Farrah: Me Too

In the late 1970s and early 1980s, the new wave of British pop was a kind of musical renaissance, bringing to the fore a number of highly melodic, energetic performances from the likes of Squeeze, Joe Jackson, Elvis Costello, Nick Lowe, and others. Things were simpler then, the ties skinnier, dancing more a matter of jumping in place to the beat.

Now, in these far more complex times, there’s a fond nostalgia for those sounds of yore (see Glenn Tilbrook in concert and count the Squeeze songs sung, or note the recent reformation of Joe Jackson’s original band lineup and subsequent global tour). While not likely to find much radio airplay, those old sweet sounds still sound pretty good all these years later.

Farrah are a novelty in that they choose to master and update that great era’s sounds with new music that captures the charm and spirit of what came before. Their Moustache CD was chock full of historic harmonies in the service of old-fashioned bouncy and fun songs (crafted the right way, with middle bridges and such).

Now, several years later, they’ve got a follow-up album that’s a tour-de-force. Me Too, completed in late summer of 2003 (and previously available only in Spain and Japan), finally has arrived in the U.K. courtesy of Lojinx Records. It features twelve new songs (and one more hidden track) that are every bit as good as you’d hope, and perhaps even better.

The sounds are a bit more diverse on this new collection, and the band has replaced Mike Walker with Aussie Michelle Margherita on bass and backing vocals. While there’s greater range in the instrumentation and production values, singer/multi-instrumentalist Jez Ashurst continues to flex his songwriting muscles in ways that impress. Andy Campbell challenges Ashurst in the number of instruments covered (guitar, keyboards, vocals, etc.) and Mike Hopkins handles drums and percussion.

Farrah play with poise and panache, serving up clean power pop of the highest order. Their well-arranged infectious melodies feature smart (often wry) lyrics that skewer our world. These three-minute guitar pop jewels are executed with what seems to be effortless ease.

The CD opens with the ska-laced “Tongue Tied”, the charming tale of a fan (er, stalker) who’s never quite able to say what he wants to his star-love: “I’ve read every one of your interviews / I know you think your arms are fat / And you like cats and fine wines / Tongue tied / I want you / And you know I always will / Inside, so shy / If only you knew what a state I’m in”. Ashurst delivers it in clear voice and offhand delivery, and the song itself makes you want to dance along.

Next up we get a tongue-in-cheek anthem for couch potatoes the world over with “Daytime TV”. In this nifty short upbeat ditty, we are urged to reflect upon Jerry’s thought for the day. It’s great musical fun, regardless (and features a great rhythm section).

Fans of Squeeze will delight in hearing “He Gives an Inch”, perhaps the best Squeeze song not written by Squeeze (eking a Jump, Little Children song from the top spot in that competition). This ultra-catchy chorus will have you singing along: “He gives an inch / She takes a mile / She’s got him running round in circles / Trying to catch the tale she’s telling / He gives an inch / She takes a mile / She’s got him wrapped around her finger now”.

While we’re on the topic of nostalgia, Farrah salutes one of their predecessors by covering Joe Jackson’s classic “It’s Different for Girls”. Here Ashurst and Margherita provide a quiet and respectful version.

“The One That Got Away” covers more-standard territory, a man lamenting his options in the wake of a failed relationship: “I’ll reinvent myself just like Madonna does / Join and gym and lose the charity shop clothes / As soon as I can face tomorrow”. Be sure to notice the Theremin here (and yes, it’s a real one).

Another bittersweet tale (and one that references a fairly obscure John Lennon quotation) is “This is My Life”. Time and compromise have turned his reality into something remote from his dreams and ideals: “This is my life / It’s smaller than I thought somehow / This is my life / It didn’t quite work out the way I planned”. The chorus background harmonies make this into the kind of clever pop gem perfected by groups like the Rosenbergs.

What at first listen might seem a romantic ballad in “Hopelessly Devoted” (and that interpretation works well enough), is revealed to be otherwise when you consider that Ashurst has written a love song to beer. Truly, he has — and it’s sweet enough to make you plenty thirsty for more.

Perhaps my favorite song here (and it’s a hard call to make) is “First and Last”. This poignant song tells of a guy who holds on to the first woman who ever dumped him: “Everybody’s got a cross to bear / Something that we carry from the past / They hammer in the nails and leave them there / You were my first, you were the last”. It’s an admirable rhyme scheme in a memorable song, just more proof that Ashurst is a great songwriter.

“Half as Strong” is a little jazzy number, exploring the weariness of the world traveler reflecting back (with some guest trumpet courtesy of Jane Hattee). “Wake Up” starts out with a bare acoustic demo then “wakes up” into a full-fledged studio treatment. It’s a noble sentiment, urging us to face the day and wake up to what we’re missing.

“The Last Word” is another winning song, an homage to one who loves the sound of his/her own voice. It’s a little jazzier, a little more lounge-flavored, if you will, than most of what’s here. Farrah are quite accomplished musicians, and you get a sense that they enjoy what they play immensely.

The pretty closer “High and Low” is a dulcet acoustic number, pondering life itself, the passage of time and friends, etc. For those willing to wait, there’s a short hidden punk rocker about eight minutes into the final track, most likely entitled “Nigel’s Got It Coming to Him”. It’s perhaps a nice answer track to XTC’s “Making Plans for Nigel”, though it’s only a minute and a half.

Jez Ashurst is a talent to be reckoned with (and he does it all with only one lung). He and the band work hard — having been touring Japan, Spain and France on a regular basis — and now they’re back in the studio working on new material for what I hope will be another fine album not too far down the road. In the face of regular adversity (record label bankruptcy, an exploding van, lawsuits from a chocolate manufacturer, a mistaken association with a trouser brand), Farrah still manage to come out ahead.

Me Too is the kind of album you rarely find these days — a pleasure to listen to from the opening track to its close. Farrah give you that old-fashioned Brit-pop sound — clean, multi-layered production, great vocals and harmonies surrounded by fine high-octane guitar, keyboards, bass and drums. It truly is a ray of light-hearted fun and sunshine on what’s usually a fairly dark current musical horizon. Treat yourself to the charming power pop insouciance that is Me Too — don’t you deserve it?