Dearth of Dimension Dulls Debut

It might seem harsh to say that a grass-roots band’s first album is an underachievement, but Orangemen enters the ring with lots of promise and proven ability that are not quite fulfilled on this compact disc.

As Rubber in 1996, the trio (plus a different lead singer, subsequently fired) arrived with an irresistible demo tape that borrowed widely from the Clash to the Beatles to Huey Lewis & the News, and revved with impressive thrust and irreverent aplomb.

But a bad business deal burned Rubber, and the dumping of singer Kerri Kelli in late 1997 was followed by the renaming of the band. Bassist Matt Borden took over as lead singer, flanked by guitarist Jason Weeks and drummer Keith Morgan (formerly Keith Alan).

As Orangemen, they’ve opted for a more focused but less interesting sound that mainly harks back to the glam-rock heyday of David Bowie, T-Rex, the New York Dolls and Iggy Pop (who dubbed one of his 1980s albums “Blah-Blah-Blah,” the name of Orangemen’s custom label and the refrain of “Rock & Roll,” one of the CD’s high points). The problem is that cohesiveness becomes formula and shackles the album in sameness.

Taken one at a time, Orangemen’s songs are all expertly played, credibly crunchy and sufficiently catchy. But strung together, they fail to yield the sense of progression, undulation and changing vista that makes for a fully engaging album.

Most of the tracks also call out for more variation within songs, and more ear-catching song-arranging touches than Orangemen offer--although limited production budgets can make it hard for do-it-yourself acts to tinker with different sounds in the studio. Certain tropes, such as distorted, echoing vocals and shifts in guitar textures, signal that Orangemen are aware of the need to avoid stasis; they just haven’t gone far enough.

More varied songwriting approaches could have helped. Only in the last two songs (not counting two additional closing tracks, which offer separate, heavy metal and hip-hop accented mixes of an unremarkable cover of Prince’s “Darling Nikki,” in which Borden bellows like Metallica’s James Hetfield) does the band slow down from its chunky mid-tempo marches. One is a romantic ballad (“Star”), the other sped-up for a headlong, lust-driven rocker (“Pussy Cat,” whose narrator comes off as a Jaggeresque cad, circa “Under My Thumb”).

Borden (formerly known as Eberle--just Eberle) is a capable singer, but he is too taken with Bowie-like theatricality, delivered with exaggerated huskiness and a faux-English accent. The lack of vocal variation becomes a tad grating.

That’s too bad, because he is emotionally believable in songs such as “Last Dime,” a caustic and sardonic yet simultaneously anguished yelp against empty consumerism and tell-all celebrity culture. A needed second vocal gear comes fleetingly into view when a pure, plaintive, Michael Stipe-like voice soars briefly at the end of “Rock & Roll.” It’s unclear whether this is Borden changing his style, or one of the other members chiming in. But deploying that different approach more fully would give Orangemen the added dimension it needs to fulfill its potential.

As it is, this is a very listenable debut that nevertheless is less than the sum of its parts.

The CD is available from Blah Blah Blah Music, P.O. Box 532, Midway City CA 92655 or (714) 647-2435.

* Orangemen, El Centro, B-Town and Rockstar BBQ play tonight at Hogue Barmichael’s, 3950 Campus Drive, Newport Beach. 8 p.m. $8. (949) 261-6270.

Mike Boehm can be reached by e-mail address at Mike.Boehm@latimes.com

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