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Scissor Sisters - Ta-Dah

Ta-Dah

Scissor Sisters - Ta-Dah

18 September 2006

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  • Life has taken New York's Scissor Sisters on a sensational journey. Little could lead singer Jake Shears have realised when he was a stripper and wannabe songwriter in 2000 that within six short years his colourful combo would have one of the Top 50 best-selling albums of all time in the UK. He would have been equally taken aback to learn that not only would his hero Elton John approve of their first album, but agree to collaborate on the second.

    There's nothing low-key about the Scissor Sisters, and naming the traditionally difficult second album 'Ta-Dah' suggests that they are about to pull off another feat as magical as 2004's self-titled debut. Certainly the early evidence was promising, with the debut single I Don't Feel Like Dancing going straight to the top of the charts, and showing that they had lost none of their high-energy glam-disco appeal.

    Nevertheless, digging a little deeper proves somewhat tricky, as their follow-up release rarely matches the heights of its predecessor. They've lost none of their spunk, but two years traveling the globe to promote their brand seems to have had a knock-on effect on the quality of the songwriting. Sure, the production is glossy - arguably too glossy - but repeated listening yields few killer hooks that made the likes of Take Your Mama or Filthy/Gorgeous instant modern classics. Instead, it largely sounds like Barry Manilow meeting 10CC at an Earth, Wind and Fire concert and then pulling an all-nighter in the studio.

    The band's colourful vaudeville heritage is reflected in tracks such as I Can't Decide and Intermission, while She's My Man presents a sub-Shaft-style riff. Similarly, while Ooh has the potential to be a floor-filler, even it suffers from being derivative. Only the final track - Transistor - reflects something of a departure, with its mid-70s Bowie feel.

    No doubt the millions who bought their first album will go out in droves and send Ta-Dah to the top of the charts. But they might just find that when they have listened to it, their strongest urge will be to stick the first album back on again. The old lesson of be careful what you wish for might also be pertinent here: the band certainly doesn't want to become as musically irrelevant as Elton John has been in the last ten years. If anyone's looking for clues as to who their next mentor might be, then Track 9 is a paean to Paul McCartney. A disco version of The Frog Chorus anyone?

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