Artist: American Hi-Fi
Album: Hearts on Parade
Label: Maverick
Tracks: 11
Length: 38:23
Review by: Justin Carretta

Stacy Jones’s emergence from behind the drumset may not have gotten the attention that Dave Grohl’s did, but he’s developing as a solid songwriter and singer as American Hi-Fi returns with their third album, Hearts on Parade. Formerly known as the drummer for Letters to Cleo and Veruca Salt, Jones formed American Hi-Fi and their self-titled debut was released in 2001, where they hit mainstream radio with the smash “Flavor of the Weak.” (You remember-“Her boyfriend-he don’t know anything about her....I wish that I could make her see...”)

However, their 2003 followup, The Art of Losing, didn’t approach the same level of success it’s predecessor did. If they succumbed to a sophomore jinx, they’ve righted the ship here.  Hearts on Parade shows a higher level of maturity but also maintains the energy and goofy good nature of their previous albums. The best song on the album is “Hell Yeah,” which sounds destined to be a big radio hit. The chorus of “Hell yeah so young and fine/Could she be the one my baby/I’m gonna make her mine/At least for tonight” could make the song the biggest hit the band has had since “Flavor of the Weak,” and once you hear it, you’ll know why.

The rest of the album is solid. “Hell Yeah” is not the album’s first single-that honor would go to “The Geeks Get the Girls,” which will further solidify their place in basements for kids playing D D, the perfect solution for people who think the Barenaked Ladies aren’t punk enough and Weezer is too punk. “Something Real” could be a B-side off of Oasis’s What’s the Story Morning Glory sessions, while “Highs and Lows” has a guitar riff that sounds like it is lifted straight off London Calling. They even have a little ska/reggae feel on the poppy “Where Did We Go Wrong.” This experimentation with style is done very well, with the exception of “Separation Anxiety,” where they feature  hollow guitar tones and distorted vocals, but it sounds cluttered and forced. Yet the fact that they are trying so many things and are mostly successful is encouraging and shows they are willing to evolve and try new things.

Overall, American Hi-Fi are better suited to the faster paced songs than the slower, but that doesn’t mean they should give up on the slow stuff entirely, just that they should be more selective with what goes on the album. While ballads like “Something Real” and “Baby Come Home” are good songs, the band still is at its best with upbeat, happy anthems. Sometimes the ballads simply don’t work (“Hearts on Parade” drags on too long, and the verses and bridge on “The Everlasting Fall” are monotonous, although it has a great chorus). There is a lot of potential here, and I expect their next album to be even better, but for now, I would recommend picking this one up; you won’t be disappointed.