You Am I are beloved in their native Australia, and, without being too glib about it, it seems fair to posit that they actually sound exactly like that kind of band: polished, palatable, and boasting the quasi-confident swagger that comes from nabbing three number- one records in your homeland but enjoying relative anonymity almost everywhere else-- especially the market-saturated States. Because despite some fairly rousing recommendations from members of Sonic Youth (Lee Renaldo helped produce their 1993 debut, Sound As Ever, which, curiously, was recorded in Canon Falls, Minnesota) and smiley kudos from the kids in Soundgarden and the Strokes, You Am I have suffered a Robbie Williams-style, collective "Eh?" from insular American listeners since the band's inception over a decade ago. It's weird, because on Deliverance, their fifth full-length, You Am I seem so blatantly influenced by elements of classic, early 70s Americana-rock and moody, southeastern alt-country that it's hard to imagine their songs being more instantly applicable to any other landscape.
You Am I's questionable band name is fairly funny in the proper context (it was plucked from the well-wet mouth of a rambling fan who was caught spouting broad philosophical treatises at a YAI show), but that's not especially helpful to anyone without a press kit or band biography. Instead, You Am I bank on the songwriting proficiency of frontman Tim Rogers, who consistently crafts catchy rock songs with big, singalong choruses and easily air-guitarable riffs.
For the most part, You Am I are a noodle-heavy outfit willing to take the occasional detour toward catchy pop hooks or porch-country bellows. Deliverance evidences all of the band's sonic tendencies, from acoustic ballads to modern rock singles to wild electric romps, brought to fruition-- the record is a varied, occasionally scattered bit of tight-pants guitar rock in the grand tradition of albums by the Black Crowes, or, in the band's better moments, the Allman Brothers. You Am I don't break much new ground here, but Deliverance is still a solid showcase for Rogers' innate songwriting knack, and a carefully crafted, well-realized rock record.
"One Trick Tony" sees Rogers' high, straining vocals and ample wah-wah swinging back and forth, boisterous and bluesy; "The Wrong Side Now" is a gentle acoustic lament, subdued and sweet (check the acoustic breakdowns and shimmery chimes!) "Nifty 'Lil Number Like You" is all country twang, dynamic vocal teasing, and foot-tapping prances.
Mostly, You Am I just seem oddly well-suited for a Cameron Crowe soundtrack (seriously, think Jason Lee and Almost Famous' Stillwater) or for filling an amphitheater on a late and lazy summer afternoon. The world might not be in desperate need of more proficiently played, bluesy rock and roll, but, you know, here it is.
