Doing things this way can be a bit jarring because if it’s bad, you’re totally let down and then the reading and research that comes after only compounds your contempt for the disappointment (more importantly, the band). It’s like when you spill something on your favorite shirt and then doing the research to find out which household cleaner or frontier tactic will get the stain out. Okay...lost my train of thought...I was writing about something...a band...music...oh, Spanish for 100, that’s right.

 I started to like this album from the beginning, something I usually try to resist because if the rest turns out to be terrible then I get a feeling that I’ve been bamboozled or suckered in. I tried to fight immediate enjoyment, but the opening song caught me. ‘Put It To Ya’ was the perfect choice to kick things off. The song lays out everything that you’ll have to look forward to for the rest of the record. This band’s sound combines the snappiness of older Modest Mouse, the sonic tones of The Shins, and the cream of all things Pixies while little bursts of classic rock pop up intermittently. Lead vocalist, Corey Passons’ singing has been to likened to Neil Young’s strained crooning, this is pretty dead-on. There’s a sense of nostalgia with the sound of his voice when the band joins in. The loopy singing, the gloomy-then effervescent instrumentation and the overall shoe gazing, lofty feel make the whole listening experience a complete joy.

 The ten songs that this band laid out on this album have a wavy, crushed velvet feel about them; the production is clean, but leaves enough distortion to blur the sheen. I could see me still listening to this in five years, which is a hell of a lot more than I can say about most of the rubbish that finds its way into my stereo. The lilting sway of ‘Worn Round Eyes’ shows the band’s lengthy and strong reach as songwriters while the euphony of ‘’Neath Your Tattoo’ displays their abilities to set things honest and personable. The natty snips of ‘Mood In The Clouds’ deigns a The Who feel to it while keeping a Nada Surf sensibility in check.

 Spanish for 100 is going to get where they want to go if they continue ushering in music like this. I’d keep an eye out for this quartet, they’re going to push their way in and you’ll be able to say you knew them before they blew up. "

 Their uniqueness comes from Passons' vocals. Unlike most singers of bands who display their instrumental prowess, Passons actually sings well – his soaring, high voice brings to mind Neil Young or Alex Chilton at one of his more soulful moments. Vocals, not guitar solos, are the focus of this album, as on songs like the opening “Put it To Ya” and the frantic “Mood in the Clouds” (although the folksy talk-singing of the latter feels a bit out of place).

 Guitars are on display here, and the rhythm section of Ross McGilvray and Bob Rees doesn't have much time to shine, though Rees does some frenetic pounding on “Whole Wide World.” Newborn Driving should be recognized as a solid album: production, instrumentation, and strong vocals are all there. What's missing, though, is the sense of playfulness that makes Ek's ilk so enjoyable. Passons's songs tend to take themselves seriously and the songs are straightforward to a fault. Though interesting riffs abound, the band doesn't break out of the rock song long enough for us to see if they are capable of true innovation beyond their already solid chops."

The fact that its built in Seattle and was produced and engineered by Phil Ek (Built to Spill, Modest Mouse) gives it a lift.

The fact that the songs are amazingly catchy pushes it over the top."

 This a straight-forward rock band that takes full advantage of having two guitars. The record is comprised of mostly mid-tempo songs that hinge on the strong voice and sense of melody of lead singer Corey Passons. Solid and creative songwriting, wonderfully implemented vocal talent, enough texture to get immersed in, but enough direction to keep you from getting entirely disoriented.

 With the right kind of exposure, these guys could go very, very far. Head over to the website and have a listen. Thank me later."

 The band’s debut album Newborn Driving (also a terrible album title, but whatever) reminds me of many mid-90s groups such as the Jayhawks, the Posies, and Live. The vocals are a dead ringer for the Jayhawks. The guitar sound on this record is almost exactly like the Posies’ Frosting on the Beater record. The vocal harmonies are also reminiscent of both the Jayhawks and the Posies. The songwriting is pretty good for this type of stuff, as I said before I’ve heard much worse; that all being said, this is not my favorite genre and I’m not really into this record.

 I suggest that if you are a fan of the Jayhawks or the Posies that you pick this up. I think for the genre it is probably quite good. I’m certain that if you like the aforementioned bands that you will like this quite a bit and it would be well worth your time to pick this up. A solid first effort by this Seattle band"

 The song that will be easiest to compare to Modest Mouse is the opener, “Put it to Ya,” a tune that features a relaxing vocal line (with an apparent twist on the old “Daylight come and you want to go home” chant for the chorus). The band showcases their ability to put together a satisfying finish to the song, as a repeated line of “Say it ain’t so and say it ain’t so” slowly builds in tension and harmony before releasing into a gritty guitar solo and a final repeat of the chorus.

 The album keeps it up from here. A few songs touch on romance in a melancholy and effective manner. “Sweet, Sweet Things When You’re Gone,” again goes the lazier route to start before reaching a cathartic bridge that really adds to an already pleasing track. “Come Rain or Shine” has a sweet chorus and features the good guitar work that goes on throughout the disc. “’Neath Your Tattoo” is tremendously touching as an ode to a friend who has made efforts to hide a scar from his/her past.

 Amidst all these slower, more relaxed songs is an upbeat, if strange, gem in “Mood in the Clouds.” A quick drum line leads into Passons wailing out these dreamy images of “Oils in puddles / halos in light / purple soothes into gold / It’s a rain-stained world.” After a quieter verse, we get an interlude at about the 1:20 mark that highlights some great edgy guitar work. The opening verse kicks back in and then before you know what hits you, the song wraps up. It ends up sneaking in as the best track of the CD.

 That’s not to say there aren’t other good tracks still up Spanish F100’s sleeve. “Worn Round Your Eyes” doesn’t stand out much for the first two-and-a-half minutes or so, but then Passons makes almost an aside to the audience as the background slows down behind him. The intensity then returns, along with the chorus, after Passons declares, “I don’t think that I’m burning / No, I don’t think I’m on fire / and no, I don’t think that I’m burning / Hear no, see no, feel no heat at all.” All that’s left is the closer, “Five Hours In,” a quixotic yarn where Passons accepts his fate willingly, stating “Never been sad / ’bout what I must do.” Grainy guitars take us home for the last minute, leaving us with only the slightest sense of closure.

 Newborn Driving is a nice listen if you’re in a calm or wistful mood. It drones a little bit during the second half, but there are no really bad tracks and some really nice tunes. “Mood in the Clouds” is enough to buy the whole album on its own, but there are other highlights. A very solid debut and add-in to the indie rock world."

 “Put it to Ya” is power pop, with the clean production and riff-heavy echoes of Built to Spill. “Newborn Driving” builds on melancholy introspection with a punchy chorus and a firm bassy foundation. “Whole, Wide World” bakes like a warm slice of Pixie’s pie. “Come Rain or Shine” catches an all around ‘70s vibe while “Worn Around Your Eyes” trad-rocks like the Faces.

 “Sweet, Sweet Things When You’re Gone” showcases songwriter Corey Passons’ overheard snatches of conversation, beautified with a not so obvious sing-song conclusion. The song titles on this record may seem abrupt and in some cases fail to breath new life into cliché.

 Spanish for 100 competently harnesses the power of straightforward rock to make a statement. The twin guitar attack won’t knock you over. At times crunchy, at times sweet and chiming, the main ingredients are here. Described in The Local Planet as “stubbornly straightforward,” which teeters on the semantic good side of boring, Spanish for 100 could stand to spice up the mix."