Brian Ray
Mondo Magneto
By Heidi Lee (SugarBuzz Michigan)
SugarBuzz Magazine
I can’t tell you how many times I’ve been recommended an album to listen to by a fairly new name and when expected to give my thoughts, I am usually left wondering how I can politely say, “It stinks.” I mean, how many ways can one say, “It’s got potential” or “It sounds like they worked really hard!”?
Thankfully, in listening to Brian Ray’s first solo release, Mondo Magneto I didn’t have to think of anything polite to say, the compliments just came naturally. And why shouldn’t they? Brian Ray is a professional. He’s someone that you probably might have seen or heard for years without even knowing it.
If you’ve listened to Smokey Robinson’s hit, “One Heartbeat” (which Brian wrote), seen the legendary Etta James in concert (whom he served as musical director), or one of the millions of people to see Paul McCartney’s latest tours (where you can catch Brian playing guitar, bass and singing background for Sir Paul's band), then you have experienced a bit of this seasoned player.
That list itself might seem like a pretty satisfying resume to anybody, right? I’m sure many musicians would have given anything for just one of those choice gigs. What’s left, really?
The solo album, of course! For the musician who has everything.
On first listen, Mondo Magneto is a perfect album to play when you want to wake up that “taking off out of town on the weekend for a long, sunny drive, windows open, speakers blaring,” spirit. You can’t help but feel a little more upbeat while playing many of the tunes on the album.
The album kicks off with one such rocker, “Good for Nothing”, a bit of a play on words that you might find playing the rounds in your head even days after. “Coming Up Roses” later on in the disc is another stand-out track with that lovely freeing feeling, full of upbeat guitars, challenging lyrics and a humorous ending. Also, be sure to pay attention to the fourth track, “Soft Machine” which features a searing vocal contribution by none other than Etta James. The album also finds assistance with more of Brian’s cohorts, like Scott Shriner (Weezer) and Davey Faragher (Elvis Costello). Needless to say, the album coveys a great feeling of freedom and fun, but it also has substance.
For instance, take a listen to “Vinyl”. It’s the story of a guy who leaves home for a (hopefully) better life with nothing but the basics. Those basics include a lovely case of LPs stored in the back of his car. But, low-and-behold, the precious vinyl, the harbinger of so many memories, a tangible picture book of his youth and those precious dreams, inexplicably turn up stolen. It’s song of absolute tragedy that any true music lover will be able to commiserate and sympathize with.
The album isn’t without its sentimental moments either. Brian puts on the “sensitive rocker” hat with the song, “All I Know”, but succeeds without being too sappy. He even takes a moment to poke at his own romantic sensibilities, comparing himself to “Valentino in a trucker’s cap,” truly proving that sometimes the only thing you can be sure of is not being sure.
With the little I knew of Brian Ray’s work before I listened to Mondo Magneto, I can really say that I was pleasantly pleased, but not actually surprised. I knew it would be good; judging by what he was already accomplished. However, I didn’t know how much I would like it on an enjoyment level. All in all, its fun, yet retains a good sensibility that you don’t get much of in pop music these days.
Let the curtain go up for Brian Ray, solo artist. Meanwhile, I think I’ll go for another drive.
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