Review Summary: When music should be listened to without a pen or keyboard in sight.
Barring writers block, one of the most frustrating aspects of reviewing music is when the writer is fully aware that the words they have written do not necessarily match up with the album rating that is most likely to be the first port of call for a reader. As much as objectivity is required, there are times when an album's shortcomings can be overlooked for the good of the overall product. This is when music should be listened to without a pen or keyboard in sight... And no release in recent memory has given this reviewer that exact feeling more than 'Money and Celebrity', the straight-forward third LP from English trio The Subways.
Following the release of their promising, if inconsistent and derivative, debut LP in 2005, the young indie rockers struck pay-dirt on the Butch Vig produced follow-up 'All or Nothing'. Lord knows what they were waffling on about, but it was pure unbridled joy singing along to 'Shake Shake' and 'Girls & Boys', while the insistent pounding of drummer Josh Morgan on 'Always Tomorrow' made for a head-banging moment that - dare I say it - recalled 'Bohemian Rhapsody'! This time around, producer Stephen Street (The Smiths, Blur, Kaiser Chiefs) tones down the stadium ambitions a little, but continues to allow The Subways to do what they do best; enthusiastically rock out. Simplicity is the name of the game here, with the trio seemingly giving hope to many an amateur musician, who are likely to be able to play along with most of the tracks.
To put it bluntly, almost every facet of The Subways performance on 'Money and Celebrity' could be picked apart if one was so inclined. With a half-hearted attempt at linking its 12 tracks through the tired theme of celebrity over-exposure, the lyrics are standard at best. While extremely fan-friendly, the guitar-work is anything but complex, and the bouncy riffs of 'It's a Party!' and 'Celebrity' will instigate a game of "Where have I heard that before"? Variety is also at a premium, with the lack of any curve-balls resulting in a rather predictable affair. Vocally, neither Billy Lunn or Charlotte Cooper possess technically proficient voices, although they do carry an every person charm which makes them effectively likeable. In truth, the boy-girl vocal dynamic is not explored to its utmost, as Cooper mostly contributes to the choruses only. The denser sound, pronounced bass and driving riffs of the strong 'Rumour' verge on containing a call & response approach, which is one technique the outfit could further integrate in the future.
Despite all of the aforementioned critiques, 'Money and Celebrity' still works! Yes, it is undoubtedly inferior to its predecessor, but it instantly delivers an enjoyable crowd-pleasing package. Reaching its peak when the energy and tempo is turned to eleven during the shout-along chorus of 'Like I Love You', The Subways play to their strengths and work around their limitations. Lunn's riffs are everywhere, Cooper's bass-lines always distinct, and Morgan continues to pound away as if he has a grudge to bear. With the longest track clocking in at just 3:37, there is next to no filler here, and this LP will go down a treat live. Detractors of The Subways may well wear out their keyboards or run their pens dry, but to all those who require neither tool to listen to their music, 'Money and Celebrity' should appeal. Now if only I can figure out a way to allow others to experience this method of subliminal review writing.
Recommended Tracks: Like I Love You, Rumour, It's A Party & Celebrity.
