Occasionally, just occasionally, a band is outshone by the rays of sparkling trivia that emanate from their own sprawling history: and Fountains of Wayne just happen to be one of them. So what do we have? Well you’ll love this one; remember that sticky, catchy pop tune from Hugh Grant/Drew Barrymore flick ‘Music and Lyrics’? The one that kickstarts the movie? ‘Pop Goes My Heart’? That affectionate and hugely enjoyable eighties parody? Well that was written by the band’s bass player, Adam Schlesinger. But what’s this? He also wrote the vast majority of tunes for the movie, Josie and the Pussycats? It’s all true. The band’s songs have also been heard in films and TV shows like, The Manchurian Candidate, Gilmore Girls, Scrubs, Veronica Mars, Scary Movie and the band’s most significant moment yet: singing the tune that accompanies the Dr Pepper commercial, ‘Stacy’s Mom’. And you know what, both Stephen King and Elton are said to be big fans of the band.
So you’re getting the picture, right? Inoffensive power-pop candyfloss, not too demanding intellectually, unlikely to offend your mother and pursuing the demographic centre stage (or the middle of the road) like a pair of cat’s-eyes. Nowt wrong with that though, as they do it remarkably well. It’s what most of us would like to call ‘consummate’ and ‘craftsmanlike’. Crisply produced and mixed, masterfully arranged and rattling with super-charged ‘toons’ and good intentions. XTC used to do something similar – just a little bit cleverer. And whilst it’s clearly more able than the likes of The Rembrandts, it certainly furrows a similar plot. The Minus 5, Scott Mcaughey and Wilco might provide a clearer (if slightly generous) picture.
Besides 2005’s comprehensive compilation of B-sides and outtakes (Out-of-State Plates), it’s been a nearly four-years since songwriting (and former college) buddies Chris Collingswood and Adam Schlesinger whittled a fresh log of chirpy narratives and Velcro-like hooks. And here they exploit that same late-60s/early 70s seam of musical influences the band surfed in the mid-nineties: ‘Someone To Love’ – all syncopated rhythms and Beatleesque harmonies – ’92 Subaru’ – booty shaking road-song with a growling, whisky kick – ‘Yolanda Hayes’ – piano-plonking Macca-style story of changing fortunes – ‘Revolving Dora’ – gravity-defying psychedelic Merseybeat with a Hollies pinch – ‘I 95’ – lush, nasally, heart-tugging ballad that’s fabber and more mop-top than an entire rack of Rickenbacker guitars and a jarful of jellybeans.
If bands The Feeling piss you off as much as me, yet like me you like a bit of well groomed nonsense from time to time, then check this out. More than adequate. Lovable even.