Southern California up-and-comers Reeve Oliver boast their five-year-in-the-making self-titled debut album. Upon listening to this CD, all I can say is that the five years were well worth it. Reeve Oliver is more than just a collection of pop-rock tunes, but one of the few albums in this world that I can listen to, top to bottom and not get bored and that says quite a bit. This is not an album where you can download the one or two good songs and leave the rest by the wayside. It is a “musical journey,” as cliche as that may be, through those years of songwriting and performing.

Founded in San Diego by front man Sean O’Donnell, Reeve Oliver turned from a solo project for Sean’s creative outlet, to a full-fledged creative force around 2002. While working at Sea World entertaining crowds in between dolphin shows, he joined with
fellow Sea World entertainer and drummer Brad Davis. Rounding out the line up was bassist O., a former front man for another local band. By 2003 the trio had taken home Best Rock Album at the San Diego Music Awards in 2003 with merely a six song EP.

Now with their 11-track debut album ready, there is no stopping them. Reeve Oliver has a very melodic pop-rock sound, something like Foo Fighters, Fountains of Wayne, and at some points Dashboard-esque, but throughout the album they stay true to their unique blend. I can really imagine watching some teen-movie with these songs in the background, not that a teen-movie is something to strive for, but hey, it’s just an observation.

On some of the tracks, such as “(Your Own Private) Ice Age”, “Yer Motion” and “Inhale/Exhale”, there are extended endings. There is a collection of noises such as airplanes, elephants and a mechanical voice repeating, “it’s not my fault” in “Ice Age”, and there are video game beats and pitch shifting vocals in “Yer Motion”. I can’t be sure of the reason for these, perhaps some kind of inside joke, but they seem to detract from the album as a whole. The songs themselves add a great deal to the flow of the record, but these 30 second spots undermine all the work each song had contributed. The exception is the piano outro of “Until Someone Loves You”, which leads into the next track, “Inhale/Exhale” quite nicely. But again with “Inhale/Exhale”, the repetitive ending seemed to wear on me after a bit. It was saved by the next track “Revenge”, which injected some needed energy.

“An Offer She Can’t Refuse” is the “acoustic” song that just about every rock record has, but for me, this song is the crowning jewel
of the album. It is an absolutely gorgeous and bittersweet love song, with some apparently tongue-in-cheek lyrics, which seems to be the pinnacle of Sean O’Donnell’s writing so far. The lyrics are about some kind of assassin or mobster (get the title?) saying how difficult it is for someone to love him, but regardless, I fell in love with this track. At first, I was a bit thrown off by the click track accompanying the song, but after a few listens I didn’t mind it so much. Aside from wishing there was more violin, this track is flawless.

During my first listen to “Offer” I was euphoric. Then, quite abruptly, the interestingly named rock tune “Sizzle Digitz” came on and it seemed to belong at the beginning of middle of the album. I went back later and listened to the track by itself. It was pretty good. But coming after “Offer”, I could not get into it. I felt kind of cheated out of the experience. “An Offer She Can’t Refuse” is most definitely and end-of-the-album kind of song.

Reeve Oliver will see plenty of airtime on my iTunes. It’s overflowing with raw energy and emotion, but simple enough to just plain rock out to. I’m looking forward to hearing from these guys in the near future, and definitely stopping by a show. It is rare to see a debut album with sophomore level maturity, but I suppose that’s what five years gets you.