The Magic Numbers is a recent band whose dreamy power pop style hasn't been heard in years. They're a throwback to innocuous pop bands of the British invasion, with only the Cure style slung back rhythm section to give them a modern touch. The Magic Numbers is a rarity in today's music landscape, a group dedicated to making pleasant pop tunes with no regard for conformity.
But, how good is the music itself? Well, pretty darn good! The two singles alone, "Forever Lost" and "Love Me Like You", are stand out tracks filled with peppy energy, swooning vocals and jangly guitars. At other times, the band becomes slower and mildly contemplative but never too much so. The slower bits are remiscent of Van Morrison in "Moondance" mode while the backing vocals recall Love in parts. "Don't Give Up This Fight", with its buttery guitar and tricky harmonies practically defines this sound.
Despite the strength of their sound, the fact that The Magic Numbers never cut too deep lyrically or emotionally remains a problem for them. Their music can be almost exhilarating for a few songs but become tiresome before the CD is over. Or, as my wife just put it, "I'm getting tired of hearing this band." This downfall knocks down their score quite a bit, making The Magic Numbers a 7 out of 10.
On the flip side, you can get the opposite feeling by listening to Number 83:
Smashing Pumpkins - Mellon Collie and the Infinite Sadness (1995)
I became a Smashing Pumpkins fan in a roundabout way, someone bought me this CD thinking I wouldn't like it. To that person's surprise and my own, I really liked it a lot. A dense double CD crammed with grungy fervor and art rock aspirations, the Smashing Pumpkins made an album filled with catharsis and mystery along the course of 28 songs.
Mellon Collie and the Infinite Sadness is supposed to be a concept album about...actually, I could never figure out what this was about. The parts I did catch were bits and pieces of moods. There were petulant grungy rock star moments, such as the hit "Bullet With Butterfly Wings". Just can't beat that chorus, "In spite of my rage I am still just a rat in a cage!". "An Ode To No One" and "Tales Of A Scorched Earth" follow suit. Parts of new wave flash in with the biggest hit, the New Order influenced "1979". Strumming guitar lines and a steady beat while techno sounds bounce in and out behind a disaffected vocal. Progressive rock also makes its presence felt, such as in the Yes styled "Cupid De Locke" or the Moody Blues symphonic pastiche "Tonight Tonight". The mystery comes from the dreamy soundcapes in tunes such as "Thirty Three" or "Farewell and Goodnight".
Through it all, Billy Corgan orchestrates and brays with a self absorbed ego not seen since the hey day of Roger Waters and Pink Floyd. Like Waters, it may seem like negative personality traits to have, but in both cases their egos fueled their vision to push their talents to the limit. I can't say this album is on par with Pink Floyd's The Wall, although I like Mellon Collie more. A better title in comparison is The Fence. A dark blue fence draped with Goth kids smoking cigarettes and complaining about their uncool parents. It can seem hard to relate to, but the angst and beauty cuts through the murk in a way thats convincing and memorable.
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