Scissor Sisters

All flashy outward appearances aside, are Scissor Sisters too serious for their own good? Ta-Dah finds the band continuing to explore the festive disco and campy classic rock terrain of their breakout eponymous debut, but thoughts of his own mortality seem to be getting the best of frontman Jake Shears. Lurking beneath the dance-friendly beats and kitschy Bee Gees harmonies is a stubborn lyrical gloom. "We were born to die," Shears sings in the merry-sounding "Intermission." But the fatalism is hardly confined to the intermission; there's a song about time running out, another about the lights going out, and even one about ultimately growing as grass under someone else's feet. Party!

Dancing shoes are still required at the door, though, and that's a very good thing. They're having fun with their success; instead of saluting their heroes, they now get to play alongside them (Elton John pops up on the piano bench on a few tracks). "I Don't Feel Like Dancin'" is the closest thing to a home run, revisiting some of the deliriously catchy elements of "Take Your Mama," although it may not have the shelf life of its predecessor. Ana Matronic, a vivacious component of the Scissor Sisters live show, barely registers on Ta-Dah, but she does make a nice impact on the brassy "Kiss You Off." "Ooh" and "Paul McCartney" stick to the glamorous disco throb and are easy, breezy additions to a party night's playlist. The group's general likeability goes a long way, but doesn't negate the intermittent disappointments. "She's My Man" is nearly a knockout with its Broadway-styled verses, but a lackluster, by-the-numbers chorus keeps it from fully taking off.

Although the hazy "The Other Side" is a dramatic ballad that works well -- and could probably be sped up and remixed for the clubs -- the strength of the Scissor Sisters ain't gravitas. The juxtaposition of happy music with melancholy words would be (and has been) better played by bands with more to say. Ta-Dah is another good time, but, like its predecessor, has its share of filler. On their third outing, they should be expected to up the ante. -- Adam McKibbin, The Red Alert

The first Scissor Sisters album was one of the catchiest debuts of the new millennium, but also one of the best-crafted. All camp on the surface but with plenty of substance underneath, it succeeded because the group wrote fantastic songs and backed them with excellent productions, usually in the vein of their biggest pop/dance heroes, from the Bee Gees to George Michael. If the follow-up, Ta-Dah, doesn't reach as high as its predecessor, it's certainly not the fault of some spot-on arrangements by head producer Babydaddy. Soundtracking his own mythical night at Studio 54 circa 1978, Babydaddy's Discoball Jazzfest Studio in New York City pumps out tracks gloriously in debt to the Bee Gees (of course), Elton John (although not on the track he contributes piano to), the Rolling Stones' brassy late-'70s stompers, electro-disco arena rock (if there is such a thing), and some sort of '70s disco hokum that features a very talented Gina Gershon on jew's-harp. Similarities to their debut are much easier to find than differences, although the songs aren't quite as memorable (except the single "I Don't Feel Like Dancin'") and Ta-Dah is slightly samey in comparison. (The debut ranged for influences as late as 1987, and flaunted a tougher, leaner sound.) Still, Scissor Sisters remain consummate masters of their material; the chord changes on the ballad "Land of a Thousand Words" defy listeners to not think of a glittering discoball, which is precisely the right image to be conjured. ~ John Bush, All Music Guide