiple formats of Page One from http://www.stevenpage.com/.  The album is available as a CD or Download from Amazon.com.  A digital version is also available from iTunes.