Ted Poley Greatestits
by Derric Miller
Staff Writer
Ted Poley, the singer/songwriter best known for being the voice of Danger Danger, must be having a hell of a good year. Not only did his genre-defining band Danger Danger make a comeback studio release that actually met and exceeded fan and critical expectations, but he somehow managed to cull together and release a greatest hits package, a two-CD set lustily titled Greatestits. Poley has never slowed down, and once you hear these songs from prior bands, solo efforts and projects like Bonemachine, Melodica, Poley/Pichler, Pleasuredome, Poley/Rivera, etc., you’ll damn near demand he keep up this frenetic pace.
CD 1 features some of his newer and better known solo work, with songs taken from Collateral Damage and Smile. Therefore, it might be more fun to dive into a Poley/Pichler song, like “You’re the One.” If you thought Poley used a smooth delivery in Danger Danger, whatever playful or sexual innuendo he used in that incarnation is out the window. This is pure, cotton-candy Pop Rock. With mellow acoustic guitars, faint keys and drums you can barely notice, it’s mellower and more mainstream than nearly anything you’ve heard from Poley before, which speaks volumes considering his overall history. “Let Me Out” is a bit more upbeat, yet still is about as heavy as the theme song to “Friends.” This isn’t a knock or criticism; it’s merely a side to Poley many may not have been aware of.
The band Bonemachine received a bit more fanfare, and when you hear “Missing You,” it’s clear why. Taken from Bonemachine’s Disappearing Inc., “Missing You” is along the lines of a John Waite hit song, but not THAT one. Poley’s effortless delivery should make other singers envious, if they attempt to carry a tune and always sing pitch-perfect, that is. “Shellshocked,” from the same Bonemachine release, is a stranger, grittier composition, with odd pounding rhythms and guitar licks and bass lines that really push that tempo.
The second Bonemachine release, Dogs, closes out disk 1. “Simple Life” is the one that takes the most chances, a funkified rocker with Poley stretching out of his comfort zone, singing with a bluesy and more wailing style. The last song, “Phone Sex,” just proves that boys will be boys, probably on a Saturday night, especially when they get naughty naughty. (Had enough yet?) Anyway, it’s a goofy composition, but still worth cranking a few times.
Disk 2 features the bands Melodica and Pleasuredome, and Melodica’s “Lovemetal” is the second song. Out of all the tracks here that scream “hit song,” this is probably the loudest screamer. How this wasn’t a Top 10 hit just goes to show radio hates music, but with the soaring yet subtle keyboards, flowing melodies and a diabetes-inducing sugary chorus, you’ll be singing along over and over.
“One and Only” from Pleasuredome carries a bit more updated Rock tone. It will remind you of a Danger Danger hit, but in a lot of ways, everything he sings on will remind you of Danger Danger, and that’s the way it should always be.
“If I Were James Taylor,” a song from his project with JK Northrup, is an acoustic ballad, an atmosphere Poley always shines in, when his voice is out front and uncovered from overproduction or other sonic barriers. “I’d write how much I miss you, but I’d take way too long. If I were James Taylor, I could finish this song.” This is one you’ll go back to again and again.
The heaviest song you’ll ever hear Poley sing on, thus far in his career, is “Wastin’ Your Luv,” a song he recorded with guitarist Jack Frost. It’s obvious Frost influenced Poley to maybe channel some of his inner Rob Halford, because the machine-gun pacing on the vocals and meaner, almost shouting manner during the verses is atypical for Poley. Can Poley sing this type of track with honesty? Hell yeah; it makes one wonder why he doesn’t go the heavier direction more often, because it’s impressive.
As you get to the end of Disk 2, you hit the unreleased demos. “You Won’t See Me Cryin’” is more of the safe Poley, a bass-driven mid-tempo Rock anthem right in his vocal comfort zone. When you compare the 2009 Poley to his much younger version, the only real difference is that he is a bit smokier on the lower notes; he just sounds more manly than he used to. Otherwise, the range is still there, and he’s only gained in overall ability through the years.
Greatestits closes with the parody of the KISS song “Unholy,” called “Ted Poley,” written by C.C. Banana and recorded with guitarist Chris Caffery. “Ted Poley, I’m so much more than a man! I’m Ted Poley!” The lyrics are funny, but it’s actually the vocals and mocking, umm, emulation of Gene Simmons that brings forth the chortles.
The best singers are the ones you can identify the moment you hear them, the ones that flaunt their own inimitable style. It doesn’t matter what kind of song, how heavy or soft the track may be, you know it’s Poley the moment he hits note one. Lucky for you, he hits a lot more than one note on the 33 songs from his past on Greatestits.
Disc 1.
1. Yeah You Want It
2. What If She Knew
3. Waiting Line
4. Maybe
5. Deep Inside
6. Going Blind
7. I Love You
8. You’re The One
9. Let Me Out
10. Missing You
11. Anisha
12. Shellshocked
13. Mrs Frankenstein
14. The Song
15. Life And Times
16. Simple Life
17. Phone Sex
Disc 2.
1. Luv On Me
2. Lovemetal
3. One And Only
4. Praying For A Miracle
5. Only Human
6. Crossing This Ocean
7. Perfect Imperfection
8. If I Were James Taylor
9. Takoyaki Rock
10. Wastin Your Luv
11. Listen To Ya
12. Smile
13. You Wont See Me Cryin
14. Tokyo Nites
15. A Letter To Santa
16.Ted Poley (Parody of the KISS Song “Unholy” by C.C Banana w/ Chris Caffery)
HRH Rating: 8.1/10