Top Ten Favourite Songs - Travis

With the recent arrival of Travis’ seventh album, I have taken to looking back through their entire back catalogue in order to compile a list of my Top 10 favourite tracks. It is a difficult business compiling such a list, as there is always a certain pressure for it to be definitive, but this can rarely be the case because preferences are always changeable. As such this is as close to a definitive Top 10 that I can currently manage, with the notion in mind that it could very well change in time. 

Travis are a band that it is very easy to like, not least because they always come across as a likeable group (whether it be in interviews, live performances etc.) and it reflects well in their music. Many critics of the band often view being likeable as a bad thing, which says more about the critics themselves than it does about the quality of the music! 

With Travis the music has always been at the forefront of their endeavours, which makes a lot of sense really. As a result their music is far more likely to endure the test of time than a lot of more popular bands. Their music has certainly remained on my radar, whilst various other bands have come and gone. 

With that said, here is my Top 10 Travis Songs list. Enjoy!

10. Something Anything

This single from “Ode To J. Smith” presented a very different sounding Travis than the majority of what had come before. “Ode To J. Smith” was the band’s first album to be released on their own record label, and this track gives a clear indication of the band’s creative freedom. The song is one of the shortest in the band’s entire repertoire, running at under two and a half minutes, but the concise length is utilised very effectively. The song begins straight away with some crunching electric guitars – not the usual – and proceeds into a more offbeat, less melodic track than their typical lead singles. There is a sense of urgency about the bridge that leads into the chorus, and there are some great vocal harmonies when the chorus kicks in. Then, for perhaps the only time in the band’s history, there is a guitar solo, and a damned good one at that, which is punchy and makes its presence felt before leading into the final chorus, not outstaying its welcome. The song then ends almost as suddenly as it began. Short, sharp and brilliant; what more could you want?

9. Mother

The opening track from the band’s latest album, “Where You Stand” finds its way into my own personal top ten. It showcases the band’s reinvigoration after a lengthy absence in a really attention-grabbing manner. A gentle start, provided by a synthesiser and acoustic guitar leads into the sudden explosion of a racing piano melody, combined with commanding guitar riffs and crashing cymbals. During certain sections there are vocal harmonies from the entire band, and they really add to the overall effect. This track feels like the band went all-in, and it really pays off, providing a layered and exciting tune which – once it hits its stride – races along right through until the end. 

8. Closer

I remember thinking at some point in 2007 “whatever happened to Travis?” moments before seeing an advert for “The Boy With No Name”. The much-maligned “12 Memories” had passed me by, and although I bought the “Singles” collection, I had not kept up to date with the band’s progress around that time. Consequently the advert sparked my interest, and introduced me to ‘Closer’ which was very much the epitome of what I liked to hear from the band (especially at the time). The song is very delicate and sweet, and a shining example of how Fran Healy’s sincerity makes such songs work so well, while lesser vocalists would make it sound false. The song may not have been anything new, but it didn’t need to be, as it showed that Travis knew exactly what they were good at, and proved that they could do it better than most.

7. Chinese Blues

‘Something Anything’ was an effective piece of something completely different, but the opening track from “Ode To J. Smith” went a step further. ‘Chinese Blues’ kicks off with a jolt from the electric guitar and the piano, and as the tempo builds the drums join the fray, setting the beat with authority. It is a rare beast of a song, which combines soaring guitar riffs (and jolts) with a melodic piano score. Lyrically the song is very dark, supposedly dealing with the impending death – possibly suicide – of the eponymous J. Smith, but unlike the band’s previous venture into darker territory (“12 Memories”) the lyrics are delivered with a lot more conviction, on top of a powerful and well constructed arrangement. 

6. Driftwood

Although “The Man Who” is the band’s most commercially successful album, it only gets one entry on my list. While I am very fond of ‘Writing To Reach You’, ‘Turn’ and ‘Why Does It Always Rain On Me?’ my favourite song from the album is ‘Driftwood’. The opening guitar strains always bring the image of pouring rain to my mind, and those strains return during the glorious vocal hook of the “...and you really didn’t think it could happen...” bridge. Lyrically the song deals with the idea of friends who have the potential to do wonderful things, but never truly realise that potential, because they never act on it. It is certainly an identifiable subject. I always enjoy the simple wordplay in the lyrics, and the way each line flows neatly into the next “Rivers turn to ocean/Oceans tide you home/Home is where the heart is” etc. I also find something really charming about the line “Pushes turn to shovels”, due to initially misinterpreting the meaning of shovel as a cute verb instead of the literal meaning!

5. Selfish Jean

‘Closer’ brought back a familiar sounding Travis to my ears, but the follow-up single from “The Boy With No Name” introduced me to the band’s quirkier side. It was slightly experimental, whilst retaining the band’s signature charm. Opening with a bombastic drum section, underscored with the bass guitar, before the rhythm and lead guitars come in, and ring out over the top. The standout lyric has to be “You keep the chocolate biscuits wired to a car alarm” because it’s funny and charming. It’s a very unusual line, but it showcases that through his style and sense of humour, Fran Healy can make it work.

4. Before You Were Young

There are some really nice closing tracks on Travis’ albums, but out of all of them my personal favourite is ‘Before You Were Young’. Before the song begins the sound of a gong being struck is heard, and there is a brief moment of silence before the gorgeous piano melody starts up. The verses are light and fragile, while the chorus brings the gong back into play to create a towering sound that crashes like ocean waves, before settling back down into the piano-driven melody once again. Lyrically the song seems to be etched with regret, conveyed through heartfelt sentiments such as “But I’ve only got two hands/and I never learned to dance/I’ll never get a second chance”. There is also a sense of comfort “I’ll take the breath away from your sighs/and wipe the tears away from your eyes/and hope the fire never dies/inside you”. Fran Healy’s voice erupts with emotion during the second chorus, repeating the phrase “I love you” alongside the thunderous reverberations of the gong, which – for me – really elevates this song above many others. 

3. Where You Stand

The lead from Travis’ latest album is currently – at the time of writing this – one of my favourite songs, which explains why it is so high on this list! The arrangement is absolutely faultless: the piano phrases, the ascending guitar and bass chords, the subtle drum beat; all of it just works together beautifully. The song is about loving someone unconditionally, regardless of any obstacles the relationship comes up against. There are some really nice understated vocal hooks in the chorus – the “and wait while...” and “so tell me” parts which fall between the lines – which allow the lyrics to ebb and flow really smoothly. There is not much more to say about this song really, it’s just really good.

2. Sing

I didn’t discover Travis when “The Man Who” came out, and so missed out on the huge success that accompanied it. My introduction to the band came when I saw the music video to the first single from “The Invisible Band”. The music video to ‘Sing’ is one of my favourites, it is funny and memorable, and looks like it must have been a lot of fun to film. Probably the first thing to catch my attention was the homage to The Beatles film “HELP!” as darts are being thrown at a screen of the band performing. Another thing I like about it is that every member of the band gets to share in the spotlight, as opposed to just the lead singer being the focus (the best part for me has to be Andy’s spectacular dive, whilst throwing a handful of spaghetti). The song is quite straightforward, but the inclusion of a banjo adds a lot. It will always be the first Travis song I remember hearing (maybe I heard songs from “The Man Who” indirectly beforehand) and as such it will always be significant to me. 

1. I Love You Anyways

My favourite Travis song comes from their debut album “Good Feeling” and is unquestionably the standout track from that record. ‘I Love You Anyways’ describes the feeling of falling in love, and the thoughts that go through your mind when something so significant happens. It tells its story very honestly, and is completely believable, making reference to catching the 44 bus, and expressing a desire to escape the dreary old city with someone who is so beautiful they should be framed in a fine art gallery. The song is built around a really nice repeated bass guitar riff, and has the feeling of a slow dance at the end of a long night. It is my favourite song by Travis, and will likely remain so.

Arrested Development - Season Four

After the series was cancelled in 2006 after just three seasons (each one shorter than the one that preceded it due to the low ratings) rumours of a revival have floated around ever since. The finale episode ended with an appearance from Ron Howard (the show’s eponymous narrator and the series’ Executive Producer) teasing the possibility of a movie, which added fuel to the fire that – against the odds – Arrested Development would return.

For a long time the rumours floated around; some were optimistic, proclaiming that the script had been written and that the film was in pre-production; but contrasting reports would also emerge dispelling such rumours. Ultimately no movie ever appeared, and with all of the series’ principal actors having moved on to have careers of their own, the likelihood of an Arrested Development reunion seemed less likely all the time. 

But then the news arrived (not just rumours) that the series would indeed be returning, with a series of episodes centred around individual members of the Bluth family, which would bring their storylines up to date since the events of the third season finale. The episodes were all released on Netflix on the 26^th May 2013, allowing audiences access to the entire season straight away. This would prove vital to the show’s new format, as audiences would need access to every episode in order for many of the jokes to make coherent sense. Information is distributed in pieces throughout the series, so the full meaning behind any given joke will remain unclear until the season has been seen in its entirety. Arrested Development was always a show that rewarded audiences on repeat viewings, as it was so densely packed with comedic material, but re-watching the fourth season is practically a necessity due to the new format.

The new season is – I’m sorry to say – something of a mixed bag, falling below the stellar standard set by the three preceding seasons. To its credit the quality of the writing is still very strong, and the show has reinvented itself in a very intelligent manner (the mind-mangling narrative must have been a nightmare to maintain). All of the shows main actors (and the majority of the secondary cast) all reprise their roles, and it is great to see all of these characters again. The actors all get back into their roles with ease, and the decision to bring the story up to date makes perfect sense, as many of the cast have noticeably aged since 2006. 

Unfortunately there are several significant problems, one of which is the pacing. The new episodes all run at around half an hour in length (some are even longer) whilst in previous seasons they were closer to twenty minutes. The old episodes were shorter, and consequently much sharper and more replete with layer-upon-layer of comedic material. The new episodes on the other hand feel overly long, with significantly less material to fill the running time. The change in format only adds to this, because now that the episodes focus on the stories of individual family members, they will no longer cut away to scenes from separate storylines, leaving us with scenes which often run on too long.

Something that is also absent is the sense of ensemble, which is vital to the show’s comedic brilliance. There are far too few scenes in which more than one member of the Bluth family are present at the same time. When such scenes do arrive the show starts to feel like itself again, and I often found myself more engaged, as well as when scenes would take place in familiar settings (such as the model home, or Lucille’s apartment). This issue is not something that could really be helped, as all of the actors have careers of their own, and consequently busy schedules; thus explaining the shortage of ensemble scenes. 

This leads onto one of my biggest issues with the new episodes: Michael (I’m imagining the name spoken by GOB!). Michael Bluth is the heart of the show; the normal one in the crazy family; the straight-man who acts as the perfect foil to the eccentric antics of all the other family members. When the ensemble element is all but diminished from the show, and there are hardly any scenes in which he interacts with the other members of the family, what’s left? The character becomes needy, selfish and pathetic, which just doesn’t feel right.

Only certain characters are eccentric enough to warrant having entire episodes to themselves; the standout episodes being the ones centred around GOB. The Lindsay-centric episodes were quite weak, as were the George Sr. ones (he was always a solid incidental character, but not enough to build whole episodes around).  These particular episodes put a lot of focus onto new characters, who were okay but not hugely memorable.

I see this season as the writers trying to write their way out of a tight spot. The show skilfully integrated its own cancellation into storyline, and here the writers have done it again, accommodating the passage of time, significant events that occurred during the series’ absence, the ways in which television has changed, the availability of the cast, and the rumours of an Arrested Development movie to the extent that Ron Howard is now an active presence within the show’s universe. The writers have undergone a gargantuan task in order to bridge the gap between 2006 and 2013, and for that they deserve to be commended. The only problem being that the new episodes just weren’t really funny enough, especially when weighed up against the cavalcade of comedy that can be found in any given episode from any of the first three seasons.

I feel that I have criticised this new season quite a lot, but that is because being a fan of this show has conditioned me to expect a high standard. I may re-watch the season, and doing so may bring more positive points to mind, as I’m worried that this review seems more negative than intended. What was delivered was decent, but felt muzzled by all of the restraints. 

Overall I see Season 4 as a transitional season, which will hopefully open the door allowing the show to return to its absolute best. Jason Bateman said in an interview that this season should be viewed as Act One of a bigger story, which is an encouraging sign.

Where You Stand (Album) - Travis

The seventh album from the Scottish quartet has arrived, and after falling off many people’s radars the group have taken full advantage of online marketing to promote it (almost every video I have watched on YouTube lately has been preceded by adverts for the album). Will this bring the band back into the collective consciousnesses of the general public, enough to make people go out and buy the new album? 

‘Mother’ starts the proceedings with a frantic electronic sound, before an acoustic guitar and Fran Healy’s warm and familiar voice welcomes the listener in at a calm and sleepy pace. The track then bursts into life with waves of electric guitar, cymbals and piano, which rise and fall (and rise again), carrying the song along at an energetic tempo, which Fran described as “Don McLean-esque”. This track showcases a lot the subtle developments that the band underwent on “Ode To J. Smith” in a manner that feels completely natural, and it makes for an strong opener. The jumpy electronic pulse bookends the opening track, before transitioning straight into the second track (also the second single), ‘Moving’. Healy can no longer hit the high notes as easily as he used to, and so had to resort to swimming in the north sea (which was just outside the recording studio) in order to shock his body into releasing those high notes which can be heard in the chorus.

Situated in between the two singles lies the gentle ‘Reminder’, unfortunately it is one of the albums weaker moments. Contrastingly the title track – and lead single – is an absolute gem, a gorgeous piano and guitar-driven melody, sublime vocal hooks and great lyrics make ‘Where You Stand’ a song with real staying power (one that I’ve already listened to many times). ‘Warning Sign’ opens with a funky bass-line and a Mike Mills-style vocal wail, leading into a solid track which confidently strides along towards the middle of the album.

‘Another Guy’ is a track that I was not too keen on when it was pre-released, and it still hasn’t really grown on me. The dissonant tone makes the track seem dreary and lifeless, which is a shame because there are some nice simple-yet-effective lyrics, which have been a staple of many of the band’s most successful tunes in the past. Fortunately it leads into ‘A Different Room’ showcases the band sounding like a lot of their contemporaries (Coldplay, Keane, et al. – who they inspired) and boasts a glorious, soaring chorus.

Things then take an experimental turn on the quirky ‘New Shoes’, replete with electronic beeps and distortion, throughout the bouncing melody and twinkling chorus – it is certainly more of an acquired taste. ‘On My Wall’ wouldn’t have sounded out of pace on the band’s debut album “Good Feeling” which makes it a welcome change of pace, as well as a nice throwback for long-term fans. 

The pace slows down on the penultimate track ‘Boxes’, a soft, melancholy number with a genuine sweetness to the lyrics, which seem very nostalgia-driven – although the resultant chorus is not likely to set the world alight. The album then closes out with ‘The Big Screen’ in which all musical layers are stripped away, save for the piano and vocals. The parting mood is a sombre and reflective one, as Fran muses about how life doesn’t play out quite like it does in the movies.

“Where You Stand” is a solid album from a band who have never forgotten their roots, but have picked up plenty of new tricks along the way, subtly experimenting and expanding their sound throughout their career. Fans who have stuck around the whole time will not find anything too surprising, but those who tuned out after “The Man Who” (or at best “The Invisible Band”) may be pleasantly surprised by the boldness of tracks like ‘Mother’ or the lofty atmospherics of ‘Different Room’. There are a few weak tracks, but they are always followed (and indeed preceded) by much stronger ones, so the album never becomes dull. 

The album seems to encapsulate a little bit of everything that came before, Fran Healy described the mentality going into the recording process as "coming full circle" which seems an accurate statement. Though the album is not perfect, there is plenty to like about it, and the band remain as likeable as ever.

Once: The Musical - Theatre Review

I am a huge fan of the film ‘Once’, a simple and honest story set in Dublin, which revolves around two people who find each other through their music. In the original film the main characters were portrayed by Glen Hansard and Marketa Irglova (neither of whom were actors) who had also written all the songs that made up the film’s beautiful soundtrack. This touch gave the film an extra layer of authenticity, as the performances of each song were imbued with honesty and raw emotion. 

I was a little apprehensive about how the songs would translate from the simplicity of their understated performances in the film onto the stage, especially since musicals typically focus on everything being grand in scale. Fortunately, Enda Walsh, the playwright who adapted the story for the stage, wanted to retain the understatement and simplicity that made the story so effective in the first place. As a result, certain elements of the story have been tweaked, and supporting roles have been enhanced in order to make the story more suitable for the stage. The songs themselves have been allowed to retain their integrity, rather than taking on a more typical musical-sound. The only changes that have been made to the soundtrack are cosmetic alterations, enhancing their sound with extra musicians and additional backing vocals. The result allows for the stage show to be a truly uplifting and inspirational experience.

The show certainly has a different feel to it than most musicals, and this doesn’t just relate to the soundtrack. As soon as the audience enter the auditorium they are more than welcome to walk onto the stage, order a drink from the bar (which is a part of the set) and bask in the warm glow of the stage lighting. Before the show starts the ensemble make their way onto the stage, all with instruments in hand (there is no orchestra, all the music is performed on-stage), they then proceed to fill the auditorium with sound as they perform rousing folk songs with a lot of enthusiasm, each performer taking it in turns to take the lead. Eventually the group opens up the floor to Declan Bennett’s nameless ‘Guy’ who performs a powerful rendition of ‘Leave’ which opens the show for real. By the time the song draws to an end, the lights have come down, the ensemble have retreated to the edges of the stage, and Zrinka Cvitešić’s nameless ‘Girl’ has made her way down the aisle towards the sound of the man pouring his heart out on the stage. It makes for a wonderful stage picture, especially since the back of the stage is dominated by a large mirror, which captures effective silhouettes and expressions throughout.

Both Bennett and Cvitešić do wonderful jobs as the leads, and the script has been adapted to allow the audience to become particularly invested in the blossoming relationship between the two. Consequently there is less focus given to their relationships with their previous partners; as such one of my favourite songs from the original soundtrack: ‘Lies’ has been omitted. Nevertheless, the songs that are present are all performed with sincerity and emotion, so it is hard to complain too much about what is not present. There is a gorgeous new addition to the soundtrack, which comes in the form of ‘Sleeping’ (written by Glen Hansard, but not used in the film) which is performed early into the second act.

The role of the ‘Girl’ has been expanded, and made more bold and humorous as she is a character who has a profound effect on everyone else within the story. That she is now a livelier and more direct presence makes her an excellent foil for the initially distant ‘Guy’. Other roles have also been expanded, such as the owner of the music store, the bank manager and all of the Girl’s Czech flatmates, amongst others. They all have their roles to play within the narrative, and there is a lot of very Irish humour, specific to Dublin, Cork and the north/south divide. There is also a very amusing, deliberately-awful song entitled ‘Abandoned in Bandon’ performed by the Bank Manager, providing a stark juxtaposition, following on from a powerful performance of ‘Say It To Me Now’.

There are a couple of small alterations that I was not as keen on, such as the reaction of the studio owner upon hearing ‘When Your Mind’s Made Up’ which was much more believable in the film-version due to it being downplayed. There was also a new inclusion into the storyline of the Guy’s Dad, which seemed underdeveloped and a little contrived. 

However, small criticisms aside, this stage production of “Once” is every bit as good as the glowing reviews emblazoned around the entrance to The Phoenix Theatre would suggest; it retains a lot of what made the original film so effective to begin with, whilst taking on enough of an identity of its own to be viewed as a separate entity. The songs sound fantastic, and are performed wonderfully by a more-than-capable ensemble of actor/musicians. As musicals go, it is not your typical fare, but it is certainly one that any music lover should see.