The Fountains flow with pop

NYC popsters Fountains of Wayne: As catchy as catchy can be

By Ben Dietz

FOUNTAINS OF WAYNE

****

Standout Tracks: Every single track is a standout. Twelve examples of pop perfection!

Scratchie/TAG/Atlantic Records
Fountains of Wayne, the debut album by the New York City-based band of the same name, is the best record that I've heard in quite a while. Equal parts the geek-rock crunch of Weezer and the relentless catchiness of the Beatles circa 1963, Fountains is the kind of record that you can listen to over and over again, singing along louder and louder with each successive listening. To be frank, it's simply amazing.

What's even more amazing is that Fountains of Wayne is comprised (on the album at least) of only two people -- songwriters Adam Schlesinger and Chris Collingswood, and that the band is only a side project for Schlesinger, who also comprises one third of the band Ivy.

Outside occupations aside, what the talented two some do on Fountains is write amazing songs, as self-effacing in their lyrics as they are straight-forward in their rock sensibility. Like Weezer's Rivers Cuomo, the two play the role of the perennial loser-geek, forever lamenting their sorry state of affairs and admonishing their peers not to "Curse at Girls." They're the kind of guys who beg the women of their dreams, "Baby please, Leave the Biker," knowing damn well that she never will. Despite their lowly social stature though, these two still have a sense of humor -- check out the hilarious satire of cooler-than-thou hipster "Joe Rey" for evidence.

Still, when it comes to looking at the album as a whole, Collingswood's line from "Barbara H" resonates most clearly: "All day/ The radio's been playing the same song/ Can't shake that tune." Even after only one listening, you'll find yourself singing the refrain to "Sink to the Bottom," or the hook of first single "Radiation Vibe," without even thinking about it. You truly can't shake these tunes.

Good pop is so refreshing.