The debut album from the self proclaimed ‘ultimate festival band’ is an eccentric, upbeat mish-mash of genres, ranging from smooth motown to country twangs. While on paper this may seem to set itself up to be a colossal mess, the Glaswegian band has managed to put together a well-organised, highly enjoyable record. The album is more than successful in living up to its title, ‘Party to Make Music To Party to Make Music to Party’, with feel-good, whimsical tracks that cover a variety of subject matters.
On listening to the album, it’s clear that the band don’t take themselves too seriously, and entertainment is their number one agenda. Their tongue-in-cheek humour is immediately evident from the song titles, and is only solidified by the musical content.
The opening track and lead single from the album ‘How Many Many’s are Too Many Manys’, blasts onto the scene with its high energy, big-band feel, and contains the kind of foot-tapping, head-bopping rhythms that live up to the album’s title.
Yet, despite the band’s tendency towards whimsy, the album still offers substance and deeper ponderings, particularly in the track ‘Junkie Breakfast’, where the group broach the subject of addiction. ‘Gay Icon’ also takes on a more serious topic, tackling the issue of gay marriage. The band’s outrageous nature still shines through all the seriousness, though; at one point the singer yells ‘take me homo!’ to introduce the piano solo.
From there the group undertake a plethora of genres, producing a number of stand-out tracks. ‘Capturado’ seems to parody the music of westerns with its galloping drum beats and western themes, complete with gunshot sound effects that instantly evoke images of rolling tumbleweed and dualling cowboys. ‘International Sex Hero’ brings us straight back to the disco music of the 80’s, while ‘Ecological Damage’ is infused with rock and roll elements, with vocal harmonies reminiscent of The Beatles’ early hits. Closing track ‘Ginger Girl’ mocks the trope of the lovesick country singers who wail about heartbreak, reiterating the life lesson that ‘it always ends in tears with a ginger girl’.
The comical and wacky nature of the lyrics might make it too easy to overlook the music, but Colonel Mustard and the Dijon 5 have proven themselves to be capable musicians, with strong vocals and harmonies, as well as many virtuosic instrumental parts throughout the album.
In less capable hands it would be easy for an album like this to descend into complete chaos. In a sense, that’s exactly what the album does, and the ridiculousness of it all might not be for everybody, but this particular listener was enthralled by the band’s unique way of combining comedy and music to create an impressively compelling record. Colonel Mustard and the Dijon 5, have set out to entertain, and entertain is what they have done.