Review Summary: Stereophonics managed to prove to the world for a third time that they still had something to say.
Having released two excellent albums that won them loyal fans and critical acclaim, Stereophonics decided not to get complacent, releasing a new long-player elaborately titled
Just Enough Education to Perform two years after its predecessor.
By that time, the band possessed all the hallmarks of an outfit whose new record are eagerly anticipated: bright and fresh pop-rock leaning towards alternative rock ‘n’ roll, tunefulness, an abundance of hit songs on each record that hit the bullseye of appreciative listeners, and straightforward yet confident, airy guitar work (some classify the band as part of Britpop, which undeservedly narrows the boundaries of all the styles employed by the musicians). Finally, there are the trademark gruff vocals – as if someone had crossbred
Rod Stewart,
Bryan Adams, and
Liam Gallagher to create something entirely new – and the ability of charismatic frontman Kelly Jones to tell stories in a song format. This kind of artistic baggage presented a real challenge for the brave Welshmen: not to lose face while simultaneously avoiding self-repetition.
The changes are immediately noticeable on the opening track,
Vegas Two Times – both in sound and arrangements. Drawing closer to 70s classic rock with its dense, viscous textures, the song feels like heavy artillery, but this first impression is misleading. Only one other track on the entire LP resembles it: the closer,
Rooftop, much like a twin dressed in different clothes. Both cuts act as rock anthems framing the album. However, everything in between is no less interesting.
After the noisy glamour of Las Vegas, we end up in a small town drenched in sunlight and tranquility, where the remaining narrative unfolds. The soft, unhurried, and immersive waves of acoustic country and folk (
Step on My Old Size Nines,
Nice to Be Out,
Maybe,
Caravan Holiday), occasionally diluted with sweet pop-rock (
Have a Nice Day) and mildly dark blues-rock (
Mr. Writer,
Every Day I Think of Money), carry the listener along through the vignettes Kelly Jones created about the local population.
A beggar contemplating his fate and dreaming of a life like everyone else (
Lying in the Sun); a weary visitor who hates tourists and the place he’s staying (
Have a Nice Day); an artist undeservingly lambasted by critics (
Mr. Writer); a CIT van driver who gave in to temptation (
Every Day I Think of Money); lovers enjoying their privacy under a June rain (
Caravan Holiday); a recluse with suicidal tendencies (
Rooftop). These and other characters will keep you company in a strangely pleasant way, set to an unhurried accompaniment that drapes itself in an acoustic poncho while carrying a couple of rock revolvers on its musical hips.
The 2002 re-release includes two more songs that add curious shades and provide additional depth to the collection. First is a cover of
Mike d’Abo’s
Handbags and Gladrags, which draws more from the
Rod Stewart version, only on a grander scale (arguably the definitive performance). The second is
Surprize, a hidden track at the end of the original LP. This heartfelt, sweet yet aggressive cut doesn’t overcommit, but it serves as a pleasant aftertaste for those who don’t stop the player at the false ending.
Ultimately, Stereophonics managed to step off the boat of acquired success, walk confidently onto an unknown shore, find a new shelter, and prove for a third time they had something to say. By shifting their attitude, deliberately slowing the performances, and expertly employing a hidden acoustic arsenal, the band released one of their finest efforts without ever losing their intensity, enthusiasm, and, most importantly, their distinctive mannerisms.
