Sometimes a cheap, randomly purchased CD can go a long way. Such is the case with the self-titled sophomore release from short-lived rock band Nancy Boy.
The quality of the music produced by Nancy Boy had less to do with their demise than did their famous names, pretty faces, and progressive tunes. Formed in the early 1990’s by Mike Nesmith and Donovan…errr…scratch that. Formed in the early 1990’s by guitarist Jason Nesmith and vocalist Donovan Leitch the alternative-garage-glam act never got the respect they deserved. Nesmith is of course the son of a former Monkee while Leitch’s father is best known for Mellow Yellow. Incidentally, Leitch was also a relatively successful model at the same time he was recording with Nancy Boy. Other members Luis Conte (percussion), Howard Hughes (keyboards), Nigel Mogg (bass), and Mike Williams (drums) soon joined the duo to complete the band’s lineup.
The unfortunate thing about Nancy Boy was that they had more than just a little promise. But in the wake of the dying grunge movement, the band just seemed too odd for many listeners who wanted nothing more than a straight-ahead rock band or mindless pop. Instead what prospective fans got was something of a mix of punk (and bratty little brother new wave), glam, and rock. A great mix to say the least but unfortunately coming about seven or eight years too soon for most listeners and buyers. And, as already mentioned, critics took issue with Nesmith and Leitch and seriously doubted their abilities as artists. That was a mistake as evidenced on at least one of their two full-length albums.
Nancy Boy debuted on an indie label in 1994 with the Johnny Chrome and Silver EP. A year later, the band returned with their full-length debut in the form of Promosexual. It was by no means a perfect album, but the music it contained was an appealing rock and roll revamped blend of Suede, Pulp, and Mansun. The band soon found themselves with a major label contract from Elektra and released their major label debut Nancy Boy.
A styling appealing rock album, Nancy Boy (1996) is a great find for existing fans of similar more successful acts. Nesmith’s guitars are brash and loud while Leitch’s vocals are unconventional yet somehow also completely confident. These two characters team wrote the vast majority of these tracks and seem to be the driving force behind Nancy Boy. This equation worked extremely well as evidenced by this collection of consistently high quality songs.
Kicking off with Deep Sleep Motel, Nancy Boy takes listeners on a fast, joyous, entertaining, and diverse trip. The album is not by any means perfect…it at times is difficult (as are Leitch’s vocals) but overall it is a much better than average outing unquestionably worthy of any burgeoning rock/pop/post-punk music collection. It is with Deep Sleep Motel that listeners will get their first taste of the band and their invigorating rock. Beginning slowly, lightly, and methodically the track breaks into electric guitar riffs and thumping guitars and is soon joined by Leitch’s vocals. A mid-tempo melodic rocker, this is one of the most appealing songs on the entire album.
But Nancy Boy is by no means limited to just one luminous track. The album is probably strongest early on with the self-assured synth-rock of Can You Dig It and the Duran Duran-esque new waver Johnny Chrome & Silver. The band could sound like some bad throwback to 1985. In fact, Nancy Boy managed to successfully modernize an old formula with a heavy hint of rock. The distorted vocals and keyboards are techniques of yore, but Nesmith’s guitar adds something special to the blend. It is wonderful music.
Even on Sometimes, where Leitch’s vocals are probably the weakest, it’s easy to look past the slight problems and embrace the flowing and loving ballad. Once again concentrating on the keyboards and guitars (this time acoustic) the song is damn decent. Colors picks up the pace with an upbeat tempo and pleasing melody. But it’s on Foxtrot that Nancy Boy really comes into their own. Upbeat, snotty, and cleanly produced the song is pure genius. Leitch speak-sings just in front of his chanting bandmate(s) through much of the song. To break up the monotony, Nancy Boy throws in the occasional rockin’ chorus. Foxtrot is a must hear.
Rocking Chair is one of the weaker offerings…when the band breaks a choppy melody the song soars. Otherwise, it is mediocre especially in comparison to the other tracks. The soaring acoustic-yet-futuristic Dearest Girl is one of the strangest tracks on Nancy Boy. With that said, it is also a lovely and majestic track that sounds like something from Queen as interpreted by Suede. Sounds interesting, right? It should…
Also worth hearing is I Don’t Mind, a song that contains one of the most infectious choruses on this entire album. Without question, this upbeat, quirky pop-rock epic should have been a hit. The fact that so few people have ever heard it is a damn shame:
I don’t mind if it means that much to me
I don’t mind if I’m by myself
I don’t mind if I never ever see you again
The three of the last four tracks are somewhat of a disappointment in the context of this otherwise high quality album. Mother’s Ruin is an outlandish and unappealing blues-rock track while W.R.I.P is initially of interest with the superfluous mention of Detroit City but flops around without rationale for the remaining few minutes. Punk rock Ultrasex is a refreshing change and somewhat reminiscent of both Bad Religion and new wave, but Nancy Boy isn’t particularly good wearing the punk hat. They were better at being an alt-rock band.
Nancy Boy wraps up with You Deserve a Place. While the three preceding tracks are inadequate, this is a sweeping mid-tempo pop-rock track. It serves as another reminder that too few people have heard this band and this above average album.
While not perfect, Nancy Boy is a good buy for most listeners of pop-rock. As far as I can tell, it is no longer in print but copies can easily be gotten from Half.com for less than a buck. The lack of support Nancy Boy felt for this album hindered the band’s career…they went their separate ways not long after. Though it seems likely that Nesmith and Leitch will eventually resurface.
Rating: 4/5 stars
Track Listing:
01. Deep Sleep Motel
02. Can You Dig It
03. Johnny Chrome & Silver
04. Sometimes
05. Colors
06. Foxtrot
07. Rocking Chair
08. Dearest Girl
09. I Don’t Mind
10. Mother’s Ruin
11. W.R.I.P.
12. Ultrasex
13. You Deserve a Place
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