The Crier

Why Tally Hall Just Might Make It

Tally Hall has achieved local celebrity, but the jump to mainstream will require some changes

Tobias Dodge · Amused · Jan 29, 2007

By now, most people who recognize the name “Tally Hall” have heard at least one of two songs: Good Day (winner of the John Lennon Scholarship, featured on the O.C. and The Late Late Show with Craig Ferguson) or Banana Man (featured on albinoblacksheep.com and The Real World).

What do these songs have in common? Not much, by most standards. They represent the core problem for Tally Hall, whose talents are too often overshadowed by overproduction and an unwillingness to focus ideas into a coherent whole. But Tally Hall’s knack for writing melodic hooks rivals the ability of many of today’s mainstream artists; they have the tools to achieve popular success.

Marvin’s Marvelous Mechanical Museum portrays the group’s transition from house parties to sold-out venues and music festivals. Later songs — “Taken For a Ride,” “Be Born” — possess a grace absent from Tally Hall’s early career. The debut album is better considered a collection of possibilities, rather than a coherent statement of intent.

As Tally Hall continues to create music, they will inevitably have to grapple with a couple of obstacles.

While “Good Day” has been a somewhat successful single, its production lacks restraint. Some flourishes and noises add to the song’s effect, but many are distracting, perpetuating the group’s image as nothing more than a pack of college kids with studio time. This is more apparent when the band plays the song live. In this setting, freed from the burden of unnecessary production, the true energy and creative direction of the song speak can shine.

The pseudo-rap “Welcome To Tally Hall”, worth mentioning due to the amount of spite it drew from The Michigan Daily, holds no pretensions. The catchy chorus and references to mini-malls and Windstars echo the self-awareness of Ben Folds’ “Rockin the Suburbs”. The song’s recording does little justice to the manic, twitchy energy the group instills in its live performance. Still, while it’s not the catastrophe that the Daily argued, it’s definitely one of Tally Hall’s weaker efforts.

“Taken For Ride” stands out among the album’s ‘epic’ songs (those that don’t follow a simple verse-chorus-verse format). Its lyrics, instrumentation, vocals and production fall in line, creating an atmosphere of tension and movement. Its sound calls a mixture of E.L.O.’s “Mr. Blue Sky” and The Beatles’ “Martha My Dear,” to mind, which is at least ambitious enough to suggest future potential.

On the simpler pop songs, such as “Be Born” and “Haiku”, the production is a clearer indicator of Tally Hall’s promise. As Tally Hall continues to create music, they will inevitably have to grapple with a couple of obstacles. First, they must overcome their penchant to mistake blatant silliness for humor. Next, they must stop mashing pleasant melodies and lyrics into combinations designed for the lowest common denominator.

“Taken for a Ride” calls a mixture of E.L.O.’s “Mr. Blue Sky” and The Beatles’ “Martha My Dear,” to mind, which is at least ambitious enough to suggest future potential.

Tally Hall shows potential to move into the mainstream. But they need to find a producer who can control the tendency to pack too many studio effects into tracks, and can overcome their occasional tendency to include unnecessarily silly lyrics (see: “Spring and A Storm”).

In Ann Arbor, Tally Hall has an instantly recognizable brand name. They draw students from all communities and sell out most shows. Their talent, work ethic and image are ideal for a major record label. Hopefully, they will remain aware of the adjustments that will improve their sound.