Released 04/10/2010. Wreckorder Records



Fran Healy has long been something of the quiet man of rock. Everyone likes Travis, everyone knows their songs, and everyone has no doubt bopped away to them at a festival or imagined doing so from the dryness of their living rooms. One might say that they’re not the most exciting band in the world, but they were never that kind of band anyway. So, what can we expect from lead singer and main songwriter Fran Healy’s debut solo album, Wreckorder, released on Fran’s own label, cunningly called Wreckorder? Will it make us want to sing, sing, sing? Will it smell like flowers in the window? Or will it be driftwood? Will it make you fall in love with a girl called Jean who is rather selfish? Or will it enable a cloud to follow you around, 24 hours a day, with precipitation falling non-stop, leading you to ask why?

Enough punnery. This album features contributions from none other than Sir Paul McCartney himself, rising US star Neko Case, and Tom Hobden from Noah And The Whale on the fiddle. Fran decided to become a vegetarian to thank Sir Paul for his help (I’m sure a nice card would have been sufficient). In return, Paul sent him some cookbooks. What a gent. The album cover is simply a picture of Fran, looking a little like Indiana Jones’ long lost brother, and was chosen by Fran to distance himself from the picture on the inside sleeve of The Man Who.  

Opening track “In The Morning” (fortunately not a cover of the Razorlight song) is something of an event in itself, with the piano leading it, before the string section comes in, and it all comes together. The song shifts between moments of calm and moments of darker intrigue, heightened by the string section. It’s not the pleasing song it appeared to be at first, but it doesn’t disappoint. If it’s been placed as the first song to show a more mature, different sound than Travis, it has worked. Not that Travis’ work was immature, but it’s a move away from the singles that made their name.

“Anything” continues with the strings and tone, only this time the strings eventually lighten the mood, but only slightly. It’s a more introspective effort. “I wish I could feel like a child again,” and “I could be anyone, anyone at all” show the unease bubbling to the surface, but the song is far from a gloomy affair. “Sing Me To Sleep” is the duet with Neko Case, and is easily worthy of being single material. Neko’s performance is strong, and both voices complement each other very well. It sounds more like a Travis song, but that’s not a bad thing at all. “Fly In The Ointment” sounds great, a little too close to Americana, but still very good. By the way Fran, I wouldn’t call meeting your best mate in a bar an appointment, strictly speaking, but rhyming schemes are always tricky.

“As It Comes” is a story of a relationship that, quite literally, dies. Needless to say, this won’t be covered on Glee anytime soon. It is pretty depressing, but there are some nice moments in there. It’s also the song where Sir Paul plays bass. Not that you notice the bass at all, it has to be said. “Buttercups” is more upbeat in tone, if not lyrical content. It’s the first single from the album, and it’s a bittersweet tale. Fran said in an interview, "Buttercups was written about an experience in my art school days, when my then girlfriend turned her nose up at flowers I had picked for her. I couldn't afford fancy roses, so I thought that hand-picked flowers would be more romantic. She didn't think so. That relationship didn't last long." What a bitch. It’s the most Travis-y song on the album so far, so it makes sense that it’s the first single to reach out to that fan base. The video is pretty cool; Fran get’s in a limo, where he is reunited with various girls from various points in his life who he has smooched, none of which are pleased to see him. In the end, he leaves with Maisy The Sheep, who he wooed while lonely at university. Aww, I love a happy ending.

“Shadow Boxing” (not Shadow Boozing, which is what I typed first time. Freudian slip?) has a nice vibe to it, helped by the dreamlike piano and strings. . There is a surreal beauty to it, and I’d say it’s the best song yet. It’s not pop enough to get a single release methinks, but try and find it and give it a listen. “Holiday” however, sounds too similar to some of the previous songs on the album. It’s not too bad, just feels like filler. “Rocking Chair” is another bittersweet affair, told from the point of view of a grandfather reflecting on life. It’s beautifully arranged and presented, and no doubt will be butchered for some TV show, but it’s still very good. Final song “Moonshine” is a jaunty little finish to the album. Again veering more towards the filler side of things, but as always far from terrible.

If you’re a Travis fan, this album will probably be right up your street. If you’re not a Travis fan, this album probably isn’t going to sway you either way. It’s a solid album; it just feels like Fran is killing time until the next Travis record, because this is ultimately more of the same, or at least a similar ilk. It would have been nice to see him explore the rockier sound of some of Travis’ work, but he’s still a better singer/songwriter than most.

7/10

Posted In Album Reviews, Oct 05 2010. Words - Paul