monoblogue music: “Breathe Air” by Plastic Yellow Band

'Breathe Air' from Plastic Yellow Band

If you were to summarize the debut effort “Breathe Air” from South Carolina’s Plastic Yellow Band in one word, it would be “eclectic.” But since I have a review to write, allow me to explain just how I arrived at that conclusion for this month-old release.

The twelve songs on “Breathe Air” fall into a number of different categories, and while the band likes to bill itself as “new classic rock” it’s obvious that songwriter, producer, and vocalist Gerry Jennings got his major influence from John Lennon, particularly his post-Beatles era with Yoko Ono. Instead of the Plastic Ono Band, it became the Plastic Yellow Band. Two of the tracks, Nervous Stuff and Climate Change, were even mastered at the Abbey Road Studios.

To me, that Lennon influence shows most clearly on the 17 1/2 minute three-part epic composition Sunshine that closes the album. For the most part keyboard-driven, the trilogy exists as a storyline of darkness and redemption, with the hopeful revelation coming in the upbeat final portion.

The interesting choice to open the album, though, is the ballad Lonely Place. Ballads have a strong showing on this effort, with other heartfelt tunes being Nowhere and the duet I Want To Feel Your Love with female vocalist Dana Rideout. The latter has the strongest chance at crossover appeal, as does the touching violin of She Let It Down. And if you liked the AOR format of the 1970s Alone (It’s Hard) would probably be the song of choice, since it reminded me of that era.

Those who like more rollicking tunes, though, would be the biggest fans of the album’s second track She’s My Woman, with its southern-fried slide guitar. To me that was the strongest song; one that makes me want to tip my longneck PBR.

Yet Jennings also makes his political feelings known, fretting about the state of the planet. Take as an example this song, Climate Change. The message is pretty obvious, huh?

Yet this outcry tends to make for some interesting music, such as the distortion of Oil Kings, which was also one of my favorites, or the lyrics of Nervous Stuff. Intersecting politics and music isn’t anything new, of course, but in this era of formulaic, play-it-safe pop music lyricism guaranteed not to offend, at least we know Jennings stands for something and has a little passion about it.

Speaking of playing it safe in the music industry and catering to the homogenized mass taste, it’s worth pointing out that Jennings doesn’t have the voice which would get past the initial rounds of “American Idol” or “The Voice.” While he certainly can carry a tune, his voice is just a little bit thin, and that shows up somewhat on the ballads. But the songs he’s written are more or less tailored to those limitations.

Something else worth pointing out is that the band talks about “the tradition of an era when music wasn’t considered authentic unless it was composed and played by musicians.” To that end, they have made some of these songs available in a “play along” format where one instrument track is edited out, allowing aspiring musicians to learn to play those missing parts. Not only is that good for beginning musicians, it makes for an interesting marketing strategy.

At this time it appears Jennings is focusing more on promoting its album via video than through touring, and given the structure of the band itself (three core members plus a host of “guest” musicians who perform on various tracks) that may be the prudent course for the time being. But don’t just take my word for it – you can judge for yourself if he should get the band together and go out on the road.

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