Say it ain't so Trey!

Following the breakup of the seminal prog-rock/jamband Phish, Phish frontman Trey Anastasio quickly sought to break all ties with the band and its grassroots organization, favoring a clean slate for a solo career. Shine finds Anastasio, who released five solo works while with Phish, working free of the limits that come with the title of "side project." Phish's last release Undermind found Anastasio's compositions evolving from mere launch pads for the extended jams that came to define Phish into songs you might find on an alt-rock radio station. With a new record label, Dave Matthews' manager and a focus on tight, organic pop compositions, Anastasio is on his way to shaking the Phish image and reinventing his career, but in the end Shine sounds like nothing more than a sterile pop version of the Vermont guitar guru. \nShine begins with the up-tempo title track "Shine" where Anastasio, backed by producer Brendan O'Brien (Pearl Jam, Rage Against the Machine) on keys and bass, sets the tone for the album with bouncy, generic melodies and prominent guitar work. "Shine" also serves as the album's first single, and what better way to alienate your counter-culture fan base by releasing a "Shine" music video on www.vh1.com. Yes, it's true people: Trey has gone pop, and he's doing so in a manner that seems almost natural. Following "Shine" is "Tuesday," with its clever, albeit cheesy wordplay, and a general weirdness that will certainly have some crying "Phish!" The Beatles-esque acoustic guitar in "Invisible" will draw more than one comparison to "Norwegian Wood." While "Invisible" continues with Anastasio's newfound focus on lyrics and concise compositions, the track doesn't go without a brief sampling of trademark Anastasio psychedelia in the outro. "Come as Melody" follows and is the first straight rock tune on the album. "Melody," with its Zeppelin overtones and driving guitar, is almost enough to make up for the painful chorus "come as melody," which is repeated ad nauseam. \nCritics often harped on Phish for their lyrics, yet Shine doesn't shine in comparison to any Anastasio/Marshall lyrical endeavor. Highlights of the album are found on tracks like "Air Said To Me" with their extended instrumentals, and the acoustic simplicity of "Love That Breaks All Lines." The album might be worth a listen for followers of Anastasio's work, but in the end Shine sounds like nothing more than just another artist plying for Top 40 fame. But then again, as far as the Top 40 goes, this is damn good.