This came out in 2004 – or at least that’s when I got it. Here’s what I said about it back then (with some minor editing):
“Darren,” the e-mail began — never a good sign. “We’re about to start recording our new Tea Party record. Any advice to give in order to get a better review from you? … Thanks, Stuart, The Tea Party.”
My response? Two words: “Yeah, right.” Can you blame me? After all, it’s not every day — or any day, frankly — that rock stars petition me for input. I figured I was just getting punk’d by some wiseass kid with a bogus TeaParty.com address.
Long story short: I wasn’t. After several more letters — all of which I answered snidely — a mutual friend from the band’s label assured me that Stuart Chatwood, the bassist from The Tea Party, was indeed e-mailing me. By that time, of course, Stuart was fed up with me and didn’t respond to my apology. Can you blame him?
Had he been an even bigger glutton for punishment, however, my advice could have been summed up in another two words: Lighten up. As in, stop trying so hard. As in, enough with the bombastic songs and bloated arrangements and mystical lyrics and Middle Eastern flavours and endless overdubs. As in, how about making an album where you just plug in, crank up and rock out?
Well, after sampling their sixth disc Seven Circles, I began to believe that Stuart and his bandmates — singer-guitarist Jeff Martin and drummer Jeff Burrows — might have done just that. The first few tracks on this 11-song effort are some of the least affected and most energized work they’ve done in ages — even stronger perhaps than 2001’s so-called back-to-basics outing Interzone Mantras.
Opening single Writing’s On The Wall boasts a swaggering, muscular guitar riff, a pumping, funky backbeat and a simple, instantly familiar refrain. Stargazer ramps up with some neck-sliding power chords before launching skyward with a surging, melodic chorus. One Step Closer Away, like its title, is a yin-yang affair that alternates between a smoky low-wattage groove and some dinosaur-howl riffage. Not bad, I said to myself — three tracks in and not an oud in earshot.
Sadly, I spoke too soon. After that strong beginning, the boys lose their momentum. And Seven Circles devolves into — sorry, Stu — just another Tea Party album. As in string sections. And exotic percussion. And squiggling, swirling synths. And long-winded, plodding power ballads. And every other cliche that people like me dislike about The Tea Party. There is an oasis in this painted desert: Overload, a blast of chugging classic-rock swagger that’s one of three cuts produced by hitmaker Bob Rock. After that, Seven Circles’ second half slowly but surely unravels into nothingness with a series of forgettable mid-tempo rockers and yearning, turgid ballads.
And that really is too bad. Partly because the band seemed close to a musical breakthrough. And partly because I would dig hearing a Tea Party disc that rocked from front to back. But mostly it’s a bummer because the only rock star who ever asked me for advice sure won’t wanna be pen pals after this.
In fact, I figure if I get another letter from Stuart, it will consist of two words — and they won’t be ‘lighten up.’ Can you blame him?
