Local Wire

You Asked for It: Prehab

One is Too Many (A Thousand Is Never Enough)

If Prehab's One is Too Many (A Thousand Is Never Enough) sounds a little too polished to be a debut, there's good reason. The guys spent five years as The Bedspins in the mid-90s, racking up 500 shows and serving as songwriters for the producer behind Tempe's Gin Blossoms. They broke up, as bands are wont to do, and stayed that way until a mutual childhood friend died of a brain hemorrhage. After seeing each other at his funeral, they thought it might be cool to get the band back together. After a few other twists and turns -- events that forged their new identity as a drug concept band -- they guys eventually reunited and, musically, pretty much picked up where they left off.

All those detractors of the country-tinged pop-rock of Mill Ave scene are going to:

a) hate
b) loathe
c) despise

this band, but I really dig them, even if they're doing a style of music pioneered by The Eagles and (arguably) perfected in Tempe in the mid-90s. One is Too Many is a polished, mature effort with more than a few memorable moments.

Opening up with "Junkie Town: Act I," an artfully lo-fi folk track that introduces to the concept that "the only thing a junkie can change is the stuff they take," which dominates the album. "Black Night" is a real gem, showcasing spectacular vocals from Chris Kay, who sounds a lot like Live's Ed Kowalczyk. The second track, "The Man With No Skin" has a Tom Petty vibe, as the guitars get really, really jangly.

The funk-infused "Freaky" is one of the lowlights, as warbling, distorted guitars and an attempt to get sexy before it's revealed to be a breakup song don't work well. Things pick back up with "Turning Blue Again," one of the more country songs on the album, which will have every foot in earshot tapping.

Overall, I was pretty impressed with Prehab. Certainly, One is Too Many is the best drug-themed album by a 90s redux band I've heard recently and one of the better recent offerings featuring the classic Mill sound.

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Martin Cizmar
Contact: Martin Cizmar