1 	Drink Up 	
2 	Play That Song 	
3 	The News 	
4 	Lottery 	
5 	Working Girl 	
6 	Silver Dollar 	
7 	Valentine 	
8 	What Good Is Saturday 	
9 	Loverman    Featuring – Priscilla Renea
10 	Lost And Found 	
11 	You Better Believe

Bass – Hector Maldonado
Drums – Drew Shoals
Guitar – Luis Maldonado
Guitar, Bass, Percussion, Keyboards [Keys], Backing Vocals [Background Vocals] – Jake Sinclair
Guitar, Bass, Percussion, Keyboards [Keys], Programmed By [Programming] – William Wiik Larsen
Keyboards [Keys] – Neff U
Keyboards [Keys], Guitar – Jerry Becker
Vocals – Ilsey Juber, Max Schneider, Pat Monahan, Suzy Shinn 

Train got a little bit of a shakeup once Jimmy Stafford left the band in the wake of Train Does Led Zeppelin II. Stafford's departure means Train is the Pat Monahan show, a move that doesn't necessarily result in a radical musical makeover on a girl a bottle a boat. Recorded in the months after the proudly retro Train Does Led Zeppelin II, a girl a bottle a boat bears no traces of hard rock whatsoever. Instead, Train dip into a variety of old pop styles, re-appropriating Hoagy Carmichael and Frank Loesser's old standard "Heart and Soul" for the proudly goofy "Play That Song," building "Valentine" on the bones of doo wop, and dressing "Loverman" in girl group accessories. Such colorful flourishes are not isolated. Despite such song titles as "The News," "Working Girl," "What Good Is Saturday," and "Lost and Found," a girl a bottle a boat is an exuberant album, a celebration of everything that makes Train such a corny band. The hooks are big, the production is so glossy that it shines, and it's so cheerful it's bound to irritate anybody who isn't on the band's wavelength. If you're with them, though, a girl a bottle a boat is a good time because of its eagerness to please. ---Stephen Thomas Erlewine, AllMusic Review

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01. Whole Lotta Love (5:31)
02. What Is and What Should Never Be (4:51)
03. The Lemon Song (6:24)
04. Thank You (5:01)
05. Heartbreaker (4:15)
06. Living Loving Maid (She’s Just a Woman) (2:41)
07. Ramble On (4:22)
08. Moby Dick (4:24)
09. Bring It On Home (4:26)

Pat Monahan – lead vocals, guitar, tambourine,
Jimmy Stafford – lead guitar, ukulele, backing vocals
Jerry Becker – rhythm guitar, keyboards, piano, backing vocals
Hector Maldonado – bass guitar, percussion, backing vocals
Drew Shoals– drums
Nikita Houston – backing vocals
Sakai Smith – backing vocals

Train’s “Does Led Zeppelin II” is a faithful, needless cover of the British band’s 1969 classic.

If you walked into a bar and the band played Led Zeppelin like Train does, you might do a double take. Pat Monahan, who got his start in a Led Zep cover band, reaches the Robert Plant notes with less grit and depth of emotion, while the rest of the group clearly knows the album intimately.

Train’s renditions are proficient if sterile with some especially feeble backing vocals.

On the bright side, proceeds from “DLZII” will benefit a charity — Family House, offering temporary lodging for families of ill kids being treated at a hospital in San Francisco, the band’s hometown.

Listeners may tip their caps to Train and hopefully get motivated to pick up the original release. After all, some people discovered Frank Zappa on The Monkees’ TV show, first heard Chuck Berry and the Ramones on “The Simpsons” and sought out Sam & Dave, Otis Redding or Solomon Burke because of The Blues Brothers.

So if you’re feeling charitable, are a Train fan or just curious about how “Heartbreaker,” ”Whole Lotta Love” or “Ramble On” sound in the hands of the three-time Grammy winners known for “Drops of Jupiter” and “Hey, Soul Sister,” this is for you. And only you. ---Pablo Gorondi, salon.com

The band Train — the musical equivalent of an Amtrak food cart selling nothing but saltine crackers and lukewarm water — want people to know they too listened to Led Zeppelin in high school. In fact, the band Train say their brand of generic soft rock was heavily influenced by the howls of Robert Plant, riffs of Jimmy Page, and bass-slapping of John Paul Jones. You can totally hear it in “Drops of Jupiter”.

Now, the band Train have announced plans for a full covers album of Led Zeppelin II, with the hope of showing the entire world just how talented Led Zeppelin were, and just how awful the band Train are.

“They are so hard to record, especially when you are trying to get as close a version as you can to the original. The mixes, the time that they put in, it’s crazy how great they were as a band. They were virtuosos at what they did,” singer Pat Monahan said in a statement. “I would love it if people get a dose of what’s hiding underneath Train’s songs, our influences, but we basically did this for the fun of it.” ---Alex Young, consequenceofsound.net

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01 – This’ll Be My Year
02 – Drive By
03 – Feels Good at First
04 – Bruises (Feat. Ashley Monroe)
05 – 50 Ways to Say Goodbye
06 – You Can Finally Meet My Mom
07 – Sing Together		play
08 – Mermaid
09 – California 37		play
10 – We Were Made for This
11 – When the Fog Rolls In

Musicians:
    Pat Monahan - vocals
    Jimmy Stafford - guitars
    Scott Underwood – drums
+
   Hector Maldonado - bass
   Jerry Becker – keyboards
   and others

Heading down the road from Save Me, San Francisco, Train take a journey on California 37, creating a pseudo-concept album about either the Golden State or Pat Monahan grappling with middle-aged crazies or perhaps a combination of the two. As always with Train, it's nigh on impossible to discern where sincerity ends and satire begins, or if the band even bothers to draw a distinction between the two extremes. When faced with a song like "You Can Finally Meet My Mom," where Monahan either mourns the death of his mother by declaring that he'd rather spend time in heaven with her, not Gilda Radner, Chris Farley, or "the dude that had Pop Rocks and soda,” or he's expressing elation that his beloved can, as the song claims, finally meet his mom in the afterlife, what is the appropriate reaction? On a certain level, Monahan means it, man, when he's tackling a big, universal issue, one that is indeed difficult to capture in a four-minute pop tune, but Train's tackiness envelops whatever trace of recognizable emotion lies within...and not just because the arrangement is so goopy the gospel choir barely registers. It all goes back to Monahan's maddening lyrics, so overstuffed with Gen-X pop culture allusions -- some fresh, most some iteration of TMZ's "'memba them?" signature -- that he undercuts whatever larger meaning he may have. This reduces California 37's opening salvo "This'll Be My Year," an update of Billy Joel's "We Didn't Start the Fire," into a capsule history that dismisses any hint that we're all swept along by forces larger than us and reduces it to a solipsistic celebration of Monahan's life and times. To an extent, he's always written this way, but back in the days of Drops of Jupiter there was some semblance of grit within their rhythms, but in the wake of the near-novelty "Hey Soul Sister," the singalong ditty riddled with naughty rhymes, Train feel free to shed any suggestion that they get down and dirty. California 37 is all sunshine and open roads, all light and bright colors, chirpy pop intent on wearing down your defenses. And that relentless cheer surely suits Train, who happily exist in the surfaces of the modern world, so California 37, in a sense, is a purer record for the trio than even Drops of Jupiter. Here, there's nothing preventing them from indulging in the silliest rhymes, baffling name-drops, nagging hooks, and earworm melodies. You may hate California 37, but you'll never be able to get it out of your head. --- Stephen Thomas Erlewine, All Music Guide

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