One problem, right off the bat: I thought Train's last album, "For Me, It's You," was by far their most appealing, most enduring and consistent. The critics loved it, too - but the fans seemed to stay away. So when "Save Me, San Francisco" was heralded as a "return to form," it made me nervous. Don't get me wrong, I love earlier Train songs like "Drops of Jupiter," "Something More," "Calling All Angels," "When I Look to the Sky" - they can write a catchy, memorable pop hook like nobody's business. But if I think you've reached a real musical pinnacle and you feel like you need to move away from that direction, well, I just might have to break up with you. :) Kidding, but you know what I mean.
Now, if there's one thing that is consistent about Train over the years, it is the powerhouse magnificence of Pat Monahan's voice. (No, it doesn't hurt that he also looks like a Hollywood idol!) I wrote an earlier post in which I could not hide my enthusiasm for Robin Zander and to me, Monahan is very much a Zander for the 21st century. He can sing anything and make it his own, his range is startling and crystal clear and, like Mr. Zander before him, he can do all of it live, too, and that is a rarity.
So, we've got a minus and a plus so far - how does the new album hold up? On first listen, I wasn't sure. Train could really use some harsh editing in the lyric writing process, as things tend to fall into a formula: gushing romanticism aimed at a certain girl, tempered with self-deprecating humor and set in context with lots of cultural references. In the first 3 songs, we visit: San Fran's Tenderloin district, the Fillmore concert hall, Alcatraz, 80s hair band Winger, 80s pop band Mr. Mister, 70s radio hit "Black Water" by the Doobie Brothers, Sonny and Cher and their trademark song, "I Got You Babe" - it's all quite clever and culture-savvy but I tend to like a little more meat in my lyrics. Strip away the allusions and you're left with "You know I'll be there for you" and "I don't wanna miss a single thing you do tonight," sentiments we've heard plenty of times before.
Nevertheless - this album just keeps growing on me. Some of the hookiest, catchiest pop music you'll ever hear. A lot of singers are doing that pop-rapping style now (Jason Mraz comes to mind) but I don't think anyone does it as effortlessly as Monahan.I go to bed every night with one of these songs on endless rotation and wake up with a different one in mind! The title track is cool, a stomping boogie that would not sound out of place on a Black Crowes album and in this case, those cultural references make it a really genuine love note to a great city. The chart hit here is, "Hey, Soul Sister," and it's no wonder the song is springing up in movies and commercials, you canNOT get it out of your head and it is sweet as pie. "Parachute" is just the kind of adrenalized, uplifting song we've come to expect from Train and "Words" has a nice gospel groove.
My three favorite tracks come late in the album (one is available only as a "bonus track" with the downloaded version). First is "You Already Know," a rare Train song with a dark and snarly attitude. Monahan sings it with everything he's got and with a searing pain that seems awfully authentic. Yet it also has a punchy, guitar-and-synth-driven 80s sensibility - don't know if I'll get to see them live soon but it would be a standout live track.
On the opposite side of things is "Breakfast in Bed," which also has an 80s feel - Duran Duran, anyone? - along with a dreamy, multi-octave vocal and sexy, creative lyrics. Finally, there's that bonus track, "Half Moon Bay." Again, maybe it's just because I've been to Half Moon Bay in California, but Train should have included this on the main album, it would have been the summer hit of 2010. "This ain't a threat but I think I better warn ya - gonna fall in love if you go to California..."
Same with this album - give it a few listens and I think you'll get hooked and fished in. DPPL has a copy of "Save Me, San Francisco," but without the bonus track.
