Hailing from Los Angeles, the duo of Inara and Greg, AKA The Bird And The Bee, begin this collection in a manner which suits the description they posted about their musical influences on Facebook: “a futuristic 1960’s American film set in Brazil”. Opener ‘Young And Dumb’ might be a bit simple in terms of its lyrical content, but the rhythm itself has an undeniable psychedelic groove to it, which greatly improves the number as a whole, though it makes for a far from super strong start.
Things don’t improve much with title track ‘Recreational Love’ although it does give Inara the opportunity to deliver a considerably good vocal performance, and fortunately, the band begin to hit their stride thanks to the arrival of ‘Will You Dance?’ With a great, upbeat rhythm, it should fill dance floors everywhere and is a real feel good number, which makes a nice change from the rather sombre, laid-back tracks which have gone before.
‘Runaway’ slows things down a little again, and the chorus is ridiculously simplistic, but once again, it’s the musicianship and the rhythm which underlies it that makes it at all worthy of repeat listens. If there’s any track which can be overlooked among the collection, it’s ‘Please Take Me Home’. It’s ghostly delivery, although something a little different, makes the song sound somewhat dull and if anything, listeners may find themselves turning this on if they need something help them relax and sleep.
However, the ‘Woo’ that begins ‘Jenny’ will soon have listeners alert and, returning to the dance genre which they work with so well, the duo rescue the album somewhat. The lyrics aren’t the clearest, but nevertheless, compared to ‘PTMH’, this fares much better. It’s a shame therefore that they then deliver the slightly weaker ‘Los Angeles’ and with a rhythm somewhat similar to ‘Jenny’, the duo risk their material starting to sound a little repetitive. Such becomes even more apparent via ‘Doctor’, however the catchy chorus and use of the saxophone does give it the slight edge it needs to rescue it from being ignored.
Sadly, things don’t get that much better with ‘We’re Coming To You’ and by the time closer ‘Lovey Dovey’ comes around, it’s pretty evident that the band, certainly on this album, have found themselves in a bit of a rut. Like ‘PTMH’, this track works like a lullaby – with the instrumentation stripped back and Inara’s vocal taking centre stage, it’s really only good for unwinding to and it’s certainly not a track you could listen to time and time again without perhaps getting slightly irritated or bored by. Disappointingly, it also means that the duo end this collection on a rather dull, almost depressing note.