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The rough guitar sound, which is laced onto most of the tracks, makes sense when you consider that the album was released in the Britpop era of around 1997. The album has soaked up the contemporary influences and produced something genuinely engaging to the auditory senses. The first track I heard by Travis was 'U16 Girls'. I thought they were brilliant and deserved mainstream success. I almost thought they wouldn't make it because this album sank when first released but they proved me wrong!
For a neat summary of the Travis gameplan, look no further than opening track 'All I Want To Do Is Rock' - the teenage dream summed up in seven words, and we're not even past the first song title. And then there's 'U16 Girls', a cautionary tale of the dangers of underage seduction, but wrapped up in a pop melody so shiny you can see your face in it. Another key moment comes at the end of 'Midsummer Nights Dreamin'', a tumultuous ode to youthful excess. As the song shudders to a joyously noisy climax, accompanied by crunching guitars and Fran Healy's increasingly yelped vocal, you can't help but wish they'd let themselves go like this on their later albums; when they do, the results are spectacular.
To finish things (Travis not being ones to do things by halves), instead of one traditional end of album slowie, we get four. The last four songs on the album (not counting 'Happy' - a more self-explanatory title of a song there has never been, except perhaps for Radiohead's 'I'm Unhappy, But In An Opaque And Slightly Arty Way') are given over to a quartet of slow numbers so gosh darn lovely that they could legitimately have put all future balladeers out of work forever. In fact, by the time the impeccably restrained 'Funny Thing' drifts off into the ether, it's difficult to reconcile it with the gleeful bounce and energy that grabbed your attention forty nine minutes ago at the start of this remarkable slab of Scottish songsmithery, leaving the only realistic option being to return back to the start and listen to the whole thing again.
The Man Who is straight out of the Radiohead school of deppressing self indulgence and although The Invisible Band is better neither come... Read more
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