*ALBUM REVIEW*
From Fufkin - July, 2003

With their self-titled debut album Rooney establishes itself as the little brother in the clan of current major-label pop bands. They're quite not as talented as Fountains of Wayne, as clever as OK Go, or as accomplished as Weezer, but they're not an embarrassment to the family, either. They know their rock history, have a knack for melody, and while they still haven't quite outgrown their influences, they're quite capable of crafting a solid and reasonably diverse pop album.

The most obvious influence on the debut album by this California quintet is the Beach Boys. Singer Robert Carmine has a somewhat gentle, airy voice that occasionally gets a bit of edge, not unlike a young Brian Wilson, and the other members of Rooney lend solid harmonies, most notably on the ultra-melodic chorus of the lead single, "Blueside." "If It Were Up to Me," a rocker in 6/8 time with chunky guitars and a harmony laden chorus plays like an updated version of the 60s pop that the members of Rooney so clearly love. Meanwhile, the lush arrangements and soaring chorus of "Popstars" recalls the beautiful complexity of Pet Sounds.

In addition to paying homage to the Beach Boys and other classical pop acts, Rooney also features a handful of rockers that fit in well with more contemporary artists like Superdrag. On "Stay Away" distorted guitars chug along during the verses while Carmine sings with more conviction than anywhere else on the album, leading to another chorus that vies for the distinction as the album's best. The exhilarating "Shakin'" and "Terrible Person" are nearly as good, with the latter showing the band's more playful side and the former successfully taking the less-is-more approach to its chorus, which consists solely of repeating "I'm Sha-sha-shaking."

Like so many albums in the genre, however, Rooney's debut is quite front-loaded. However, even the lesser tracks towards the end of the album are at least somewhat distinctive and usually manage to avoid the dreaded "filler" tag. The lyrics and melody on the semi-vengeful "Sorry Sorry" are more than a little trite, but the band's energy and a neat production trick of quieting and distorting the track in the pre-chorus keep the song from being totally forgettable. Similar problems plague "That Girl has Love," but the song's 6/8 time signature and varied dynamics make sure that the song doesn't slip into a generic pop black hole.

With their debut album, Rooney pulls off the difficult trick of being immediate and catchy without feeling disposable. When they're at their best, they deliver irresistible melodies with fervor and passion. The album also sounds great, thanks in no small part to its major label budget. The hooks are as sharp as they can be, and the songs just jump from the speakers. While the shortcomings of trite lyrical topics and occasionally indistinct songwriting keep the album from receiving a whole-hearted recommendation, I have little doubt that most pop fans will find something on here that they can latch onto.

-Ben Collins