Having siblings in a band is a dicey proposition. Sometimes, OK rarely, it works just fine. More often it's a hassle. There's too much baggage, old wounds and God only knows whatever else is going on. So having a group with two sets of siblings is asking for trouble. But the Magic Numbers seem on a good track.
Guitarist Romeo and bassist sister Michele Stodart were born and raised Trinidad (where their mother had her own TV opera show). The family moved to New York but later pulled up stakes again, this time to London. London native Sean Gannon met Romeo and the two started working up songs. The last piece of the puzzle came when Sean's sister Angela joined to play percussion, melodica and add vocals.
Plying '60's Country-Folk-Rock styles, with other, more contemporary influences, the Magic Numbers' '05 self-titled debut was co-produced by Craig Silvey (The Coral) along with the Stodarts.
2005 The Magic Numbers
2006 Those the Brokes
2010 The Runaway
More often than not, when you hear about a new U.K. group there's a mention of how they were adored by the music press. Look, music is one of the few viable industries left in the U.K - and it doesn't pollute - much. The U.K. music press is really just a hype machine designed to keep gullible Americans buying. Of course, every U.S. label is quick to point out the group they're promoting was a darling of the U.K. press, neglecting to mention how short the tenure actually was. That's the Magic Numbers' story.
Their self-titled debut starts like a non-Country take on Country. From the mid-60s through the early '70s, the Lovin' Spoonful, Creedence Clearwater Revival and even the early Eagles did Country with more care, dedication and authority than the folks in Nashville. "Mornings Eleven," "Long Legs," where Romeo comes dangerously close to channeling John Sebastian, and the cheery '60s influenced "Love Me Like You Do," put the Magic Numbers in that category. Had the album stayed in this vein it would have been an entertaining diversion. But no. The thing soon disintegrates into dreary acoustic ramblings. Of these songs, only "Don't Give Up The Fight" has any life.