Face Dancer - This World

Capitol Records

Ah, Face Dancer--the grueling, semi-pessimistic band that Capitol Records rejected in favor of the failure that was The Knack ("My Sharona"). I didn't even know this group existed until the 14th of September of this year, and that's a cryin' shame.

The first album I actually heard of theirs was their second, found in the depths of the bargain bin of a very overpriced record store. It was created in an attempt by Capitol to get the band to sound more commercial after firing two of their members. A decent little piece of Babys-esque power pop that gets quite the unfair judgement online. But we're not here to talk about the album no one but me actually likes, we're here to talk about what solidified their reputation in Baltimore. 

"Red Shoes" was the closest this band ever had to a hit single. Opening with very simple, Ramones type guitar riffs, the thin production work keeps this song from holding a candle to this bands live performances (see for yourself ). Even with that in mind, it's overall a good dancing tune that almost feels like a parody a la The Move's "California Man". The ending solo is fun to listen to, but the vocals are unfortunately a smidge underwhelming and the song probably would've benefited from being played much faster. 

Taking itself more seriously then the previous is "Can't Stand Still", presenting itself as a pretty credible Foreigner tribute with a very entertaining--if mildly fey--vocal performance and a bass part that keeps the bottom from falling out of the whole thing. Also included is of course a catchy chorus, the hallmark of all great late '70s rock tunes. Despite the good baseline groove, the instrumentation could've worked better with a little spicing up. 

"Change" comes in with an absolutely ridiculous, jarring amount of synths that are so tangled it seems like they're going to come apart any second. That foreboding, threatening energy has been achieved--melodramatic like a good soap opera with raw anger to further aid conjures up images of lead singer Carey Kress moping about in his room and punching holes in walls. A fantastic bass part comes in once all those vicious hard rock elements you've been waiting for finally materialize, and I'm always one to appreciate an audible bass part and good (if minor) panning effects. This one is cool in the joint-toting-leather-clad-aviator-sunglasses-wearing-biker sort of way, and that ending is certainly worth the wait. 

Another Foreigner-type song is "If I Could Kiss You", an amateurly philosophical, wistful tune about how working to survive doesn't matter when you've got a pretty girl by your side. Overall it's endearing, the bright little synth flourishes working wonderfully now that they're in moderation, and I dig the arena-rockin' richness of David Utter's voice. Lovely. 

"The Sphinx" has a big, clean drum sound, back with the entertaining drama and anger. Carey Kress sings in a wonderfully straightforward meter on this one, and it's a real strong performance. The guitar solo is caustic, the lyrics have some good imagery, and the song is very attention grabbing and very fun to listen to. It could've gone on for five more minutes and I would've enjoyed every second of it. 

Pure, raw anger is something Carey Kress is great at, exemplified on one of this group's fan favorites, "Cry Baby". It is energetic, it is exciting, it is headbangin'. A pompous key opening and slick drum part complimented by twisted guitar and bass give the song that cautionary tale feel, something this band absolutely excels at. And Jeff Adams can wail on that guitar--the bends are great. 

"Hearts At Home" is the weakest song on the album. Another song about how painful it is to be a touring musician, about how it isn't about the money and popularity, some real no one loves you when you're down and out crap. At least that guitar can gently weep. 

"Hard To Please" is a much better song about how difficult being a musician is. Much more dynamic then the previous and is more of a dig at the industry moguls who expect commercialism and complacency out of artists just because they're on their label. The chorus is catchy, the guitar and bass work is entertaining, and I can see this becoming a real earworm in my future. 

Another great dance song is "Time Bomb", about general anxiety and paranoia. Impending doom, that sort of thing. The vocal performance is honestly a tad kitsch, and the ripping, slashing guitar goes well with the mildly funk groove of the whole thing. Real nice. 

A surprising richness of voice, love-lorn like Frank Sinatra, is what greets you on "When You Said". It's the theatric, sad sap-show of the album and is a bit out of place for the band at this stage in their life. It's not very striking, and is almost heart-throby--like David Cassidy.

Unfortunately for them, I doubt Face Dancer is ever going to get much recognition outside of the few people in Youtube comment sections who apparently all went and saw them at Hammerjacks. They definitely deserve more airplay then "My Sharona" ever did. 

Rating: 4/5