Opening with a song called SORRY (SHE WENT DOWN ON ME BUT I THOUGHT ABOUT YOU), its clear that Glyn Bailey is a singer/songwriter coming at things from a quirkier angle than the majority of po-faced navel gazers of late. Its a bit of a shame that the song sounds like the kind of drive time rock that screams mid life crisis, but still full marks for effort. The mock operatics of EAST & WEST, are an indication of diversity and variety - dueting with the Toyah-like Anne-Marie Schuller over baroque piano chords and showing off his deft way with biting lyrical phrasing, interesting and arresting to say the least.
It’s the swirling walls of sound and noise that make up DON'T JUST SIT THERE (DO SOMETHING) that mark the first indication that there's more to Glyn Bailey than clever lyricism and quirky songwriting. A proper grown up pop song, albeit a prog rock pop song in the vein of Roxy Music, XTC or The Soft Boys - this is a coming together of catchy melodies, infectious musical hooks and a nagging sampled beat that runs through things, grabbing hold of you right from the start and refusing to let go again until the very end. The acoustic guitar and accordion driven L'HUMANITE may play the quirky card once more, but it is a song that gently grows on you - the slight wafts of cheesiness fading and giving way to a sweet song hung around catchy melodies and a heartfelt warmth. Owing a few debts to the first Oasis album, HE SAYS SHE SAYS is a more rocking affair that throws around some serious guitar licks and ultimately ends up sounding like Noel Gallagher guesting on a Crowded House song.
It's probably fair to say that Glyn Bailey has a voice that is more functional than amazing, he sings in a style that has vague echoes of Robyn Hitchcock in places, Bob Dylan in others - its a voice that nevertheless suits his songs perfectly. The ambitious space rock of MY LOVE IS OUT IN SPACE, finds Glyn stretching himself further than before - hitting growling rock peaks on the choruses and harmonising in other worldly fashion during the quieter moments. FLOWERS EVERYWHERE is a sombre acoustic ballad that forgoes quirkiness for a heartfelt honesty and compassion while A DREAM OF LAUREL & HARDY sounds like the result of a collaboration between The Psychedelic Furs, The Blue Nile and Depeche Mode.
THE PLASTIC BAG SONG (FACTS) may on the surface sound like Roxy Music reinterpreting What A Wonderful World as a feelbad anthem, but under the surface lies a song that hides biting social commentary and reveals another example of Glyn Bailey's lyrical talents.
TOYS FROM BALSA may not be an album to set your world on fire, its more an album of gently affecting pop songs to bring a wry smile to your face and a spring to your step. As the closing sounds of the Vaselines-eqsue JOHN & YOKO IN BED play out and have you tapping your toes once again, Glyn Bailey should be safe in the knowledge that he's made an album that while doesn't amaze, at the very least brightens your day and feeds your imagination a little.