Goodbye Flatland

Ride - This is the kind of song that demands to be put at the front of the line. Hook heavy supercharged mid tempo crunchy rocker with an intriguing cohesion of sonic elements. All the science, art and soul that goes into bringing a rock song to life finds some representation in this mix. It raises the curtain and serves notice that 54 40 is in the house

Animal in Pain - This nugget rockets into outer aural space like a bat out of hell on a particularly hot day. Osborne pushes his upper register to the max and is rewarded for living on the edge. The song kind of demanded it," says Osborne I tried to sing it lower but it just wasn't as alive as the music track was...so I had to push it." It's loud, rowdy and playful. Any song that can work "Bedrock" into the mix more than worthy...hell - proof positive that 54 40 can rock it with the best of them. Note the sampled drum loop that kicks off Animal in Pain and sets the tone for the track. "It's from and old single from 1965, that Allen, our manager had kicking around the studio. The band was called The Grasshoppers and the song was called Mod Socks," says Osborne. " Allen alerted me to it suggesting it would worth considering if we were ever looking for a beat to play around with. Once I heard it - yeah...this is cool."

Take Me Out - What's cool about this track is that it evokes the sweet scent of vintage Euro-pop but without any of the goofy stuff. It rolls as it rocks. Osborne's lead vocal cut like a knife, Johnson' s beat is relentless and everything else just seem to hit all the right notes in this instant classic. A majestic sampled loop of an 19th century spiritual hymn sets the mood and the band takes care of the rest.

Hope The Hell I Haven't Died - The band gets revs up its engine for this four on the floor rocker - churning the sacred power chord into their own groovy brew. Osbornes' ability to infuse irony in his timbre allows him to paint an animated stroke across what is a rather dark lyric. Some nifty production with cascading counter melodies makes it even better.

Not Enough To Make You Happy - The band paints happiness deep black or at least deep blue. A crawling and very eerie guitar line only adds to menace of the driving beat. More sonic strokes of secondary harmony push the groove into a deep dark pocket. Watch your step.

Who Is Sylvia - The acoustic guitar makes it's first headline appearance to help Osborne tell the tale of Sylvia - whoever she is? The implied sense that something bad just happened or is about to happen gives this cut some mojo. A solid album track.

Broken Girl - A sadly beautiful melody that builds into a massive chorus and powerful performance. It's a serious song that demands your attention and heart.

Goodbye Flatland - It begins in a stark barren almost black and white place. A kind of neo folk and thoughtful passage of time vibe that ultimately kicks into wild funhouse ride of pure rock power. It's a surprise and effective.

Secret - The band manages to jangle without needing to jingle on this track which is a nifty trick - very meaty beaty big and bouncy. A tasty keyboard performance gives the mix just enough of twist to keep spinning in the right direction.

Giants - There's a guitar hook on this track that could land Moby Dick. Breezy acoustic treatment lets this track breath easy and achieve a very comfortable cruising altitude - it's a good ride.

Seventeen On - The Chorus treatment showcase the producer vision Osborne brought to the project. He's painting with sound. It's a compelling technique - a very subtle tractor beam that draws you in.

I Wish I Knew This is definitive and classic 54-40 tune. Relentless power and rhythm from drummer Matt Johnson and bassist Brad Merritt, the crafty edge of Phil Comparelli's guitar work and the signature phrasing, timbre and lyrical muse of lead singer Neil Osborne The bands goes out rocking, in balance and

Album Description
Vancouver's 54-40 takes their name from James K. Polk's presidential campaign slogan ''Fifty-Four Forty or Fight,'' which sought to expand the U.S. border northward. 54-40 formed in 1981, and by the time the band's self-titled album in 1986 arrived, their folk/roots approach had earned them favorable comparisons to R.E.M. Subsequent albums found the band moving into harder-edged territory. This is their 2003 album on Smilin' Buddha.