This blog post is a little different, as I recently had the opportunity to see The Verve Pipe in Grand Rapids with a good friend from high school and one of his college friends. The band played at a club downtown called The Intersection, and several hundred people showed up. I've been listening to The Verve Pipe for about 15 years; like so many others, my first memories of them are of hearing their big hit "The Freshman" on the radio over and over again back in 1997 (when I was 12). That song is part of their Villains album, which was their big commercial breakthrough; however, they had released two non-major label albums previously. They then released two more albums, The Verve Pipe (which the band refers to as the "frog" album) in 1999 and Underneath in 2001, before fading into history as another 1990s rock bad who briefly achieved relatively mild success.
Despite not doing too much brand new of note over the past ten or so years, The Verve Pipe has maintained a steady following, as evidenced in part by the turnout from their concert the other night. The band started to build their following from the ground up back in the early 1990s, when they traveled around to college campuses throughout the state of Michigan. They are from East Lansing, and unlike many other bands who achieve national and international success, they have stayed true to their roots and continue to have their strongest following in Michigan. Brian Vander Ark, the lead singer, told stories from the band's early days at the concert, including their experiences playing at colleges throughout the state and how he wrote their song "Victoria" while working at MC Sports. In an era where commercial success gets to people's heads, to see this loyalty and perspective years after the fact is very refreshing.
The concert started at 8:00 PM and ended around midnight; two different opening acts, both out of Grand Rapids, spent close to an hour each warming up the crowd before the main act spent close to two hours on stage. Bitter Apples was the first band, a three-man act that played what I would call some intense punk/alternative type rock. Brena was the second band; they were a five-man act that played more upbeat pop-rock. Both did a great job; however I would say that Brena was much more crowd friendly. They were dressed in Christmas-themed clothing and did a better job of pumping up the audience. If you're a fan of their respective types of music, I would recommend trying out these two bands.
I was pretty surprised that it was about two hours before The Verve Pipe actually got on stage. They played for around 1.5 hours before going off stage then coming back for a three-song encore. Although the whole show was great, for me possibly the main highlight was at the beginning. They started off with one of my favorites, "Drive You Mild", followed by my very favorite, "Hero". Indeed, seeing them play "Hero" in person alone made the trip worth it! The song selection was solid, though it leaned very heavily towards the Villains and Underneath albums. By my count, they played seven songs from Underneath and six from Villains, while playing only two from the "frog" album ("Hero" and "In Between", the latter immediately following the former) and two from the pre-Villains era ("Victoria" being one of them, with "Spoonful of Sugar" being the other). My other favorite performances of the night were "Villains", "Cup of Tea", "I Want All of You", and "Local Boys", the latter being their closer. Many of the songs were a little different from the studio tracks; I especially liked how they incorporated the harmonica into an extended version of "I Want All of You". Two songs they didn't play that I was hoping to hear were "Reverend Girl" and "She Loves Everybody", but I understand that they couldn't play everything!
Overall, this was a very fun evening, and considering everything I have had to deal with this past year, it was something I badly needed. I got to see a band that I have been following since I was about 12 years old in concert and learned about a couple of other local bands as a bonus. Not to mention, I got to spend some time with one of my best friends for the first time in quite a while. I am certainly going to cherish the memories from that night for a long time.
Here are some links on YouTube to video clips from the show (not taken by me):
Drive You Mild & Hero: http://www.youtube.com/watch?v=pENnORpLb7Y&feature=mfu_in_order&list=UL
Victoria: http://www.youtube.com/watch?v=2ii34BLSN8A&feature=BFa&list=ULzPsk_Zws2qw&lf=mfu_in_order
Local Boys: http://www.youtube.com/watch?v=zPsk_Zws2qw&feature=mfu_in_order&list=UL
Monday, December 26, 2011
Wednesday, November 23, 2011
There's plenty more where that came from...
Artist: The Verve Pipe
Album: Villains
Released: March 25, 1996
I mentioned in an earlier post that Gin Blossoms might be one of the past generation's most underrated bands. I still find that to be the case, but I also find it to be true of Michigan's very own, The Verve Pipe. In fact, I am honestly amazed at how little attention they receive. If you're a fan of music from this era, you've probably heard their big hit single "The Freshman" many times, but for many that seems to be the extent of their knowledge of The Verve Pipe. And that's a shame... true, "The Freshman" is a good song, but not only is it just one of many, but I don't think it's even close to being their best track.
When discussing Gin Blossoms, I suggested that perhaps they were overshadowed because they offered a more down-to-earth, radio-friendly sound at a time in which many bands were trying to be outlandish, each trying to be more groundbreaking and "different" than the other. But that era came to an end almost as quickly as it arrived, and rock moved a little closer towards the mainstream. Villains, The Verve Pipe's first major label album, seems to have gotten lost in the shuffle while many other bands were trying to capitalize on the post-grunge craze. It's true that their song writing abilities many not have been quite as polished as those of other post-grunge bands that achieved greater success in the mid-1990s, and they certainly didn't do much in terms of sound to distinguish themselves from everyone else.
But just because we look back now on The Verve Pipe as just another late 1990s/early 2000s post-grunge band, that doesn't mean that there aren't some really enjoyable tracks on this album. I have seen a few people compare them to the alternative/jangle/folk rock stylings of R.E.M. I can see that comparison being valid, though The Verve Pipe's sound is probably a little more down-to-earth and mellow, "updated" for the mid-to-late 1990s. Many R.E.M. songs are laid back and fun to listen to; that's not as often the case with The Verve Pipe.
"The Freshman" is an obvious example of that, as it is about the difficulty of going through an abortion. This song was on the radio constantly when I was about 12, and even to this day, the fact that it has been played so much still makes it, in a way, difficult to listen to. Only in the past couple of years, as I have moved away from listening to the radio virtually completely, have I been able to appreciate this song again. I guess we could place this song in the "so overrated, it's underrated" category. "The Freshman" and "Photograph", the latter being the other main hit from this album, are curiously placed right in the middle. "Photograph" was actually their first radio hit, and in some ways I actually like it more than "The Freshman".
This album, at least the first half, is different from so many other albums in that it slowly picks up steam as it moves along. "Barely (if at all)" is an uninspiring way to start the album; it's a decent song, but it doesn't really give the listener a good idea of what the rest of the album will bring. "Drive You Mild" is more laid back and much easier to listen to, as is "Villains", which picks up in intensity as it progresses. The album peaks with tracks 4 & 5. "Reverend Girl" is my favorite; it's the most enjoyable and one of the most well-written songs on the album. "Cup of Tea" and "Myself" aren't far behind; they're a little more intense, but still very enjoyable.
If you've listened to "The Freshman" and "Photograph" (or even just the former) a lot on the radio, it might seem as if the album loses the great flow it had going once you get to these tracks. After these two, "Ominous Man" sets the tone for the rest of the album; it's a very pleasant song to listen to and also a lot calmer than the first half of the album. "Real" is the one exception to this; even though it's nearly two minutes long, it almost serves as an interlude. "Penny is Poison" is similar to "Ominous Man", though I prefer the latter. "Cattle" is probably my least favorite; it's not bad, but like "Barely (if at all)", it doesn't quite draw me all the way in. "Veneer" is a good way to end, though it's a little drawn out.
To summarize, Villains is a really good album, despite the few minor issues I brought up. However, I've found that it's not the type of album I can just pop in and let play when I want something that's upbeat and easy to listen to. It takes some serious effort to listen all the way through, more so than many other rock albums. It's too bad that it has basically been ignored; hopefully over time more rock listeners will discover it.
Track #, Name of Song, Duration, My Rating
1. Barely (if at all) (3:46) - 8/10
2. Drive You Mild (3:02) - 9/10
3. Villains (4:42) - 9/10
4. Reverend Girl (4:28) - 10/10
5. Cup of Tea (4:27) - 10/10
6. Myself (4:48) - 9/10
7. The Freshman (4:29) - 9/10
8. Photograph (4:56) - 10/10
9. Ominous Man (4:21) - 9/10
10. Real (1:53) - 8/10
11. Penny is Poison (3:29) - 8/10
12. Cattle (3:45) - 7/10
13. Veneer (5:34) - 8/10
Album: Villains
Released: March 25, 1996
I mentioned in an earlier post that Gin Blossoms might be one of the past generation's most underrated bands. I still find that to be the case, but I also find it to be true of Michigan's very own, The Verve Pipe. In fact, I am honestly amazed at how little attention they receive. If you're a fan of music from this era, you've probably heard their big hit single "The Freshman" many times, but for many that seems to be the extent of their knowledge of The Verve Pipe. And that's a shame... true, "The Freshman" is a good song, but not only is it just one of many, but I don't think it's even close to being their best track.
When discussing Gin Blossoms, I suggested that perhaps they were overshadowed because they offered a more down-to-earth, radio-friendly sound at a time in which many bands were trying to be outlandish, each trying to be more groundbreaking and "different" than the other. But that era came to an end almost as quickly as it arrived, and rock moved a little closer towards the mainstream. Villains, The Verve Pipe's first major label album, seems to have gotten lost in the shuffle while many other bands were trying to capitalize on the post-grunge craze. It's true that their song writing abilities many not have been quite as polished as those of other post-grunge bands that achieved greater success in the mid-1990s, and they certainly didn't do much in terms of sound to distinguish themselves from everyone else.
But just because we look back now on The Verve Pipe as just another late 1990s/early 2000s post-grunge band, that doesn't mean that there aren't some really enjoyable tracks on this album. I have seen a few people compare them to the alternative/jangle/folk rock stylings of R.E.M. I can see that comparison being valid, though The Verve Pipe's sound is probably a little more down-to-earth and mellow, "updated" for the mid-to-late 1990s. Many R.E.M. songs are laid back and fun to listen to; that's not as often the case with The Verve Pipe.
"The Freshman" is an obvious example of that, as it is about the difficulty of going through an abortion. This song was on the radio constantly when I was about 12, and even to this day, the fact that it has been played so much still makes it, in a way, difficult to listen to. Only in the past couple of years, as I have moved away from listening to the radio virtually completely, have I been able to appreciate this song again. I guess we could place this song in the "so overrated, it's underrated" category. "The Freshman" and "Photograph", the latter being the other main hit from this album, are curiously placed right in the middle. "Photograph" was actually their first radio hit, and in some ways I actually like it more than "The Freshman".
This album, at least the first half, is different from so many other albums in that it slowly picks up steam as it moves along. "Barely (if at all)" is an uninspiring way to start the album; it's a decent song, but it doesn't really give the listener a good idea of what the rest of the album will bring. "Drive You Mild" is more laid back and much easier to listen to, as is "Villains", which picks up in intensity as it progresses. The album peaks with tracks 4 & 5. "Reverend Girl" is my favorite; it's the most enjoyable and one of the most well-written songs on the album. "Cup of Tea" and "Myself" aren't far behind; they're a little more intense, but still very enjoyable.
If you've listened to "The Freshman" and "Photograph" (or even just the former) a lot on the radio, it might seem as if the album loses the great flow it had going once you get to these tracks. After these two, "Ominous Man" sets the tone for the rest of the album; it's a very pleasant song to listen to and also a lot calmer than the first half of the album. "Real" is the one exception to this; even though it's nearly two minutes long, it almost serves as an interlude. "Penny is Poison" is similar to "Ominous Man", though I prefer the latter. "Cattle" is probably my least favorite; it's not bad, but like "Barely (if at all)", it doesn't quite draw me all the way in. "Veneer" is a good way to end, though it's a little drawn out.
To summarize, Villains is a really good album, despite the few minor issues I brought up. However, I've found that it's not the type of album I can just pop in and let play when I want something that's upbeat and easy to listen to. It takes some serious effort to listen all the way through, more so than many other rock albums. It's too bad that it has basically been ignored; hopefully over time more rock listeners will discover it.
Track #, Name of Song, Duration, My Rating
1. Barely (if at all) (3:46) - 8/10
2. Drive You Mild (3:02) - 9/10
3. Villains (4:42) - 9/10
4. Reverend Girl (4:28) - 10/10
5. Cup of Tea (4:27) - 10/10
6. Myself (4:48) - 9/10
7. The Freshman (4:29) - 9/10
8. Photograph (4:56) - 10/10
9. Ominous Man (4:21) - 9/10
10. Real (1:53) - 8/10
11. Penny is Poison (3:29) - 8/10
12. Cattle (3:45) - 7/10
13. Veneer (5:34) - 8/10
Thursday, November 3, 2011
You better start doing it right...
Artist: Genesis
Album: A Trick of the Tail
Released: February 20, 1976
This is my first blog post on Genesis, and I plan on writing several more in the future. My take on Genesis will probably be different from that of the majority of fans. The British band has enjoyed a long run of success, and while it might be a bit of a generalization, their music can more or less be divided into three eras: the Peter Gabriel era of the late 1960s and early 1970s, in which the band was known for their progressive, non-traditional rock, characterized by longer tracks, quasi-intellectual lyrics, and lack of hooks and memorable riffs; the period from roughly 1976 to 1985, when Phil Collins replaced Gabriel as lead singer and the band began a very slow, complicated movement towards mainstream pop/rock; and the era from 1986 forward, when that transition was complete.
While a lot of Genesis fans like music from their entire career, most fans seem to strongly prefer either the first or the third era. I seem to be one of the few people whose favorite is the second era, as their music from around this time seems to either be frowned upon or forgotten altogether. Fans of the older stuff often don't like that they were moving away from their progressive sound, while fans of the newer stuff often can't quite get into it. What I like about that transitional era is that it tends to combine elements of both the first and third eras, and while the band at times sounded lost or confused about their direction, it nonetheless made for some good and interesting music.
A Trick of the Tail, the first Genesis album with Phil Collins in the lead, is a great example of what late 1970s & early 1980s Genesis was all about. The songs are still longer and well-developed; only one of the eight tracks is shorter than 5:52. If fans were wondering what post-Gabriel Genesis would be like, the answer came quickly with the first track, "Dance on a Volcano", which also happens to be my favorite. It beautifully combines catchy riffs with several changes in tone, thus creating a six-minute song that isn't at all repetitive. These same characteristics are also found in "Squonk", which is a close second on my list of favorites, though overall it's a little slower-paced and not quite as intense. Some fans have claimed that they sound a lot like Led Zeppelin on this track, and I would have to agree. At the same time, the song retains the whimsical nature of past Genesis tracks, as it's about a mythical creature from Pennsylvania.
Though the album starts off with a bang with "Dance on a Volcano", that song is not representative of everything else on the album. There certainly is variety, as the band moves back and forth between their older and their newer sound, sometimes in the same track. "A Trick of the Tail" is a catchy song, while "Entangled" is an interesting yet somewhat solemn track. I also like the instrumental "Los Endos", which features a reprisal of the riffs from both "Dance on a Volcano" and "Squonk". "Robbery, Assault and Battery" is a more light-hearted, almost comical, song that is fun to listen to and provides a nice break from some of the other tracks, though it is a little drawn out and at times comes close to slipping into disco. The old Genesis sound is most apparent in "Mad Man Moon" and "Ripples". The latter is probably my least favorite track, as it isn't quite clear what type of sound they are going for here. "Mad Man Moon" is a little more interesting, especially as it transitions a few different times; I certainly like the instrumental middle part.
If you are a brand new listener to Genesis, I wouldn't necessarily advise against listening to this album first, though it's probably going to sound a little confusing. If you're a mainstream music fan, I'd recommend Invisible Touch or Genesis first. You might even find some of their early stuff to be interesting. In any case, though they are clearly in transition and searching for direction at this time, A Trick of the Tail is a really solid first effort by the Phil Collins-led Genesis, and over time I have come to appreciate it all the more.
Track #, Name of Song, Duration, My Rating
1. Dance on a Volcano (5:58) - 10/10
2. Entangled (6:27) - 9/10
3. Squonk (6:30) - 10/10
4. Mad Man Moon (7:35) - 8/10
5. Robbery, Assault and Battery (6:18) - 8/10
6. Ripples (8:05) - 7/10
7. A Trick of the Tail (4:35) - 9/10
8. Los Endos (5:52) - 9/10
Album: A Trick of the Tail
Released: February 20, 1976
This is my first blog post on Genesis, and I plan on writing several more in the future. My take on Genesis will probably be different from that of the majority of fans. The British band has enjoyed a long run of success, and while it might be a bit of a generalization, their music can more or less be divided into three eras: the Peter Gabriel era of the late 1960s and early 1970s, in which the band was known for their progressive, non-traditional rock, characterized by longer tracks, quasi-intellectual lyrics, and lack of hooks and memorable riffs; the period from roughly 1976 to 1985, when Phil Collins replaced Gabriel as lead singer and the band began a very slow, complicated movement towards mainstream pop/rock; and the era from 1986 forward, when that transition was complete.
While a lot of Genesis fans like music from their entire career, most fans seem to strongly prefer either the first or the third era. I seem to be one of the few people whose favorite is the second era, as their music from around this time seems to either be frowned upon or forgotten altogether. Fans of the older stuff often don't like that they were moving away from their progressive sound, while fans of the newer stuff often can't quite get into it. What I like about that transitional era is that it tends to combine elements of both the first and third eras, and while the band at times sounded lost or confused about their direction, it nonetheless made for some good and interesting music.
A Trick of the Tail, the first Genesis album with Phil Collins in the lead, is a great example of what late 1970s & early 1980s Genesis was all about. The songs are still longer and well-developed; only one of the eight tracks is shorter than 5:52. If fans were wondering what post-Gabriel Genesis would be like, the answer came quickly with the first track, "Dance on a Volcano", which also happens to be my favorite. It beautifully combines catchy riffs with several changes in tone, thus creating a six-minute song that isn't at all repetitive. These same characteristics are also found in "Squonk", which is a close second on my list of favorites, though overall it's a little slower-paced and not quite as intense. Some fans have claimed that they sound a lot like Led Zeppelin on this track, and I would have to agree. At the same time, the song retains the whimsical nature of past Genesis tracks, as it's about a mythical creature from Pennsylvania.
Though the album starts off with a bang with "Dance on a Volcano", that song is not representative of everything else on the album. There certainly is variety, as the band moves back and forth between their older and their newer sound, sometimes in the same track. "A Trick of the Tail" is a catchy song, while "Entangled" is an interesting yet somewhat solemn track. I also like the instrumental "Los Endos", which features a reprisal of the riffs from both "Dance on a Volcano" and "Squonk". "Robbery, Assault and Battery" is a more light-hearted, almost comical, song that is fun to listen to and provides a nice break from some of the other tracks, though it is a little drawn out and at times comes close to slipping into disco. The old Genesis sound is most apparent in "Mad Man Moon" and "Ripples". The latter is probably my least favorite track, as it isn't quite clear what type of sound they are going for here. "Mad Man Moon" is a little more interesting, especially as it transitions a few different times; I certainly like the instrumental middle part.
If you are a brand new listener to Genesis, I wouldn't necessarily advise against listening to this album first, though it's probably going to sound a little confusing. If you're a mainstream music fan, I'd recommend Invisible Touch or Genesis first. You might even find some of their early stuff to be interesting. In any case, though they are clearly in transition and searching for direction at this time, A Trick of the Tail is a really solid first effort by the Phil Collins-led Genesis, and over time I have come to appreciate it all the more.
Track #, Name of Song, Duration, My Rating
1. Dance on a Volcano (5:58) - 10/10
2. Entangled (6:27) - 9/10
3. Squonk (6:30) - 10/10
4. Mad Man Moon (7:35) - 8/10
5. Robbery, Assault and Battery (6:18) - 8/10
6. Ripples (8:05) - 7/10
7. A Trick of the Tail (4:35) - 9/10
8. Los Endos (5:52) - 9/10
Thursday, September 29, 2011
There's nowhere to go but down...
Artist: Gin Blossoms
Album: New Miserable Experience
Released: August 4, 1992
OK, I'm just going to say it now: Gin Blossoms is one of the most underrated bands of the past generation. Many people, if you refresh their memory, might vaguely remember one or two of their big radio hits from back in the '90s, but today they are basically an afterthought. I'm not sure exactly why that is, but I have a few ideas... for one thing, they weren't as groundbreaking or, dare I say, outlandish as several other more well-known bands from that era. And it certainly doesn't help that they only released two major label albums before splitting up, only one of which was with renowned songwriter/guitarist Doug Hopkins, who was kicked out of the band for his alcoholism and committed suicide soon after. (The band would later reunite and put out two more albums, one in 2006 and another in 2010.)
Another thing working against them is that it is not easy to classify exactly what type of rock they play. Typically they've been classified as pop, jangle, and/or alternative, somewhat lost in an era that was dominated by grunge. I would argue that they sound as much as anything like post-grunge; indeed, they sound more like Collective Soul or Matchbox Twenty than they do Pearl Jam or Soundgarden. If this is the case, then Gin Blossoms may have actually been a band that was ahead of their time, their (temporary) demise coming at around the same time that the music world may have finally been ready for them.
Anyway, regardless of their shortcomings, there might not be a band that does a better job of capturing what the '90s was all about than Gin Blossoms (watch the video for "Hey Jealousy" and you'll see what I mean). What makes them so unique is their down-to-earth, relatively mature sound, dealing with failing romances, missed opportunities, and overcoming past demons, with a tone that, if not positive, at least has a feeling of contentment and trying to move forward. One can listen to this album and relate to the frustrations coming from Robin Wilson (lead singer) and, instead of becoming more depressed, walk away feeling ok. How many albums are like that?
The band scored four hits from this album... "Hey Jealousy" and "Allison Road" are probably the two most well-known and also remain two of my all-time favorites. "Found Out About You" is also great, though it has moved down on my list slightly over the years, perhaps because of it's overly dramatic tone (one of the few songs on the album with which this is an issue). It took me a while, but I have really come to appreciate "Until I Fall Away" more and more over time... if you could classify any of Gin Blossoms's songs as "beautiful", this might be the one.
Overall, the rest of the album is very solid. At the beginning they demonstrate their calm yet upbeat sound with "Lost Horizons" and "Mrs. Rita". While I don't think Gin Blossoms are at their very best with the more intense rock, I still think they do a great job with "Hold Me Down" and "Hands Are Tied" later on in the album... I slightly prefer the former, even if it is a little drawn out. These latter two tracks actually convey a similar tone to the former two while providing a little variety of sound. "29" and "Pieces of the Night", towards the end, seem like slightly watered down versions of the previous songs, though they are still solid.
One thing I've never understood about Gin Blossoms is their need to occasionally dabble into country... "Cheatin'" is definitely the low point of the album, although what makes it tolerable is that (a) it's the Gin Blossoms, so I'm willing to give it the benefit if the doubt, and (b) I suspect it wasn't really meant to be taken seriously. And then there's "Cajun Song", which isn't without it's charm, but again seems really out of place. I guess it could be argued that it provides a little break between the more intense "Hold Me Down" and "Hands Are Tied".
If there's one thing I can say about Gin Blossoms, it's that it's a shame that not more people listen to them. For one thing, it's really great music that can be appreciated even more when their career is put into full context. At the same time, though what happened to Hopkins is a tragedy, one can listen to New Miserable Experience and, instead of hearing nothing but whining that is prevalent on so many popular albums today, be able to put the past behind and feel more optimistic about the future.
Track #, Name of Song, Duration, My Rating
1. Lost Horizons (3:21) - 9/10
2. Hey Jealousy (3:57) - 10/10
3. Mrs. Rita (4:26) - 9/10
4. Until I Fall Away (3:53) - 10/10
5. Hold Me Down (4:51) - 9/10
6. Cajun Song (2:57) - 7/10
7. Hands Are Tied (3:18) - 9/10
8. Found Out About You (3:53) - 9/10
9. Allison Road (3:19) - 10/10
10. 29 (4:20) - 8/10
11. Pieces of the Night (4:35) - 8/10
12. Cheatin' (3:25) - 5/10
Album: New Miserable Experience
Released: August 4, 1992
OK, I'm just going to say it now: Gin Blossoms is one of the most underrated bands of the past generation. Many people, if you refresh their memory, might vaguely remember one or two of their big radio hits from back in the '90s, but today they are basically an afterthought. I'm not sure exactly why that is, but I have a few ideas... for one thing, they weren't as groundbreaking or, dare I say, outlandish as several other more well-known bands from that era. And it certainly doesn't help that they only released two major label albums before splitting up, only one of which was with renowned songwriter/guitarist Doug Hopkins, who was kicked out of the band for his alcoholism and committed suicide soon after. (The band would later reunite and put out two more albums, one in 2006 and another in 2010.)
Another thing working against them is that it is not easy to classify exactly what type of rock they play. Typically they've been classified as pop, jangle, and/or alternative, somewhat lost in an era that was dominated by grunge. I would argue that they sound as much as anything like post-grunge; indeed, they sound more like Collective Soul or Matchbox Twenty than they do Pearl Jam or Soundgarden. If this is the case, then Gin Blossoms may have actually been a band that was ahead of their time, their (temporary) demise coming at around the same time that the music world may have finally been ready for them.
Anyway, regardless of their shortcomings, there might not be a band that does a better job of capturing what the '90s was all about than Gin Blossoms (watch the video for "Hey Jealousy" and you'll see what I mean). What makes them so unique is their down-to-earth, relatively mature sound, dealing with failing romances, missed opportunities, and overcoming past demons, with a tone that, if not positive, at least has a feeling of contentment and trying to move forward. One can listen to this album and relate to the frustrations coming from Robin Wilson (lead singer) and, instead of becoming more depressed, walk away feeling ok. How many albums are like that?
The band scored four hits from this album... "Hey Jealousy" and "Allison Road" are probably the two most well-known and also remain two of my all-time favorites. "Found Out About You" is also great, though it has moved down on my list slightly over the years, perhaps because of it's overly dramatic tone (one of the few songs on the album with which this is an issue). It took me a while, but I have really come to appreciate "Until I Fall Away" more and more over time... if you could classify any of Gin Blossoms's songs as "beautiful", this might be the one.
Overall, the rest of the album is very solid. At the beginning they demonstrate their calm yet upbeat sound with "Lost Horizons" and "Mrs. Rita". While I don't think Gin Blossoms are at their very best with the more intense rock, I still think they do a great job with "Hold Me Down" and "Hands Are Tied" later on in the album... I slightly prefer the former, even if it is a little drawn out. These latter two tracks actually convey a similar tone to the former two while providing a little variety of sound. "29" and "Pieces of the Night", towards the end, seem like slightly watered down versions of the previous songs, though they are still solid.
One thing I've never understood about Gin Blossoms is their need to occasionally dabble into country... "Cheatin'" is definitely the low point of the album, although what makes it tolerable is that (a) it's the Gin Blossoms, so I'm willing to give it the benefit if the doubt, and (b) I suspect it wasn't really meant to be taken seriously. And then there's "Cajun Song", which isn't without it's charm, but again seems really out of place. I guess it could be argued that it provides a little break between the more intense "Hold Me Down" and "Hands Are Tied".
If there's one thing I can say about Gin Blossoms, it's that it's a shame that not more people listen to them. For one thing, it's really great music that can be appreciated even more when their career is put into full context. At the same time, though what happened to Hopkins is a tragedy, one can listen to New Miserable Experience and, instead of hearing nothing but whining that is prevalent on so many popular albums today, be able to put the past behind and feel more optimistic about the future.
Track #, Name of Song, Duration, My Rating
1. Lost Horizons (3:21) - 9/10
2. Hey Jealousy (3:57) - 10/10
3. Mrs. Rita (4:26) - 9/10
4. Until I Fall Away (3:53) - 10/10
5. Hold Me Down (4:51) - 9/10
6. Cajun Song (2:57) - 7/10
7. Hands Are Tied (3:18) - 9/10
8. Found Out About You (3:53) - 9/10
9. Allison Road (3:19) - 10/10
10. 29 (4:20) - 8/10
11. Pieces of the Night (4:35) - 8/10
12. Cheatin' (3:25) - 5/10
Friday, September 16, 2011
I wonder what it's like to be a superhero...
Artist: Matchbox Twenty
Album: Yourself or Someone Like You
Released: October 1, 1996
The late 1990s was a confusing time for music, rock in particular. By 1997, the grunge era had unofficially come to a close; Nirvana and Soundgarden had both disbanded, while Pearl Jam, never fully comfortable embracing mainstream success, took their career in new and interesting directions. The slightly heavier alternative metal of the 2000s, embodied by the likes of Breaking Benjamin, Seether, and Chris Cornell-led Audioslave, was still a few years away. Something had to fill the void.
During this time, several bands tried to keep the grunge sound somewhat going. Bands such as Bush, Collective Soul, and Foo Fighters (the latter led by Dave Grohl of Nirvana) emerged with more polished and radio-friendly lyrics and guitar riffs that were largely but not fully realized in many popular grunge albums from a few years earlier. Although they didn't emerge on the scene until a couple of years after these other bands, Matchbox Twenty's breakthrough Yourself or Someone Like You is one of my favorite albums from this time.
I don't remember when exactly I first listened to or obtained my copy of this CD... but I know that I was 12 years old when "Push" was on the radio constantly during the summer of 1997. The song didn't grab my attention right away, but after listening to it many times on the radio, I really started to appreciate it. It's a slow-paced song with simple lyrics ("I wanna push you around/Well I will...I wanna take you for granted"); yet the awesome riffs and angst-ridden voice of Rob Thomas blend together to create an emotionally powerful song. (Some feminist groups were upset that they would release a song about a man physically abusing a woman, until the band later explained that it is actually about a woman emotionally abusing a man.) Today, "Push" remains one of my all-time favorite songs.
Within the next year or so, I heard two more songs played frequently on the radio: the slightly faster "3AM", about Thomas's mother; and the even faster and slightly more upbeat "Real World", in which Thomas contemplates how life would be if he were someone else. I decided that I had to hear the rest of the album. I think I may have borrowed it from a friend first, and I can't even remember whether I bought it or received it as a gift. Nonetheless, it quickly became one of my favorite CDs. "Back 2 Good" was later released as a single and may have been the most commercially successful song from the album. I really like the song, but not quite as much as the other three hits I mentioned, possibly because it is so tough to follow those up. I will say that it's longer and not as tightly composed as most of their other songs, which is why it surprised me that it was so popular.
The tone of this album is mainly that of depression, anger, anxiety, and frustration. However, I wouldn't call this a "dark" album, and it certainly isn't overly dramatic. What's nice is that there is a solid balance between slow, contemplative tracks and faster, more positive ones. With the exception of "Push", I personally have always preferred Matchbox Twenty when they are a little more upbeat, such as in "Long Day", "Argue", and "Girl Like That". "Busted" and "Damn" are both kind of in between the two. "Busted" used to be one of my favorites, and while I still like it, over time it has moved down my list slightly. Meanwhile, "Kody", which is maybe the most "depressing" (for lack of a better term) track on the album, didn't used to be one of my favorites. However, it has really started to grow on me over the years. The album does end with a slight thud, as I think that "Shame" and "Hang", two of the most low-key tracks on the album, are probably my two least favorites as well.
If I had one very small issue with this album, it's that several of the songs are a little repetitive. However, it's difficult to get upset about that when most of the songs are so good. After many years, this is still a CD that I find myself frequently listening to, and it is certainly one of the best albums to come out of what was in many ways a lost era for music.
Track #, Name of Song, Duration, My Rating
1. Real World (3:51) - 10/10
2. Long Day (3:45) - 9/10
3. 3AM (3:47) - 10/10
4. Push (3:58) - 10/10
5. Girl Like That (3:45) - 9/10
6. Back 2 Good (5:40) - 9/10
7. Damn (3:20) - 8/10
8. Argue (2:57) - 9/10
9. Kody (4:03) - 9/10
10. Busted (4:17) - 8/10
11. Shame (3:34) - 8/10
12. Hang (3:47) -7/10
Album: Yourself or Someone Like You
Released: October 1, 1996
The late 1990s was a confusing time for music, rock in particular. By 1997, the grunge era had unofficially come to a close; Nirvana and Soundgarden had both disbanded, while Pearl Jam, never fully comfortable embracing mainstream success, took their career in new and interesting directions. The slightly heavier alternative metal of the 2000s, embodied by the likes of Breaking Benjamin, Seether, and Chris Cornell-led Audioslave, was still a few years away. Something had to fill the void.
During this time, several bands tried to keep the grunge sound somewhat going. Bands such as Bush, Collective Soul, and Foo Fighters (the latter led by Dave Grohl of Nirvana) emerged with more polished and radio-friendly lyrics and guitar riffs that were largely but not fully realized in many popular grunge albums from a few years earlier. Although they didn't emerge on the scene until a couple of years after these other bands, Matchbox Twenty's breakthrough Yourself or Someone Like You is one of my favorite albums from this time.
I don't remember when exactly I first listened to or obtained my copy of this CD... but I know that I was 12 years old when "Push" was on the radio constantly during the summer of 1997. The song didn't grab my attention right away, but after listening to it many times on the radio, I really started to appreciate it. It's a slow-paced song with simple lyrics ("I wanna push you around/Well I will...I wanna take you for granted"); yet the awesome riffs and angst-ridden voice of Rob Thomas blend together to create an emotionally powerful song. (Some feminist groups were upset that they would release a song about a man physically abusing a woman, until the band later explained that it is actually about a woman emotionally abusing a man.) Today, "Push" remains one of my all-time favorite songs.
Within the next year or so, I heard two more songs played frequently on the radio: the slightly faster "3AM", about Thomas's mother; and the even faster and slightly more upbeat "Real World", in which Thomas contemplates how life would be if he were someone else. I decided that I had to hear the rest of the album. I think I may have borrowed it from a friend first, and I can't even remember whether I bought it or received it as a gift. Nonetheless, it quickly became one of my favorite CDs. "Back 2 Good" was later released as a single and may have been the most commercially successful song from the album. I really like the song, but not quite as much as the other three hits I mentioned, possibly because it is so tough to follow those up. I will say that it's longer and not as tightly composed as most of their other songs, which is why it surprised me that it was so popular.
The tone of this album is mainly that of depression, anger, anxiety, and frustration. However, I wouldn't call this a "dark" album, and it certainly isn't overly dramatic. What's nice is that there is a solid balance between slow, contemplative tracks and faster, more positive ones. With the exception of "Push", I personally have always preferred Matchbox Twenty when they are a little more upbeat, such as in "Long Day", "Argue", and "Girl Like That". "Busted" and "Damn" are both kind of in between the two. "Busted" used to be one of my favorites, and while I still like it, over time it has moved down my list slightly. Meanwhile, "Kody", which is maybe the most "depressing" (for lack of a better term) track on the album, didn't used to be one of my favorites. However, it has really started to grow on me over the years. The album does end with a slight thud, as I think that "Shame" and "Hang", two of the most low-key tracks on the album, are probably my two least favorites as well.
If I had one very small issue with this album, it's that several of the songs are a little repetitive. However, it's difficult to get upset about that when most of the songs are so good. After many years, this is still a CD that I find myself frequently listening to, and it is certainly one of the best albums to come out of what was in many ways a lost era for music.
Track #, Name of Song, Duration, My Rating
1. Real World (3:51) - 10/10
2. Long Day (3:45) - 9/10
3. 3AM (3:47) - 10/10
4. Push (3:58) - 10/10
5. Girl Like That (3:45) - 9/10
6. Back 2 Good (5:40) - 9/10
7. Damn (3:20) - 8/10
8. Argue (2:57) - 9/10
9. Kody (4:03) - 9/10
10. Busted (4:17) - 8/10
11. Shame (3:34) - 8/10
12. Hang (3:47) -7/10
Friday, September 2, 2011
One Maniac Goes Solo
Artist: Natalie Merchant
Album: Tigerlily
Released: June 20, 1995
I first listened to this album about 15 years ago, when a friend bought it on cassette for me for my 11th birthday. The previous year, "Carnival" was being played on the radio all the time, and it instantly became the soundtrack to my summer when I was 10. The slow, soft, melodic grunge-type sound blended perfectly with Natalie's vocals and she described walking through New York City. A few months later, "Wonder" was the next song to receive lots of airtime, and I loved it just as much, even if it had a much different tone from "Carnival" - much more joyous and upbeat. Yet it had the same great blend of sound and vocals. I quickly came to realize how talented she was.
Natalie Merchant is the former lead singer of the band 10,000 Maniacs, an alternative rock/pop band that enjoyed steady success during the 1980s and early 1990s. (They continued on later with a new lead singer.) This was her first solo album, and in many ways it was a fairly strong departure from her days with the band. To this day, she still is my favorite female vocalist, and on this album her voice plays a more prominent role than in many 10,000 Maniacs songs. She has a beautiful voice - but not in the way that term is often used. It is a rich, passionate voice capable of conveying a wide range of emotions, whether it be contemplation ("Carnival"), optimism ("Wonder"), sadness ("Beloved Wife", told from the perspective of a grieving widower), anger ("Seven Years"), or mourning ("River", about the late actor River Phoenix).
Since I owned (actually, still do own) this album on cassette, I still think of it in terms of side one (tracks 1-5) and side two (tracks 6-11). Side one still just totally blows me away every time I hear it. "San Andreas Fault" is a great opener - the sound is very simple and mellow, but Natalie herself does most of the work. It's a great way to give the listener an idea of what the rest of the album will be like. "Wonder" (#2) and "Carnival" (#5) are also on here... but "Beloved Wife" and "River" are also both incredible and emotional songs.
I do think there is a little bit of a dropoff in the second part of the album, as Natalie departs a little bit from the sound of the first part. It starts with "I May Know the Word" and ends with "Seven Years," sounding much like the first part. The former is a little drawn out, but still very good, while the latter is solid but maybe a little overly dramatic. In between, she experiments a little bit, starting with the piano-based "The Letter" - pretty decent, but I really wish she had developed it a little more. The quasi-country "Cowboy Romance" and "Where I Go" aren't bad, but definitely not her strong point. "Jealousy" was released as a single after I got this album, and I really don't understand why. Not only is it my least favorite track on the album, but it's not a radio-friendly song either.
I wouldn't really know how to classify this album. It's not really rock... I guess technically it is pop, but it doesn't sound at all like most of the popular music that came out during the mid-90s, or anytime since then for that matter. In trying to think of another female vocalist to compare her to, the best I could come up with is Alanis Morrisette... but I still don't think that's a really strong comparison. In any case, this album doesn't get anywhere near the attention that other albums that came out around that time do, and that's a shame. To me, it's a hidden treasure that I still enjoy just as much as I did years ago.
Track #, Name of Song, Duration, My Rating
1. San Andreas Fault (3:57) - 9/10
2. Wonder (4:26) - 10/10
3. Beloved Wife (5:03) - 10/10
4. River (5:32) - 10/10
5. Carnival (5:59) - 10/10
6. I May Know the Word (8:07) - 9/10
7. The Letter (2:12) - 7/10
8. Cowboy Romance (4:39) - 7/10
9. Jealousy (2:41) - 7/10
10. Where I Go (3:59) - 8/10
11. Seven Years (5:31) - 8/10
Album: Tigerlily
Released: June 20, 1995
I first listened to this album about 15 years ago, when a friend bought it on cassette for me for my 11th birthday. The previous year, "Carnival" was being played on the radio all the time, and it instantly became the soundtrack to my summer when I was 10. The slow, soft, melodic grunge-type sound blended perfectly with Natalie's vocals and she described walking through New York City. A few months later, "Wonder" was the next song to receive lots of airtime, and I loved it just as much, even if it had a much different tone from "Carnival" - much more joyous and upbeat. Yet it had the same great blend of sound and vocals. I quickly came to realize how talented she was.
Natalie Merchant is the former lead singer of the band 10,000 Maniacs, an alternative rock/pop band that enjoyed steady success during the 1980s and early 1990s. (They continued on later with a new lead singer.) This was her first solo album, and in many ways it was a fairly strong departure from her days with the band. To this day, she still is my favorite female vocalist, and on this album her voice plays a more prominent role than in many 10,000 Maniacs songs. She has a beautiful voice - but not in the way that term is often used. It is a rich, passionate voice capable of conveying a wide range of emotions, whether it be contemplation ("Carnival"), optimism ("Wonder"), sadness ("Beloved Wife", told from the perspective of a grieving widower), anger ("Seven Years"), or mourning ("River", about the late actor River Phoenix).
Since I owned (actually, still do own) this album on cassette, I still think of it in terms of side one (tracks 1-5) and side two (tracks 6-11). Side one still just totally blows me away every time I hear it. "San Andreas Fault" is a great opener - the sound is very simple and mellow, but Natalie herself does most of the work. It's a great way to give the listener an idea of what the rest of the album will be like. "Wonder" (#2) and "Carnival" (#5) are also on here... but "Beloved Wife" and "River" are also both incredible and emotional songs.
I do think there is a little bit of a dropoff in the second part of the album, as Natalie departs a little bit from the sound of the first part. It starts with "I May Know the Word" and ends with "Seven Years," sounding much like the first part. The former is a little drawn out, but still very good, while the latter is solid but maybe a little overly dramatic. In between, she experiments a little bit, starting with the piano-based "The Letter" - pretty decent, but I really wish she had developed it a little more. The quasi-country "Cowboy Romance" and "Where I Go" aren't bad, but definitely not her strong point. "Jealousy" was released as a single after I got this album, and I really don't understand why. Not only is it my least favorite track on the album, but it's not a radio-friendly song either.
I wouldn't really know how to classify this album. It's not really rock... I guess technically it is pop, but it doesn't sound at all like most of the popular music that came out during the mid-90s, or anytime since then for that matter. In trying to think of another female vocalist to compare her to, the best I could come up with is Alanis Morrisette... but I still don't think that's a really strong comparison. In any case, this album doesn't get anywhere near the attention that other albums that came out around that time do, and that's a shame. To me, it's a hidden treasure that I still enjoy just as much as I did years ago.
Track #, Name of Song, Duration, My Rating
1. San Andreas Fault (3:57) - 9/10
2. Wonder (4:26) - 10/10
3. Beloved Wife (5:03) - 10/10
4. River (5:32) - 10/10
5. Carnival (5:59) - 10/10
6. I May Know the Word (8:07) - 9/10
7. The Letter (2:12) - 7/10
8. Cowboy Romance (4:39) - 7/10
9. Jealousy (2:41) - 7/10
10. Where I Go (3:59) - 8/10
11. Seven Years (5:31) - 8/10
Saturday, August 27, 2011
Ten: 20 Years Later...
Artist: Pearl Jam
Album: Ten
Released: August 27, 1991
For my first blog post, I decided it would be appropriate to discuss Pearl Jam's Ten album, as today is the 20th anniversary of when it was released. With the possible exception of Nirvana's Nevermind (about which I will have more to say at a later date), Ten might be the most significant album to come out of the grunge era of the 1990s. But while Nirvana's impact was short and intense, ending in Kurt Cobain's death just three years later, Pearl Jam's run has been much longer and more consistent. Ten was one of a handful of albums that came out around 1991 that helped to bring the grunge sound into the mainstream. Further, it has withstood the test of time as one of the most popular rock albums of the past 20 years, as several of the tracks continue to receive lots of air time on rock radio stations. For me, it is about as close to a perfect album as there is. I would easily put it in my top five favorites.
Even though this is a truly great album, the fact that several of the songs have been played so often on the radio might make it difficult, at least at first, to listen from start to finish and appreciate the album as a whole. It starts off with a somewhat haunting interlude that runs into the first song, "Once". I think this is a great song to open with: it's pretty intense and fast-paced, but it's definitely not hard rock, as many think of it, either. And in a way, it introduces this new (to many) sound to the listener... the underground grunge sound from the 1980s, but with more of a classic rock feel that may appeal to a broader audience.
Four of the next five songs were big radio hits, with "Why Go" providing a nice break. I've heard each of them many times on the radio, and I love each of them in their own way. What makes this album so great is that the songs play so well off each other. They're similar enough to blend well together and not mess with the mind of the listener, yet they are different enough that each has its own unique feel and emotion. Further, each of these deals with an emotional issue, whether it be homelessness ("Even Flow"), missing a loved one ("Black"), or suicide ("Jeremy", which is based on a true story of a boy who shot himself in front of his classmates). "Alive" is about Eddie Vedder (lead singer) finding out that his "father" is actually his stepfather and that his real father had passed away, although the song has a more uplifting sound than many of the other tracks.
For me, the second half of the album is what separates it from so many others. "Oceans" is a hauntingly beautiful song, about Vedder's love of surfing. It was released as a single, but I don't think I have ever heard it played on the radio. That's a shame, because it is one of my favorite songs of theirs. I also think that "Garden" is a vastly underrated song, as almost no one seems to mention it when discussing the album. These are two of the "softer" (for this album, anyway) tracks from the second half of the album, and they contrast nicely with the faster-paced "Porch" and the more intense "Deep". "Release" is a great, and somewhat soothing yet emotional, way to end the album. It probably takes more listens than most of the other tracks to really appreciate, especially since it relies on Vedder's vocals perhaps more than any other track. The album concludes with a reprisal of the interlude from the beginning.
Not only is this a great album, but it also kicked off what has turned out to be a long and interesting career for Pearl Jam. Ten was filled with lots of raw emotion and musical talent that would lead listeners to believe that they could have much more additional success in the future. Looking back over 20 years, it is interesting to see how their career has evolved -- although I will get into that much more in future posts. For now, suffice it to say that Ten is a great, timeless album that has become a staple in my music collection.
Track #, Name of Song, Duration, My Rating
1. Once (3:52) - 9/10
2. Even Flow (4:54) - 10/10
3. Alive (5:41) - 10/10
4. Why Go (3:20) - 8/10
5. Black (5:44) - 10/10
6. Jeremy (5:16) - 10/10
7. Oceans (2:42) - 10/10
8. Porch (3:31) - 8/10
9. Garden (4:59) - 9/10
10. Deep (4:18) - 8/10
11. Release (9:06) - 8/10 (includes hidden track "Master/Slave")
By the way, if you want to learn more about this album, here's an interesting article from Yahoo Music: http://new.music.yahoo.com/blogs/amplifier/89727/five-things-you-didnt-know-about-pearl-jams-ten/
Album: Ten
Released: August 27, 1991
For my first blog post, I decided it would be appropriate to discuss Pearl Jam's Ten album, as today is the 20th anniversary of when it was released. With the possible exception of Nirvana's Nevermind (about which I will have more to say at a later date), Ten might be the most significant album to come out of the grunge era of the 1990s. But while Nirvana's impact was short and intense, ending in Kurt Cobain's death just three years later, Pearl Jam's run has been much longer and more consistent. Ten was one of a handful of albums that came out around 1991 that helped to bring the grunge sound into the mainstream. Further, it has withstood the test of time as one of the most popular rock albums of the past 20 years, as several of the tracks continue to receive lots of air time on rock radio stations. For me, it is about as close to a perfect album as there is. I would easily put it in my top five favorites.
Even though this is a truly great album, the fact that several of the songs have been played so often on the radio might make it difficult, at least at first, to listen from start to finish and appreciate the album as a whole. It starts off with a somewhat haunting interlude that runs into the first song, "Once". I think this is a great song to open with: it's pretty intense and fast-paced, but it's definitely not hard rock, as many think of it, either. And in a way, it introduces this new (to many) sound to the listener... the underground grunge sound from the 1980s, but with more of a classic rock feel that may appeal to a broader audience.
Four of the next five songs were big radio hits, with "Why Go" providing a nice break. I've heard each of them many times on the radio, and I love each of them in their own way. What makes this album so great is that the songs play so well off each other. They're similar enough to blend well together and not mess with the mind of the listener, yet they are different enough that each has its own unique feel and emotion. Further, each of these deals with an emotional issue, whether it be homelessness ("Even Flow"), missing a loved one ("Black"), or suicide ("Jeremy", which is based on a true story of a boy who shot himself in front of his classmates). "Alive" is about Eddie Vedder (lead singer) finding out that his "father" is actually his stepfather and that his real father had passed away, although the song has a more uplifting sound than many of the other tracks.
For me, the second half of the album is what separates it from so many others. "Oceans" is a hauntingly beautiful song, about Vedder's love of surfing. It was released as a single, but I don't think I have ever heard it played on the radio. That's a shame, because it is one of my favorite songs of theirs. I also think that "Garden" is a vastly underrated song, as almost no one seems to mention it when discussing the album. These are two of the "softer" (for this album, anyway) tracks from the second half of the album, and they contrast nicely with the faster-paced "Porch" and the more intense "Deep". "Release" is a great, and somewhat soothing yet emotional, way to end the album. It probably takes more listens than most of the other tracks to really appreciate, especially since it relies on Vedder's vocals perhaps more than any other track. The album concludes with a reprisal of the interlude from the beginning.
Not only is this a great album, but it also kicked off what has turned out to be a long and interesting career for Pearl Jam. Ten was filled with lots of raw emotion and musical talent that would lead listeners to believe that they could have much more additional success in the future. Looking back over 20 years, it is interesting to see how their career has evolved -- although I will get into that much more in future posts. For now, suffice it to say that Ten is a great, timeless album that has become a staple in my music collection.
Track #, Name of Song, Duration, My Rating
1. Once (3:52) - 9/10
2. Even Flow (4:54) - 10/10
3. Alive (5:41) - 10/10
4. Why Go (3:20) - 8/10
5. Black (5:44) - 10/10
6. Jeremy (5:16) - 10/10
7. Oceans (2:42) - 10/10
8. Porch (3:31) - 8/10
9. Garden (4:59) - 9/10
10. Deep (4:18) - 8/10
11. Release (9:06) - 8/10 (includes hidden track "Master/Slave")
By the way, if you want to learn more about this album, here's an interesting article from Yahoo Music: http://new.music.yahoo.com/blogs/amplifier/89727/five-things-you-didnt-know-about-pearl-jams-ten/
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