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Travis: The Boy with no Name

 A l b u m   D e t a i l s


Label: Independiente Music
Released: 2007.05.08
Time:
 52:53
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *****..... (5/10)
Media type: CD
Web address: www.travisonline.com
Appears with:
Purchase date: 2007.09.13
Price in €: 17,99



 S o n g s ,   T r a c k s


[1] 3 Times and You Lose (Dunlop/Healy) - 4 :14
[2] Selfish Jean (Healy) - 4 :00
[3] Closer (Healy) - 4 :00
[4] Big Chair (Dunlop, Healy) - 4 :07
[5] Battleships (Healy) - 4 :11
[6] Eyes Wide Open (Healy) - 2 :59
[7] My Eyes (Healy) - 4 :08
[8] One Night (Healy) - 4 :00
[9] Under the Moonlight (Hug) - 4 :00
[10] Out in Space (Healy) - 3 :35
[11] Colder (Healy/Payne) - 4 :06
[12] New Amsterdam (Healy) - 9 :26

 A r t i s t s ,   P e r s o n n e l


Francis Healy - Guitars, Vocals, Producer
Dougie Payne - Bass, Producer
Neil Primrose - Drums, Producer
Andy Dunlop - Guitars, Producer

Julia Stone - Background Vocals
KT Tunstall - Background Vocals

Sally Herbert - Violin, String Arrangements
Joby Talbot - String Arrangements
Louisa Aldridge - Violin
Natalia Bonner - Violin
Ian Burdge - Cello
Reiad Chibah - Viola
Sarah Clarke - Clarinet
Calina de la Mare - Violin
Richard George - Violin
Jonathan Hill - Violin
Richard Koster - Violin
Oliver Langford - Viola
Zoe Martlew - Cello
John Metcalfe - Viola
Jeff Moore - Violin
Darragh Morgan - Violin
Rachel Robson - Viola
Adrian Smith - Viola
Lucy Wilkins - Violin
Chris Worsey - Cello

George Tandero - Producer, Engineer, Mixing
Nigel Godrich - Producer, Engineer
Mike Hedges - Producer, Engineer
Steve Orchard - Producer, Engineer
Matthieu Clouard - Engineer, Production Assistant
Emery Dobyns - Engineer
Jens L. Thomsen - Assistant Engineer
Raj Das - Assistant Engineer
Michael Brauer - Mixing
William Paden Hensley - Mixing Assistant
Tappin Gofton - Art Direction
Stefan Ruiz - Photography


 C o m m e n t s ,   N o t e s

2007 CD Sony 07962
2007 CD Independiente 67
2007 LP Independiente 67

2007 release and fifth album overall from these Scottish Pop/Rockers. The Boy WIth No Name is their most consistent release to date and is overflowing with great melodies and dynamic musical twists and turns. 12 tracks including the first single 'Closer'. Sony.



Travis seemingly disappeared after the arguably forgettable 12 Memories but the sound of the Scottish group's daydream-pretty guitar rock endured thanks to Keane, Snow Patrol, and especially Coldplay. More than three years later, Travis is playing catch-up with their fifth studio album, The Boy with No Name. Predictably, it's a well-crafted affair, bursting to life with tunes that celebrate life's minor victories such as "Closer," "Battleships," and "My Eyes." But as a comeback effort it feels flawed, let down by both melodies that disappear into the ether as quickly as they come out of the speakers ("One Night," "3 Times You Lose") and those that clumsily attempt to tweak the formula ("Eyes Wide Open," "Selfish Jean").

Aidin Vaziri - Amazon.com



Das dauerhafte Bestehen als Britpop-Band ist ein ziemlich hartes Geschäft. Was soll ihnen auch immer wieder Neues einfallen, den Jungs, -zum Beispiel jenen von Travis? Das erscheint durchaus als legitime Frage, in Anbetracht ihrer neuen CD The Boy With No Name. Um das Kind beim Namen zu nennen: viel ist es nicht, aber gelungen ist dieses Album trotzdem. Der Mut zum Mittelmaß, der neue Musik erschafft, ist manchmal höher zu bewerten, als wenn Hasenfüßigkeit aus Furcht vor Superlativen keinen einzigen Ton hervorbringt. Für Fran Healy, Andy Dunlop, Dougie Payne und Neil Primrose ein undenkbares Szenario: Sie müssen einfach Musik machen. Kann man eine Band auch für ihr Herumstochern, Graben und Wühlen, sprich, ihre kontinuierliche Suche nach einer musikalischen Zukunft belohnen, auch wenn das Resultat am Ende eher unspektakulär ausfällt? Mann kann, wie im Falle dieses Albums! Nicht zuletzt weil großartigere Musiker als Travis sich dieses Recht auf Suche herausgenommen haben und grandioser daran gescheitet sind. The Boy With No Name ist ein solides Album, das versucht an beste Travis-Zeiten anzuknüpfen. Dass diese sich mittlerweile gravierend geändert haben, dürfte wohl kaum jemand entgangen sein, am allerwenigsten aber den Jungs von Travis selbst. Highlight des Albums ist zweifellos “Closer“, ein wirklicher Lichtblick, der keiner Erklärung bedarf, weil er in bester Healy’scher Songwriter Tradition daherkommt. Die restlichen Stücke aber mäandern etwas ziellos zwischen den üblichen Anleihen aus Folk, Ballade und softem Pop in Dur und Moll umher. Immerhin hat Nigel Godrich als Produzent (Radiohead, Paul McCartney, Beck) durchweg für einen positiveren musikalischen Grundton gesorgt, als noch auf dem düsteren 12 Memories. In punkto Arrangements wurden keine Mühen gescheut: Streicher, Mundharmonika, Glockenspiel, Harfe und das Pfeifen mit gespitzten Lippen fügen sich homogen ins musikalische Gesamtbild ein. Aber vielleicht ist genau das die Crux von The Boy With No Name: Als Gesamtbild perfekt gelungen, entfaltet das Album in einzelnen Songs seine musikalische Charakteristik nur widerstrebend und unter Entgegenkommen des Hörers. Ist das überwunden glaubt man die “alten“ Travis zu hören. Kein wirklicher Schritt also nach vorn -aber immerhin auch kein verkehrter- in Richtung einer musikalischen Zukunft, deren Name erst noch gefunden werden muss. Bis dahin bleibt sie The Boy With No Name.

Andreas Schultz - Amazon.de



Haben Travis den Kredit ihrer grandiosen zweiten Platte "The Man who" und der Übersingle "Why does it always rain on me?" verspielt? Nach dem allzu niedlichen Album "The invisible Band", den mit Krampf erzwungenen Melodien von "12 Memories" und drei Jahren Pause ist das fünfte Album vermutlich die letzte Chance für das Quartett aus Glasgow. Abweichungen vom bewährten Melanchopop waren natürlich nicht zu erwarten. Zudem ist es ein Warnzeichen, dass sie beim Albumtitel den Sohn von Sänger Fran Healy vor Augen hatten und dem Nachwuchs mit "My Eyes" auch noch einen Song widmeten. Doch tatsächlich finden sie zurück zu eingängigen Melodien und großen emotionalen Momenten, und Songs wie "Battleships" versorgen uns nicht mit pathetischen Elternfreuden, sondern mit poetischen Erörterungen von Beziehungsfrust. Aber interessiert sich überhaupt noch jemand für Tavis' zweitbestes Album?

(cs) - "kulturnews.de"



The Boy with No Name, the fifth album by Scots alt-rockers Travis is their first offering since 2004's Singles. First impressions are of a band eager to break new ground – a positive sign given Travis haven't impressed for what feels like far too long. Opening track "3 Times and You Lose," gives the first sense of something more dynamic occurring within the band’s modus operandi - a feeling that's continued with the finger snapping side "Selfish Jean" (a clear echo of an old b-side) and the strangely upbeat, slightly minatory "Big Chair". The pared down lullabies on The Boy With No Name are good too: songs like "Out In Space," in particular show a more candid, open-minded side of the band. While it's not close to the golden glories of The Man Who or Good Feeling, The Boy With No Name is undoubtedly Travis's most diverse and enjoyable work in a while.

Danny McKenna - Amazon.co.uk



Early in their career, Travis sounded like Oasis crossed with U2, and as the years rolled steadily on, they gradually replaced Oasis with Radiohead, without ditching that devotion U2. Travis may have cut out any of their overt rock influences, yet they retained the everyday, boys-next-door image that was so common in all the post-Britpop guitar bands, and that humility served them well on their 1999 sophomore effort, The Man Who, a commercial breakthrough that also established the soft, shimmering sound that was their signature. Unfortunately for them, not long after that album, they were eclipsed by Coldplay, another Radiohead-U2 fusion that managed to keep some sense of majesty to their music, something that Travis, sensible lads that they are, seemed to studiously avoid. In the wake of that simultaneous success and eclipse, the group survived some professional and personal struggles, taking four years to record their fifth album, 2007's The Boy with No Name. Far from being a long-gestating leap forward, The Boy with No Name offers a comfortable, familiar Travis, but there is a slight, subtle difference: the band has truly embraced their modesty, settling into their gentleness. There's a mild, untroubling weariness to their performances here that suits them quite well; it deepens the music, makes their deliberate tempos resonate, it makes the quietness feel contemplative, it even makes the cleanliness of the production feel right, a reflection of their maturity. If the melodies don't really dig in, they nevertheless float sweetly, meshing into the overall fabric and feel of the album. If the music never quite soars, it never seems as if the band is struggling in vain to achieve take-off, either. For the first time since The Man Who, Travis doesn't seem to strive to achieve something, they just exist, and their music is better for it. They're still ordinary, almost painfully so, but they don't seem pedestrian, they seem to have weathered some ups and downs, channeling that experience into an album that has a slight, yet palpable, emotional resonance that their predecessors often lacked.

Stephen Thomas Erlewine - All Music Guide



"Travis' best feature remains Fran Healy's choirboy vocals, and the songs that stretch them the most in service of genuine soul - 'Closer' and 'Battleships,' as well as the stomper 'Selfish Jean' - are genuinely swell."

Alternative Press (p.151) - 3 stars out of 5



It's been four years since their last album, and Travis are trying to make up for lost time with The Boy With No Name, which is produced by longtime collaborator Nigel Godrich and sounds like an inferior remake of their 1999 album, The Man Who. Occasionally they attempt to rise above their signature light Brit-pop sound with slightly heavier tunes like "My Eyes Wide Open," but it comes off as forced. They're clearly more comfortable with schmaltz like the opener, "3 Times and You Lose," which is accentuated by a nice string section. Unsolicited advice: Producer Godrich needs to help Travis get past their Bends period and into OK Computer.

ANDY GREENE - May 14, 2007
Rolling Stone
 

 L y r i c s


3 Times And You Lose

I had a nightmare
I lived in a little town
where little dreams were broken
and words were seldom spoken

I tried to reach you
but all the lines were down
And so the rain began to fall
on this little town
...on this little town

The little people
had very little left to say
their words had all been shortened
It didn't really seem important

And I had a feeling
that you were very far away
but then a little voice inside me said
"you'll never get away from here"

And it's 1, 2,
3 Times and you lose
of course it doesn't matter how you say it
I'm all out of luck
so there's nothing really more to say
I'm throwing it all away

Well we had opinions
but now we all think the same
we never look at one another
only when the other suffers

And I thought I saw you
But it was just another face
Plastered on a blank horizon
running in the human race

And it's 1, 2,
3 Times and you lose
of course it doesn't matter how you say it
I'm all out of luck
so there's nothing really more to say
I'm throwing it all away

And it's 1, 2,
3 Times and you lose
I'm all out of luck
so there's nothing really more to say
I'm throwing it all away
throwing it all away
throwing it all away


Selfish Jean

Cheers
Thanks for everything
You hung me up by my heart
You're just so selfish Jean
Yes you are

Hey you
Threw it all away
By holding everything in
Hey Jean don't rock the boat
When you can't swim

Well a perfect understanding of the finer things in life
A quite alarming knack of knowing when to twist the knife
Ahhh-ahh
Selfish Jean

Here's to you
Who had everything
And left it out on the shelf
There's no one else to blame
Except yourself

Well a perfect combination of good etiquette and charm
You keep the chocolate biscuits wired to a car alarm
Ahhh-ahhh
Selfish Jean

But I'm standing on my own
And this house is not a home
It's so sad to see you go
Things are high, things are low
And it's good to know you know
If you got no WHERE to go
Well you could spend the night with me
There will be no guarantee that I'll be here

In the morning
Or any time that you call
I hear you snoring Jean
Through the wall

So hey
Here's to everything
To peace and love in our time
Ah Jean the slate is clean
I guess we're fine

Well I don't expect a miracle
I'm not asking you to change
If you can't see me happy
Well just look the other way
Ahhh-ahhh
Selfish Jean

Ahhh-ahhh
Selfish Jean

Jean
Oh yeah
Jean


Closer

I've had enough
of this parade
I'm thinking of
the words to say
We open up
unfinished parts
Broken up
it's only love

And when I see you then I know
it will be next to me
And when I need you then I know
you will be there with me
I'll never leave you

Just need to get closer, closer
Lean on me now
Lean on me now
Closer, closer
Lean on me now
Lean on me now

Keep waking up (waking up)
without you here (without you here)
another day (another day)
another year (another year)
I seek the truth (seek the truth)
We set apart (we set apart)
Second dance
Second chance (a second chance)

And when I see you then I know
it will be next to me
And when I need you then I know
you will be there with me
I'll never leave you

Just need to get closer, closer
Lean on me now
Lean on me now
Closer, closer
Lean on me now
Lean on me now
Lean on me now

And when I see you then I know
it will be next to me
And when I need you then I know
you will be there with me
I'll never leave you

Just need to get closer, closer
Lean on me now
Lean on me now
Closer, closer
Lean on me now
Lean on me now
Lean on me now

Closer, closer
Closer, closer


Big Chair

Well you know that I heart everything about you
And that's why it's quite hard to get through this alone

You're the only one I can talk to about it
In my darkest night I will be on my own

These walls that we climb are hard to recognize
They fall when I say your name

Here we go
Fast and slow
On the big chair

But we don't know
Where we're going
On the big chair

Don't you know it's hard, quite, in a time of confusion
To tell you that I love you

You see it could have been me instead of you
It could have been me if I wanted to
But it wasn't
So we'll have to face the truth

These walls that we climb are hard to recognize
They fall when I say your name

Here we go
Fast and slow
On the big chair

But we don't know
Where we're going
On the big chair

Time to pull the shutters down
Breaking clouds don't make a sound
When they cry

Here we go
Fast and slow
On the big chair

But we don't know
Where we're going
On the big chair

 M P 3   S a m p l e s


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