After reviewing The Humour live a few weeks ago, I thought I knew what this Yorkshire band had to offer, but I was wrong. The band’s debut album, ‘You’re Gonna Pay’ is a short, 6 track blast of hard hitting pop rock. Very American in sound, but very, very well produced, showing a different side from the group who played live a few weeks ago.
The music is of course very similar and there are still the same influences in the music, however, I was concerned that without the groups huge on stage presence, the album may be a damp squib, but my concerns are wrong. This is a wonderful collection of brilliant musical talent, huge vocals and a display of heavy rock for the masses.
The guitar solos that I so wanted when hearing the group live are now here and they are fantastic, James Taylor’s vocals are brilliant, rising and falling between heavy rock cries and catchy pop melodies, while the backing vocals support him brilliantly.
‘You’re Gonna Pay’, the records title track is a huge, catchy rock anthem, the massive guitar solos are absolutely fantastic, this track is definitely one for the majority of peoples ears, in places it is a pop record full of catchy lyrics and great vocals and then in places it is a huge rock track, with massive riffs that are sure to have you dusting off your air guitar.
‘Let It Go’, is a slightly softer track, it still retains the catchy anthem sound, with easy going lyrics and doses of magnificent guitar again from Matt Bagley, James Taylor’s vocals really open up and show great range during this track.
‘Living On Your Own’, is a huge, good fun track, the guitar riffs are slightly less exuberant in this track, however it is a fast paced medley of fantastic rock drumming from Daniel Fahey, storming guitar melody and brilliantly simple lyrics from Taylor’s voice which is at its most accessible.
‘Radio’, is the softest track on the album, a slightly different direction, the group capture the mood of the lyrics well, displaying an ability to drop the hard hitting rock sound when required, everything is toned down for this, which is sure to make it a commercial success, but for me the group are at their best, banging out heavy drums and huge riffs, while Taylor rages in front of the microphone. Credit is due though at the end of the track as they again turn up the volume and tempo and end on a high.
‘Gasoline’, is back to the bands familiar sound again, as we open with a massive guitar solo before Taylor opens his lungs up again and belts out this track. The bass, from Luke Richards comes alive on this track and supports the guitar riffs brilliantly; this is a massive track, which changes tempo frequently and becomes a proper sing-a-long towards the end with a really catchy set of chants.
‘Mama’, is another good fun pop meets rock song, the intro of scratchy guitar and thumping drums, sets a tension, before the vocals open up and we hear James Taylor's voice at its best, magnificently catchy, with brilliant backing vocals and a great set of lyrics. The guitar solos are again faultless as this track truly rocks.
This short album entertains from start to finish. What it lacks in overall imagination and genius it makes up for in appeal, it’s as catchy as any pop record and the riffs are as huge as any rock record.
Stereoboard rating. 7/10
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