american professionals. faking it. review by alan haber. buhdge

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Faking It The American Professionals Ethic (2004) The one-man-band still fascinates me. How could someone be adept and versatile enough to play most or all of the instruments on an album? How does the proverbial someone do that? I mean, it can't be easy to build a track from scratch, unless of course you've done it a couple of couple of times, and it is obvious that Chuck Lindo, who essentially is the American Professionals, has. Playing just about everything except drums, Lindo has raised the one-man-band stakes to new, unchartered heights. And, what's more, Lindo is a great songwriter, varied in his approach, able to play with his voice and make it suit the confines of a particular song whether the need be for a sweet or hard charging vocal attack. He knows the lay of the land, that's for sure, and he displays that knack, that incredible knack, throughout this, the American Professionals' debut album. It's a keeper, and one of the best pop albums in many a year. Working within the wide breadth of the pop landscape, Lindo has fashioned 11 melodic gems (and paid tribute to Neil Young with a modern take on "Don't Let It Bring You Down") that pay tribute to his influences at the same time as they forge new, distinctly Lindo-esque territory. Take the propulsive "Can't Hang Around," during which he does his best Brian May impersonation during the instrumental break, the filling inside a shell of rock and acoustic bliss, singing as a character who is trying to escape from his own skin, of which he seems to be plenty sick. Lindo writes about flawed characters. Take the guy at the center of "That Would Be Me," a textbook mixer and winner of the World's Worst Boyfriend award. "Who pulled the rug out when you got down on your knees/That would be me," he sings, surrounded by sumptuous background vocals and a catchy pure pop attack. The man at the center of "Big Surprise" pleads for his girl to see the big picture: "So close your mouth and open your eyes/Then what I might say won't be such a surprise/And then you'll see what's not wrong with me." And even though the sad sack at the heart of "Space Between" is a shining defeatist ("If there aren't any problems/I'm sure I can make some/If I get a free day/I know how to waste one/If I can be alone/I know where to find someone/If they're coming to me/I can make them go away"), he knows the way to patch things up: by filling "...the space so I can get to you somehow." Lindo weaves his three-dimensional tales with grace and bottomless talent, hooking the listener with equal weight given to the words and music. The total effect is quite something; it is obvious, from the first song, that Lindo is a major talent, and that the American Professionals' debut is simply smashing stuff. Which means that when you want something done right, you call a professional. Lucky there's one to serenade you. Alan Haber February 8, 2005
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Faking It
The American Professionals
Ethic (2004)

the american professional's faking it The one-man-band still fascinates me. How could someone be adept and versatile enough to play most or all of the instruments on an album? How does the proverbial someone do that? I mean, it can't be easy to build a track from scratch, unless of course you've done it a couple of couple of times, and it is obvious that Chuck Lindo, who essentially is the American Professionals, has. Playing just about everything except drums, Lindo has raised the one-man-band stakes to new, unchartered heights.

And, what's more, Lindo is a great songwriter, varied in his approach, able to play with his voice and make it suit the confines of a particular song whether the need be for a sweet or hard charging vocal attack. He knows the lay of the land, that's for sure, and he displays that knack, that incredible knack, throughout this, the American Professionals' debut album. It's a keeper, and one of the best pop albums in many a year.

Working within the wide breadth of the pop landscape, Lindo has fashioned 11 melodic gems (and paid tribute to Neil Young with a modern take on "Don't Let It Bring You Down") that pay tribute to his influences at the same time as they forge new, distinctly Lindo-esque territory. Take the propulsive "Can't Hang Around," during which he does his best Brian May impersonation during the instrumental break, the filling inside a shell of rock and acoustic bliss, singing as a character who is trying to escape from his own skin, of which he seems to be plenty sick.

Lindo writes about flawed characters. Take the guy at the center of "That Would Be Me," a textbook mixer and winner of the World's Worst Boyfriend award. "Who pulled the rug out when you got down on your knees/That would be me," he sings, surrounded by sumptuous background vocals and a catchy pure pop attack. The man at the center of "Big Surprise" pleads for his girl to see the big picture: "So close your mouth and open your eyes/Then what I might say won't be such a surprise/And then you'll see what's not wrong with me." And even though the sad sack at the heart of "Space Between" is a shining defeatist ("If there aren't any problems/I'm sure I can make some/If I get a free day/I know how to waste one/If I can be alone/I know where to find someone/If they're coming to me/I can make them go away"), he knows the way to patch things up: by filling "...the space so I can get to you somehow."

Lindo weaves his three-dimensional tales with grace and bottomless talent, hooking the listener with equal weight given to the words and music. The total effect is quite something; it is obvious, from the first song, that Lindo is a major talent, and that the American Professionals' debut is simply smashing stuff.

Which means that when you want something done right, you call a professional. Lucky there's one to serenade you.

Alan Haber
February 8, 2005