Ask someone in the UK to name a Train song and they’ll almost certainly say Drops of Jupiter (Tell Me), released over a decade ago but still something of a favourite for commercial radio stations. Stateside, the band has had quite a history since their 2001 breakthrough track: more albums, critical and commercial success, awards, the departure of band members, and a lengthy hiatus. Not that you’re likely to know any of this, as there was virtually no follow-up to Drops of Jupiter (Tell Me) in the UK.
In 2010, a similar story emerged. Hey Soul Sister peaked at number eighteen in the charts, and featured on radio station playlists for months. But with nothing to follow that single, the album from which it was taken – Save Me San Francisco, released a year earlier in the USA – just about sneaked into the top forty Something of a shame, because the album really was rather good and included a decent crop of potential single releases.
This brings us to Train’s new album, California 37. And, in the spirit of optimism, let’s start with the good stuff. There are, without doubt, some memorable songs here, and lead singer Patrick Monahan is given more than ample opportunity to show off his versatility. The band experiments with quite a number of different sounds, but there are perhaps too many contradictory musical styles vying for attention. Drive By, for example, is radio friendly pop with a thoroughly infectious chorus, while Bruises goes all country and couldn’t sound more different. The very next track, 50 Ways to Say Goodbye, even incorporates flamenco. They’re all enjoyable songs when played in isolation (Bruises, a duet with little-known country singer Ashley Monroe, is definitely a stand-out track) but somehow they don’t quite work together.
The incongruous feel continues throughout the album. You Can Finally Meet My Mom features potentially VAW (very annoying whistling), while the acoustic Sing Together is reminiscent of Hey Soul Sister. The Caribbean-sounding Mermaid is likeable despite (or perhaps because of) its bizarre lyrics, and California 37 tries for a more urban feel. Unfortunately, three fairly pedestrian songs are shunted to the end of the album, making for a slightly underwhelming, downbeat finish. The very last track, To Be Loved, is particularly forgettable.
Still, there’s much to be enjoyed. Lyrically, Train are strong if sometimes a little self-aware, and Monahan’s voice is easy to listen to. For the most part, he successfully pulls off the numerous vocal techniques attempted over the course of the album. And perhaps Train are to be commended for producing a record where every track doesn’t sound like the last. That said, it feels slightly chaotic, jumping as it does between different musical styles. In some ways, it’s the opposite of Save Me San Francisco, which had flow and coherence, a confidence in its chosen style. The experimentation with different sounds is either a bold decision or an attempt to appeal to too many markets. As a result, it isn’t necessary an altogether comfortable listen. It’s a bit of a shame, really.