Eugenius – Oomalama

What I Think of When I Think of This Artist

Eugene Kelly was one-half of the Vaselines with Frances McKee, that band occupying a somewhat outsized place in the indie-pop world given their meager output and lack of success (much of their renown due to a late arriving blessing from Kurt Cobain). They formed in 1986, released two EPs and one album, and then broke up. They reformed in 2006 and have played live very sporadically while also releasing two more albums, in 2010 and 2014. In fairness to all involved, the original run of the Vaselines did feature a rhythm section. McKee (who had previously played in a band with Norman Blake (Teenage Fanclub), Duglas (not a typo) T. Stewart of BMX Bandits, and Sean Dickson of the Soup Dragons) has released albums under other band names and as a solo artist. Kelly, for his part, formed Captain America in 1990 and when Marvel’s lawyers came calling, changed the name to Eugenius (which was his nickname). With a somewhat messy line-up situation, Eugenius released two albums and then Kelly just proceeded under his own name thereafter. I used to own both Eugenius albums, and while I got rid of Mary Queen of Scots, I would be willing to give it a listen again.

What I Think of This Album

There is a very appealing slacker vibe to these fourteen tracks, with the band deceptively shambling their way through a set that includes one song (“Bed-In”) about how much Eugene Kelly likes sleeping and watching tv, another (“Breakfast”) that apologizes for how he “can’t help falling down,” and the title track, which basically just repeats the absurd “oomalamaa” over and over and also makes an unrelated claim about, I guess, resurrection. In many ways, the album is something the Lemonheads might have created if Evan Dando was more self-effacing and had a better sense of humor (and maybe, you know, laid off the drugs). Throughout, Kelly lends his everyman voice to catchy, simple songs that for all their noise suggest a fundamentally cheerful and lighthearted outlook, as you might expect from titles like “I’m the Sun,” “Wow!” and “Buttermilk.”

For all of its gleeful shagginess, the truth is that Kelly is an ace songwriter and guitarist Gordon Keen unleashes some fantastic leads amidst the mess. Indeed, there is a slippery little riff at the end of the delirious solo on “Bed-In” that belongs in some hall of fame somewhere. Additional very impressive guitar goodness can be heard on the quiet/loud “Down On Me,” fiery “Flame On,” and the rockin’ “Here I Go,” as well as on most other tracks, really.

The band sprinkles just enough surprises in to keep things interesting, not that anyone is in danger of getting bored with Oomalama. Thus, there is some subtle organ on “Breakfast,” strings on the ballad “Hot Dog” (written by Keen), and pleasant (dare I say, sunny?) harmonies on “I’m the Sun.” 

The U.S. release adds three tracks to the eleven on the original U.K. release. One is a robust cover of “Indian Summer” by Beat Happening, the spiritual American cousin to Kelly’s previous band, the Vaselines. This song was also covered by Luna. The other two – “Wow” and “Wannabe” were (along with “Bed-In”) originally on the first Captain America EP. “Wow” is a sludgy delight, reminiscent maybe of the Stooges, and “Wannabe,” which seems like it borrows the verses from Chuck Berry, employs some echo chamber sonics on Kelly’s vocals.

Some of the tracks were recorded with an early version of the band, resulting in a confusing credits situation, though it is clear that Gordon Keen of BMX Bandits has always been the band’s guitarist. Francis MacDonald of Teenage Fanclub (and also manager of Camera Obscura) drums on some songs. Duglas T. Stewart contributes as does Joe McAlinden, both of BMX Bandits. The band thanks Teenage Fanclub in the liner notes.

The Best Thing About This Album

The guitar work of Gordon Keen.

Release Date

September, 1992

The Cover Art

A head-scratcher, but I really like it.

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