Electric Six, Flashy

By Christian Lipski

I remember when Electric Six (E6) was explained to others as “that band that did the Gay Bar song for that video with the kittens.” Now, of course, they’re “that band that did the Gay Bar song for that video with the kittens which you may not remember.” This is through no fault of their own, of course; E6 are hilarious and fun and at times amazing, but their label certainly doesn’t have the sheer cash-power to compete with the Top 40 acts. Thanks to the Internet, though, they’re well-known and loved by hipsters, geeks, and perverts the world over.

Flashy is the band’s fifth outing, and follows the same basic pattern as the previous ones: songs that have sprung from front man Dick Valentine’s fevered brow, dealing with whatever he happens to be thinking about at the time. This particular CD does have some new tricks, however, as E6 adds an orchestral/mariachi feel to a number of the songs by including a full horn section. They’ve also expanded their musical style by wading into the pop waters, so Flashy has something for everyone and then some. Here’s my take on each song on the album.

Right off the bat, you’re hit with the Mexican-horn-fueled assault of “Gay Bar Part Two,” which is about the best title ever. Valentine explains this as being a reaction to the question they’ve been asked ever since the aforementioned hit first appeared in 2003. Having nothing to do with its predecessor, “Part Two” does give a nod to the “soft steaming shits demanding Gay Bar Part Two” in its lyrics. Valentine loves words that rhyme with “night” in this one, which is as comforting as his call for the “Solo!” It’s a fun number, but perhaps a little hampered by its misleading title.

The first single (or can you even refer to singles anymore, when you can buy any individual song from an album online? In any case, this is the first song to have a video released for it.) “Formula 409,” follows, a loud ode to the options one has in the various areas of one’s life. Valentine shoots up the scale into falsetto almost immediately, lending a feeling of bad craziness to the song that is not soothed by the saxophone solo. This isn’t my favorite song, although I know a lot of other people like it. The vocals are a little too loose for my tastes, as if Valentine were writing the melody on the fly in studio, which he has certainly done in the past. As it happens, he wrote the lyrics while walking home from a bar, which can either make or break a song. A bit too chaotic for me, but your mileage may vary.

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