Notes & Personnel Info |  | SR-71: Mitch Allan (vocals, guitar); Mark Beauchemin (guitar, keyboards, background vocals); Jeff Reid (keyboards, bass, background vocals); Dan Garvin (drums, background vocals). | | Additional personnel: Chris Tombling, Ann Morfee, Richard George (violin); Audrey Riley (cello); Richard Bissell (French horn); Mark Phythian, Gil Norton (keyboards); Rob Ladd (percussion); John Shanks (programming); Kevin Kadish, John Allen (background vocals). | | Engineers include: Bradley Cook, Danton Supple, Neal Avron. | | Recorded at Bearsville Studios, Bearsville, New York; Air Studios, Sheffield, England; Wall of Sound, Baltimore, Maryland; Encore Studios, Burbank, California; Hot Tin Roof Studios, North Hollywood, California. | | SR-71 may not worry about being politically correct, but whereas most of the band's peers come off snidely, this band isn't afraid to pour some sugar. Naturally, the quartet sometimes veers toward boy-band wussiness, especially on the marshmallow centers of "Empty Spaces" and "Go Away," but the clean Bay City Rollers vibe throughout combines with spacious headphone production to make even the few lesser moments worthy of attention. "Alive" may owe more to Kiss than Pearl Jam (especially since SR-71 covers the make-up menaces in concert), and this positive party atmosphere makes the whole album rise above. Rather than attempting to maintain the velocity of opening one-two combo "Politically Correct" and "Right Now" (this actual hit discusses Ms. Right; Mr. Right appears later), the quartet soars into several airwave-friendly dimensions: "Last Man on the Moon" deserves heavy rotation, "Fame" features downright wondrous keys with a clever Kinks reference, and closer "Paul McCartney" owes more musically to Venus and Mars than Sgt. Pepper. SR-71 also swipes from the Stones, but the Spin Doctors aside in "Non-Toxic" seems closer to home. Take the time to see inside SR-71's debut. Like any commercial band, SR-71 morphs into whatever is on the radio, so the sophomore effort chases nauseously neurotic nu-metal; luckily, the delectably disposable Now You See Inside delivers pure pop for now people, and they need it now. ~ Whitney Z. Gomes | | Combine the edgy pop riffs of Lit with an emphasis on vocal harmony reminiscent of the Outfield, and you have SR71. While it may be little more than a boy-band with a heavy guitar backdrop, SR71 nevertheless delivers a smart and fun set of upbeat rockers on NOW YOU SEE INSIDE. | | Light social commentary peppers NOW YOU SEE INSIDE in tunes like "Politically Correct" and "The Last Man on the Moon." The main thrust of NOW YOU SEE INSIDE, however, is the adolescent alienation and wonder that all youths experience. Lyrically the album is quite sound. Frontman Mitch Allan's take on teenage romance provides SR71's music with a maturity that is often lacking in popular love songs. While SR71 doesn't exactly break new ground on NOW YOU SEE INSIDE, it does succeed in reinvigorating the rock ballad on songs such as "What a Mess" or "Fame (What She's Wanting)." If SR71 is a pretty bunch of boys very likely to become the next N'SYNC, at least they'll have some talent to back it up. | | SR-71 may not worry about being politically correct, but where most of the band's peers come off as snide, this band isn't afraid to pour on some sugar. Naturally, the quartet sometimes veers toward boy band wussiness, especially on the marshmallow centers of "Empty Spaces" and "Go Away," but the clean Bay City Rollers vibe throughout combines with spacious headphone production to make even the few lesser moments worthy of attention. "Alive" may owe more to Kiss than Pearl Jam (especially since SR-71 covers the make-up menaces in concert), and this positive party atmosphere makes the whole album rise above. Rather than attempting to maintain the velocity of the opening one-two combo "Politically Correct" and "Right Now" (this actual hit discusses Ms. Right; the one about Mr. Right appears later), the quartet soars into several airwave-friendly dimensions: "Last Man on the Moon" deserves heavy rotation, "Fame" features downright wondrous keys with a clever Kinks reference, and closer "Paul McCartney" owes more musically to Venus and Mars than Sgt. Pepper. SR-71 also swipes from the Stones; but the Spin Doctors aside in "Non-Toxic" seems closer to home. Take the time to see inside SR-71's debut. Like any commercial band, SR-71 morphs into whatever is on the radio, so the sophomore effort chases nauseously neurotic nu-metal; luckily, the delectably disposable Now You See Inside delivers pure pop for now people, and they need it now. [This 2005 reissue features alternate album art.] ~ Whitney Z. Gomes |
Producer: Gil Norton |
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