CD Review

Producing decent pop music that avoids being labeled as "nauseating," has always been "easier said than done." Songwriters Adam Schlesinger and Chris Collingwood of the New York based quartet Fountains of Wayne have captured the true essence of pop rock that can stand on its own aside from the food court of your local mall. In the tradition of "Squeeze" and "The Posies," Fountains of Wayne’s third release Welcome Interstate Managers is a witty, well crafted, hooking collection of pop infusions that keep you returning for just one more listen. Although Fountains won’t be given Dylan or Springsteen a run for their lyrical depth, this band convincingly gets to the ears of their listeners by painting whimsical pictures of mid-life crisis characters, amidst subjects most song-writers dare not touch.

Welcome Interstate Managers is a rock yearbook of characters that harbor their lives on relationships, bad jobs, retired airline pilots, bad waitresses, commuting, drunk salesmen and hot mothers that still "have it going on." The album is a coming of age novelty and a hum along Prozac that keeps you moving out of a traffic jam. Each song is remarkably unique, built upon a clever hook that all sounds eerily familiar; but combined with vocals, Fountains of Wayne remains as original as a bizarre Jackass stunt.

"No Better Place" builds with sonic guitar layers, climaxed with smart effects, that exemplifies the band can take their musicianship to more experimental levels, if they wish; although a majority of the musicianship is "been there done that." "Little Red Light" is a dirty garage rock that provides some heated smoke while "Halley’s Waitress "meanders in Ben Fold’s piano harmonies, mixed over a 70’s orchestration that is truly retro. The country "Hung Up On You," (featuring a guest appearance by Robert Randolph on pedal steel) will make you toast a drink, while the catchy "Bright Future in Sales" can be the next pharmaceutical sales recruitment ad. Fountains of Wayne are further proof that non-cheesy pop rock still exists, while providing a refreshed meaning to the three-and-a-half minute pop song. Jimmy Eat World and Blink 182 please take notice.