Life is uncertain. This explains why we find confidence so attractive. After all, the longer we stick around, the longer we see how easy it is to leave a wrinkle in the gift wrap, forget your lines, or overseason the sauce. So any time we can quit worrying about what might go wrong and just enjoy ourselves, it’s a treat. Which is the long way of saying that this is a record of uncommon consistency, economy, musicality, and taste. That, and it rocks.
In their third outing, this gifted Austin trio flashes their knack for writing strong hooks and fleshing them out. Thanks to the success of previous hits “The Way” and “Out Of My Mind”, however, they have the clout to apply more studio resources to the proceedings. The guys avoid indulgence almost completely, apparently spending much of the time (and budget) gilding well-crafted tunes with minute touches: a little mandolin here, a glockenspiel there, maybe some vibes.
As for special guests, Brian Setzer drops in for a fine low-note solo, and honorary Beatle Billy Preston pounds some celebratory piano on “You’re An Ocean”, a late but serious contender for Feel-Good Hit Of The Summer.
The one luxury was an orchestra, deployed first in mariachi form (“Love Is Expensive And Free”) and then in a more noirish mood (“Vampires”). The strings take a bow with a weighty prelude to “Wind Me Up” that invites anyone old enough down memory lane to Wings’ “Jet”.
As for special guests, Brian Setzer drops in for a fine low-note solo, and honorary Beatle Billy Preston pounds some celebratory piano on “You’re An Ocean”, a late but serious contender for Feel-Good Hit Of The Summer.
Flourishes aside, the foundation is still a solid rock band, anchored by drummer Joey Shuffield. Miles Zuniga (guitars) and Tony Scalza (bass) trade songs and harmonies, but both churn out imaginative instrumental parts regardless of who wrote what. Maybe the trio format encourages more interesting bass lines; Scalza’s work especially helps the songs stand up to repeated listening. Add cohort Bennett Salvay’s expertise with timeless keyboard riffs, and these recordings will stand up long after N’Sync splinters into sad solo projects.
Fastball’s previous disc unveiled a set of songs that changed mood so convincingly from one to the next, blending convention and creativity, that it reminded me most of – OK, I’ll say it – Revolver. This isn’t quite their Rubber Soul, but the tremendous arrangements, effective night/day lyric theme, and utter lack of filler make it another tough act to follow.
