Tinted Windows, S/T

By Less Lee Moore and Noreen Sobczyk

A band with Bun E. Carlos and Taylor Hanson probably sounds strange (and horrifying) to those who think Cheap Trick has nothing in common with Hanson. As a fan of both bands, we were excited about hearing this album. Having James Iha (Smashing Pumpkins) and Adam Schlesinger (Fountains Of Wayne) as part of the mix could have rendered the whole affair nothing more than a poorly executed publicity stunt, but it really works.

So here is a track-by-track review…

“Kind Of Girl”

Less Lee: This is sublimely, ridiculously, embarrassingly enjoyable, and catchy.

Noreen: It is the musical equivalent of riding in a convertible with the stereo cranked to 11 with the wind blowing through your hair whilst you and your best friend sing along.

Less Lee: And if anything could be described as “soaring,” this song would be it. It features different vocal stylings than I’m used to from Taylor Hanson and though he doesn’t always quite hit it, it still works.

Noreen: It’s definitely a summer anthem, right up there with The Cars, but with a different vibe. It would fit perfectly on a mix tape snuggled up against “Switchin’ to Glide” by the Kings. Screw indie cred; this just makes you feel good. Admit it.

Less Lee: I’ll admit it! I’ll also add that if this doesn’t make you happy and stick in your head for days after hearing it, then you probably hate puppies and kittens, too.

“Messing With My Head”

Noreen: This is a solid pop rock song. “Well, come on come on” is sung in a syrup-y sweet swoon-worthy backing voice. Cheap Trick’s influence is felt. You have to like it.

Less Lee: I love it. This reminds me of Rick Springfield circa-Working Class Dog. Seriously, this is a high compliment and anyone who thinks he is crap obviously hasn’t heard that album. This song has that edgy pop vibe of stuff straddling the line between late ’70s post punk new wave and glossy pop.

Noreen: Right, it’s a bit like poppier new wave minus the synths. Think Greg Kihn, The Knack, and The Shoes. Those of you old enough to have owned a Rubik’s Cube the first time around know from whence I speak.

Less Lee: I’ve listened to Hanson for years and seen them live three times so I’m not sure if Taylor’s voice cutting out is the mix, him reining in his natural vibrato, or perhaps a sign he should stop smoking. But I do like it. Oh my god, the background vocals towards the end give me goosebumps.

Photo from the Tinted Windows website

“Dead Serious”

Less Lee: When this song comes on I sort of internally groan and think, “Oh no, it’s the power ballad,” but when I’m listening to the song, I actually like it a lot.

Noreen: Yes, the lyrics are a bit cheddar. This is sort of the modern equivalent of a faster tempo ballad by Shaun Cassidy. (And the little girls who’ve now aged since “Mmmbop” swoon… )

Less Lee: Nice observation! I think the guitar seems kinda stodgy and cliché after the first two high-energy tracks, although Hanson’s voice sounds better when it’s by itself. He gets to flex it a bit more here.

Noreen: Anyone who uses “Hey hey hey now hey hey hey” in a song is either really bad, or having more fun than most modern bands and don’t care about possible jokes. I choose to believe the latter. But this one is difficult to defend. (If Popshifter were about that, which thankfully it isn’t.)

Less Lee: I still maintain that this sounds like a missing Redd Kross track from Show World.

“Can’t Get A Read On You”

Noreen: As the wise band Butter once said “More faster.” This up tempo track with its “ooh a ooh ooh” and cool guitar riff is a grower.

Less Lee: Yeah, we’re definitely back to the high energy again, with a driving beat, a great guitar riff, and an almost-heavy bridge that again, shows much Springfield damage. I love how the vocals change to another key towards the end.

Noreen: I like how the guitars drop out and the vocals come to the fore and then it all comes crashing in and it’s a successful effect. This would work perfectly at ear shattering volume riding that old carnival ride, The Avalanche ride (a.k.a. The Hayride). It was always blaring rock guitars heard clear to the concession stands, and run by a stoner pervert. Wait. . . that is pretty much every carnie.

Less Lee: Schlesinger’s contributions are a genuine, delightful surprise. He’s a terrific songwriter.

“Back With You”

Noreen: This is probably my least favorite song on the record, although the guitar sounds incredible. This is “The Flame” of the bunch.

Less Lee: Really? I think this song is absolutely dreamy! Because now we get to hear the soulful Taylor Hanson voice.

Noreen: The guitar does sound really good; it almost shimmers. The trouble is that this one hits me in the same way that “Eternal Flame” by The Bangles did, and that’s a cheap pop swill shot to the gut that makes one feel queasy.

Less Lee: Well, I love the way the song is constantly building up towards the peak of the chorus and then descends back down again into chiming guitars.

Noreen: Are you sure you don’t just want to bone Taylor Hanson? I kid. I kid, because I love.

“Without Love”

Less Lee: This has another great, memorable guitar riff and a solo that once again, sounds like something from the last Redd Kross album.

Noreen: It makes a fabulous power pop single, complete with tambourine. The breath Taylor Hanson takes at the beginning is a bit distracting, but jeez if this ain’t an earworm of a tune. Much like this album, it wriggles its way in and won’t let go, if you let it. It makes me wish I had more love, too. One has to appreciate the synched drums with the “Come on” vocals. Plus the lyrics—On and on and on on and on come on!—are pure pop goodness. The bass makes this one a winner. I don’t even mind the brief guitar solo. And the drums steadily chug the pop machine along. Ever chair dance? This is a chair dancer, folks.

Less Lee: Agreed!

“Cha Cha”

Less Lee: This track is a nice treat: part-pop blues and part pure-pop.

Noreen: It opens a bit bluesy, but it’s all about rhythm guitar. It’s shameless. Absolutely shameless.

Less Lee: I love the handclaps and the vocals in this and I love the interplay between “feel me,” “hear me,” and “heal me” in the bridge. I had no idea Iha could write songs this good.

Noreen: Yeah, bonus points for adding the clapping. The lyrics actually say, “Feel my body burn, you’re my cha cha.” Cha Cha? Really? And “Ch ch ch ch ch ch cha.” Ah fuck it. I like it. The world needs more songs with clapping.

“We Got Something”

Less Lee: Is it me, or does almost every song on this sound like a single?

Noreen: Ladies and gentleman, we have another single on our hands.

Less Lee: The bridge seems as if is going to go one way but then it doesn’t and that actually makes me like it more.

Noreen: The band is clearly having a good time in this song, and it’s infectious, but not in a swine flu way, in a gooey, bubblegummy, heretofore-unheard-of-tamer-disease way.

Less Lee: Taylor Hanson does “ooh” vocals as good, if not better, than just about anyone.

Noreen: And by the time this song hits, you have to think to yourself, “Well, this was worth the purchase price.” In fact, I tested this album out on a visiting friend, and by the time this one rolled along they said, “Is this an advance, or can I buy it for my plane ride?” Tinted Windows have created a fabulous road trip record, and damn if that isn’t worth something. No pun intended.

“Nothing To Me”

Noreen: The first time I heard this I thought, “Is this a cover of an unused Cheap Trick song?”

Less Lee: I know! I don’t know if this was Hanson’s homage to Cheap Trick, but it honestly sounds like it could have been on their 1997 self-titled release on Red Ant.

Noreen: It’s one to use as a litmus test, as in, “You say you like Cheap Trick, but you’re mocking Tinted Windows?”

Less Lee: Exactly. The bass is very Petersson-esque and I dig the twangy guitar bit. I actually can imagine Robin Zander singing this.

Noreen: For the record, anyone who says they like Cheap Trick but that they don’t like at least five songs on this record, is just trying to be cool. Why do people do that? You’re either wearing a wife beater and too rock & roll to admit this is pretty good, or you’re still hung up on Taylor Hanson being in the band. Come on, you’re nine tracks in: go to sleep and let the pod open. It’s easier.

“Doncha Wanna”

Less Lee: Here’s another example of the poppy/heavy vibe that runs throughout this whole album.

Noreen: This one also smacks of Cheap Trick. The production is so clean and perfect. It’s another ear worm, but slightly heavier.

Less Lee: The echoey, breathy vocals sound fantastic against that chiming guitar.

Noreen: I like how the guitar is pushed down in the mix towards the end and mingles with a 747 soaring pedal effect. Hanson’s voice works really well here—no complaints.

“Take Me Back”

Less Lee: I’m going to sound like a broken record, but this is another song that reminds me of Rick Springfield, especially the line about “been working overtime.”

Noreen: The lyrics have a nice rhyme scheme.

Less Lee: At the same time, it’s very Hanson-esque and ends the album on a nice, yearning note.

Noreen: When he sings “T- T- T- Take Me Back” it’s yet another shameless acquiescence to pop, and it’s sweet. And bonus points for using the word “girl.” One more point would have been awarded for the use of “mama.” More songs need to use the word “mama.”

Less Lee: Truth be told, I’ve been waiting for Hanson to make an entire record of catchy pop songs in the vein of “Runaway Run,” from 2000’s This Time Around album. Although this is the only one that really hits that mark, I am not disappointed. In fact, I adore the whole album.

“New Cassette” (iTunes bonus track)

Noreen: First off, kudos for the use of the word, and the reference to the now mocked format of cassette. This would have been a staple on your Walkman back in the day. The song is fun with lines like “Blastin’ on the Pioneer/got to wait ’til the neighbor’s gone/make sure I don’t have the Dolby on.”

And it references calling in to a radio station. It makes me feel my age a bit, and I wonder if Hanson knows from whence he sings. It’s an expression of the excitement a fan feels waiting for a new album (well, those of us who still buy music), and a love letter from a fan to a band, with clever lines like “Did it take all summer/to find a new drummer” and “Now I can’t get it out of my head.” Neither can we boys, neither can we.

Not to lend credence to some incredibly mean-spirited and unprofessional reviews of this album which are floating around (not linked here out of spite as well as respect for this band), but who cares if these lyrics are lightweight pop poems for the lovelorn? We don’t need to be deep all the time.

The record isn’t “all killer no filler,” but it’s damn near close. Tune in. Turn on. This album has more hooks than Dolly Parton’s bra. More hooks than a fly fisherman’s tackle box. More hooks than Leatherface can hang a victim on. You get the point. And the cool kids can snicker all they want at this band—just leaves more fun for the rest of us.

Tinted Windows is currently on tour: they play Philadelphia on August 1 and Boston on August 3. For tour dates, news, videos, and more, please visit the band’s Official Website or MySpace page.