Mr. Tube and the Flying Objects is a conceptual art project as much as it is a proper band. The story goes that bandleader Pall Jenkins met a TV repairman who used to perform under the name Freddie Feelgood and the Real Good Feelings. Mr. Tube is simply a modern tribute and re-interpretation of those lost recordings from the '50s and '60s—if you believe the myth.
But Mr. Tube and the Flying Objects is also a real band, and it's not an exaggeration to call them a supergroup, featuring a large number of San Diego scene vets from bands such as Black Heart Procession and The Album Leaf. And whether or not it takes a convoluted back story for the band to compose their eclectic pop songs, the end result is a vibrant and groove-heavy sound that speaks to the various members' diverse backgrounds and talents. And after a lengthy eight-year wait, the arrival of second album No Wrong, No Rights finds those talents sounding even bigger and more richly arranged than ever.
Right off the bat, the album eases right into a garage-rock groove inspired in equal part by noise rock and Afrobeat. There's a screech of feedback-laden guitar permeating the groove, but what stands out tallest on this dense and powerful track are the horns, which frequently end up being the album's secret weapon. They add a thrilling bit of color to the dark pulse of "Know Brainz," and lend a subtle touch to the psychedelic soundscape of "Widow City."
No Wrong, No Rights is a highly danceable set of songs—not necessarily by EDM nightclub standards, but by a much more old-school measure. It's downright funky in parts—most parts, come to think of it—and the big arrangements rife with synths, Rhodes piano and horns take those hip-swinging rhythms and turn them into much more celebratory sounds. Those who have followed Jenkins' career in The Black Heart Procession won't necessarily be overly surprised to discover this, but it's still remarkable that No Wrong, No Rights is the catchiest album to bear his name. Excuse me, make that Freddie Freeloader's name.