Although their press release informs that TONIC have previously released two albums (platinum selling in the case of the second one, "Sugar"), to this writer the Los Angeles-based quartet were something of an unknown quantity prior to the release of this record.
However, the fact that ex-CULT desk man Bob Rock is at the console and REM/ BECK drummer Joey Waronker is behind the traps was enough to pique interest and, indeed, "Head On Straight" is certainly a fiercely impressive creature, more than capable of strutting its' sonic finery in public.
Actually, Bob Rock was obviously a good choice of producer, as - stylistically at least - a fair portion of "Head On Straight" is not too dissimilar to THE CULT circa their arena-bothering "Sonic Temple" period, although thankfully Emerson Hart, Jeff Russo and Dan Lavery's largely intensely personal songs are entirely devoid of Ian Astbury's rather wearing, pseudo-mystical lyrical schtick.
Nonetheless, much of "Head On Straight" contains primary colour-wearing, headline-writing, straight ahead ROCK, with all the requisite big choruses and a surprising (and likeable) propensity for three-way harmonies not normally glimpsed within a million miles of such piledriving songs.
Indeed, when this formula works, it's very hard to deny. The dark, unrepentent "Roses" is a fine opener, with Emerson Hart telling it like it is via cutting lines like: "If you wanna hear 'I need you', then prove it". Songs like the enormous "Do You Know" and the title track work similar sonic successes, with Hart's plaintive vocals and TONIC'S obvious sincerity shining through.
For this writer, though, TONIC are particularly good when their gleaming 4x4 veers off the highway and heads for previously uncharted territory. "Liar" features the kind of brutal riffage attack that only stops marginally short of Rock's other production charges METALLICA, and summons up a sleazy, accusatory stance thanks to Dan Lavery's filthy bassline; "Come Rest Your Head" features Lavery and Waronker (who's monolithic throughout) gettin' all funky on yo' ass and the bright, catchy "Believe Me" finds TONIC coming over all spangly and (dare I say it?) '60s-obsessed. Very credibly, I might add.
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The experiments don't always work, though. Your reviewer's at best uneasy about the mawkish "Irish", where the band desperately try to shoehorn Celtic mythology into rock shapes. Lads, regardless of your ancestry, you're never gonna be Phil Lynott, so leave it out, eh? On the other hand, the other thing I can do without is "Count On Me(Somebody)", which is an inspid, lighters aloft soft metal effort, no matter how many FM playlists it's capable of ripping up.
Nevertheless, with "Head On straight", TONIC marry heart-on-sleeve romanticism with a huge and unashamed rock sound in a convincing fashion. They are purveyors of a big, brash sound with enough emotion and sensitivity involved that you don't have to be embarrassed in admitting you like it.
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