TRAIN

"SAVE ME, SAN FRANCISCO"

OCT 27, 2009
COLUMBIA

REVIEW
by Thom Jurek

San Francisco's Train hit the charts with a bang early in the 21st century with hits like
"Calling All Angels," and Drops Of Jupiter. They began as a` band that courted an
alternative audience and quickly traded it -without changing their sound much—for a
more adult fan base with mixed results and have been struggling ever since with what it is
they want to be as a band. Save Me San Francisco, took four years to make-remember
there was Monahan's solo album in the interim-involved a slew of musicians (because
only Monahan, guitarist Jimmy Stafford and drummer Scott Underwood remain of the
original group), four studios in the United States and England, songwriting collaborators,
and even a handful of producers, though Martin Terefe gets the final credit. Admittedly,
this makes Save Me San Francisco seem like it's a mess before the first song even gets
played. The truth is, however, it's a very focused record, centering around the theme of a
wandering young rocker who falls in love and wants to settle down. The title track opens
the set and it's a cracker with an acoustic guitar playing a variation on the I-IV-V
progression, the snare kicks in, Monahan sings in his best confessional style all the while
echoing prime Bob Seger. A piano and the electric guitars finally come in on the backing
"whooo-hooo-hooo" chorus, it' a near-perfect radio-friendly rock anthem. "Hey Soul
Sister," is a love song in the best Train tradition, even if it does name check the band
Mister, Mister and uses a Madonna metaphor in the lyrics (and credits her while doing
so). Acoustic guitars, kick drums, tom toms, mandolins and a B3 underscore Monahan's
emotive lyrics. "I Got You" is the strangest track here; it samples the Doobie Brothers
"Black Water as an intro, and then uses the chorus of the song as part of its faux shuffle,
against a reggae backbeat has a great bridge, and Sonny & Cher in its tight chorus. It's a
high gloss, big production pop number that sounds like the late 1970s; and rightfully
gives Patrick Simmons a co-writing credit. There are a couple of Monahan's signature
ballads on the set as well such as the conflict laden "This Aint Goodbye," with strings in
the arrangement and a promise of unrelenting commitment despite this, "Words," with its
undying profession of standing in line of the storm to protect his beloved. "Brick By
Brick," is another hooky anthem, with swelling choruses, a lyric that promises the moon
and tries really hard to deliver it, and a 4/4 processional that underscores all of Train's
power ballads. "Breakfast In Bed," is a seductive, attempt at neo-soul, and with its
programmed loop, keyboards and subdued vocals, it basically works. The album reaches
its conclusion in "Marry Me," that Monahan sings like it's a prayer, accompanied by an
acoustic guitar, the sound of a flute, and muted percussion. Ultimately, Save Me, San
Francisco is a love song to the band's hometown; but more than this, it feels as if
everything is on the line for Train on this album; and all the time and struggle they put
into making it is on display. Their loyal fan base will no doubt celebrate it to be sure; but
more than this Save Me, San Francisco sounds like the band is reaching farther than ever
before; and swinging for the pop fences. Time will tell whether or not they are successful.