About this Artist

• Biography

Editorial Reviews

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 fanbase 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 -- and involved a slew of musicians (because only Monahan, guitarist Jimmy Stafford, and drummer Scott Underwood remain from 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, and 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 namecheck the band Mr. Mister and use a Madonna metaphor in the lyrics (and credits her while doing so). Acoustic guitars, kick drums, tom-toms, mandolins, and a B-3 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, which has a great bridge, and namechecks Sonny & Cher in its tight chorus. It's a high gloss, big-production pop number that sounds like the late '70s, 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 the eye 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 fanbase 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. Thom Jurek, All Music Guide

Customer Reviews

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