EASE DOWN THE ROAD

4 Stars 

Though I haven’t yet forgiven The Strokes’ Albert Hammond, Jr. for making his native U.S. the last place he released his debut solo album, Yours to Keep, I’ve come to understand that he was just putting out his feelers, so as to play it safe in the ever fickle world of music press. In the U.K., where Yours was first released, the music press is known to be more encouraging and forgiving than here in the U.S. It also doesn’t hurt that, to the U.K. press, a little New York City band named The Strokes can do no wrong. So why not release his risky solo venture overseas first, amass a binder full of warm reviews, build some excitement and demand, tour the U.S. and then gauge the chances of embarrassing himself on his home turf? Sounds like a good, safe plan to me, although I’m sure hardcore Strokes fans didn’t appreciate paying $10 extra for the U.K. version of the album last fall.

I can remember meeting Hammond, Jr. for the first time in the early fall of 2001: he was taller than you’d imagine, smokier than you’d think possible and every bit as much of a rock star as he could manage. Similar to his best friend and Strokes mastermind, Julian Casablancas, there always seemed to be a little something more to Hammond, Jr., something suppressed by his rocker pose. Just as Casablancas has proven his worth as an artist while playing the role of auteur with the three preciously detailed Strokes albums, Hammond, Jr. treats Yours tenderly, paying attention to every last detail. Every sweet, keen lyric.

While in his Strokes garb Hammond, Jr. is a cocky 70s art-rocker with jerky rhythm strums, half-mast eyelids and a pseudo-Slash stance. Yours, however, sees Hammond, Jr. most certainly how he is in real life: a true product of the 80s, 90s and 00s. Sure, the music is still often very similar to The Strokes’ output (albeit without the second tangling guitar), thus proving Hammond, Jr.’s worth to the band, but also Yours is loose, playful and fun. Hammond, Jr. sounds more like a mid- to late-90s alt-rocker on the verge of a big artistic statement than a city-slicking Lou Reed disciple. Utilizing his ever-present knack for simple, catchy riffs, Hammond, Jr. constructs whimsy pop songs full of bursts, bubbles, pops and pokes.

While rehearsing for The Strokes all-too-overlooked third LP, First Impressions of Earth, Hammond, Jr. pitched a slew of songs he’d written to his bandmates with no luck. Instead, as usual, the new Strokes album was written entirely by Casablancas (never a bad thing). Hammond, Jr. soon enough headed into the studio with some friends – drummer Matt Romano and bassist Josh Lattanzi – with modest intentions and walked out with a front-to-back addictive, jangly pop album arguably as good as his work with his full-time band. The album was a hit overseas – turning up on every major publication’s “albums of the year” list – and Hammond, Jr. has been touring continually in support of the album ever since, no doubt making a new believer everyday.

You’ll find all sorts of elements on Yours that aren’t present on any of The Strokes’ albums: trombones, ukuleles, a melodica, bells, trumpets and even some subtle MPC programming. Hammond, Jr.’s mostly straight forward compositions are highlighted by pocket flourishes, turns and his various vocal stylings, some of which sound completely different from song to song. “Scared,” which features subtle, manly backing vocals by Casablancas, is a standout, as is the lead single, “101,” and the album’s first four tracks. Also included on the U.S. version of the album are two excellent bonus tracks, “Postal Blowfish” and “Well … All Right.”

Yours to Keep is not just one of the best pop-rock albums you’re likely to hear this year, but also works as further proof of The Strokes immense, underrated talent. Maybe your bass player, older brother, boyfriend or girlfriend told you that The Strokes weren’t “cool” to like anymore, and maybe you believed them (judging by their diminishing album sales, most people did). If for some reason you’re not interested in the best major label rock n’ roll band around anymore, there’s still a very good chance you’ll like Hammond, Jr.’s clear-headed, well written, attentive brand of Gen-X rock for “cool kids that smile.”