CD Review
Train switches musical tracks on latest album

By Andrew Smith
Winfield High School

For a band that has scored several huge hits, three platinum albums and two Grammy awards, Train still struggles to attain the mainstream success that many bands with half its credentials seem to have. Throughout its 12-year existence, the San Francisco-based band has battled personal setbacks, an ever-changing music scene and more than its fair share of unwarranted criticism, all the while backed by an intensely loyal fan base.

Despite enormous hits like “Meet Virginia,” “Drops of Jupiter” and “Calling All Angels,” Train seems to remain a band for the fans, never quite having attained the proper level of critical acceptance it deserves.

Although it is impossible to pinpoint a specific reason for Train’s lack of acknowledgement among critics, one likely explanation is its ever-changing sound. Train is impossible to pigeonhole: the band’s songs have run the gamut from alternative rock to bluesy R&B to polished pop. The guys have even dabbled in country-inspired tunes.

Since scoring one of the biggest songs of the decade with 2001’s “Drops of Jupiter,” however, Train seems to have achieved the most recognition among the public with its soaring anthems. Indeed, it is not hard to see why these types of songs tend to become such major hits for the band: with swelling string arrangements, sing-along lyrics and huge hooks, led by singer Patrick Monahan’s crisp and powerful vocals, these songs seem tailor-made for a band like Train.

The band’s third studio album, “My Private Nation,” released in 2003, specialized in this strident, epic sound. Although it was a commercial success, the album was criticized by some for seemingly trying to duplicate the success of “Drops of Jupiter.”

However, with Train’s recently released fourth album, “For Me, It’s You,” the band is once again pursuing a different musical direction. It seems to have moved on from epic ballads in favor of a more intimate, relaxed sound. Perhaps unsurprisingly for a band of Train’s ability, the group has made the transition amazingly well and produced what could be considered the tightest, most consistent album of its career so far.

The most apparent change in the group’s sound is the lead singer, Pat Monahan. Although his soaring voice has always been the band’s strongest point, this album cements his position as one of the finest vocalists in rock music today.

On previous records, his voice melded with the instruments as part of the band’s entire sound. Here, it takes center stage. As a result, the album can at times feel less like a Train album and more like Monahan’s solo debut - though whether this is a weakness or a strong point is up to the listener.

While there is a distinct lack of the sing-along anthems one expects from Train, this album gives Monahan a wide variety of musical styles to show off his vocal skills. As the band’s chief songwriter, his lyrics (the source of much criticism of Train’s past works) have markedly improved, and he resists the temptation to include silly rhymes in favor of a more traditional approach.

The band itself experiments with new sounds as well: there is a definite R&B influence in many of the songs, and the album overall has a much grittier and unpolished feel than its predecessors. There seems to be a distinct emphasis on a classic rock sound. Rather than mandolins and strings, instruments like the electric guitar and the piano are more prominent, a fact that can be attributed partly to the band’s new lineup, which includes the addition of fulltime keyboardist Brandon Bush and new bassist Johnny Colt (formerly of the Black Crows).

None of the songs contained on the album are likely to become chart-topping smash hits. This is in no way a derogatory statement; it is simply an indication of Train’s new sound.

The band’s exploration of new sounds can be found throughout the album. Songs like “Get Out,” with its dominant synthesizers, have an almost Coldplay-esque feel to them, while the album’s first single, “Cab,” has a pleasant piano melody and introspective lyrics reminiscent of Billy Joel.

Train’s poignant lyrics are still present in songs like the sincere “Give Myself To You” and “Always Remember,” an ode to a fallen friend. The strongest tracks on the disc include “Am I Reaching You Now,” “Shelter Me” and “I’m Not Waiting in Line,” a song several critics have compared to early-era Mick Jagger.

However the most surprising song on the album is the cover song “If I Can’t Change Your Mind” (originally done by early 90’s alternative rock band Sugar). It is possibly the best song on the disc, showcasing an upbeat rhythm and led by Pat’s strong vocals.

Unfortunately, the album is not completely free of missteps. Several tracks are simply mediocre, if not outright duds. Songs like the pedantic “Skyscraper” bring down the mood, while even the title track fails to live up to expectations.

However, these less-than-satisfactory songs detract very little from the overall album. “For Me, It’s You” sees an already-excellent and respectable band trying its hand in new areas with amazing success. It’s a departure from their previous works, but this is hardly a bad thing. In fact, Train would do well to continue these musical experimentations.

Patrick Monahan and his band have created an album that is sure to satisfy longtime fans, while simultaneously creating new ones. “For Me, It’s You” will be a respectable and handsome addition to any music fan’s collection.