Artist: R.E.M.
Album: Collapse Into Now
Released: March 4, 2011
Where can you possibly begin the conversation about R.E.M.? They are one of the most influential rock bands of the past generation, with an incredible career that spanned 30 years. They played a key role in developing the alternative rock genre as we know it today, starting with their college rock of the early '80s to the more mainstream alternative of the late '80s and early '90s. Even after that, they were still putting out quality tracks while evolving towards a more polished and mature sound.
When R.E.M. released their 2 disc greatest hits album (Part Lies, Part Truth, Part Heart, Part Garbage, 1982-2011) last year, many fans agreed that there were still quite a few important songs missing; indeed, a few of my favorites were absent, including "E-Bow the Letter", "Bang and Blame", and "All the Way to Reno". I would say my very favorite R.E.M. songs, along with "E-Bow the Letter", include "What's the Frequency, Kenneth?", "Man on the Moon", "Orange Crush", and "Electrolite", though there are so many other great ones. Most of their big hits have their own unique qualities, and when listening all the way through their greatest hits compilation, the aforementioned progression in sound is evident.
The band announced last year that they were hanging it up, meaning that Collapse Into Now, their 15th studio album, would also be their last. I'm sure I'll be posting more about R.E.M. in the future; I posted about their last album first, partly because I haven't done many post-1990s reviews yet, and partly because their recent retirement provides an opportunity to reflect on their career. When I listen to the opening riffs to "Discoverer", the opening track, I can't help but feel like the band is warming up for their grand finale. It's a solid track and also reminds me quite a bit of "What's the Frequency, Kenneth?" As the album was released just a few months before retiring, this song hints that the end may be near, as Michael Stipe (lead singer) reflects on his career.
There are a few parts of the album that remind the listener of the band's earlier days; I'm thinking particularly of "All the Best" and "Mine Smell Like Honey", which recall the quasi-grunge songs of the late '80s/early '90s. Also, "Alligator_Aviator_Autopilot_Antimatter" is kind of a fun song much in the mold of earlier hits like "Stand"; I would also say "That Someone is You" fits into that description. However, the majority of the album has a clean, modern sound (as opposed to the band's early college rock days), and I think in general that this formula worked best for them on this particular album.
For me, "Uberlin" is the standout song from the album. It fits into the modern mold: it's fairly easy listening, but it's a well crafted song and also provides some of Stipe's best vocals. I would give it strong consideration to be in my top ten all-time R.E.M. songs. Two other more modern tracks that I really like are "It Happened Today" and "Every Day is Yours to Win". I think here, they sound a little bit like Coldplay; the former track features backup vocals from Eddie Vedder. "Walk It Back" is similar in this way but not quite as strong; I like the piano-based melody, though it just didn't pull me in as much as I would have expected. "Oh My Heart" and "Me, Marlon Brando, Marlon Brando and I" are solemn tracks that take a little bit of effort from the listener to enjoy; I like them both, though it took a little more time for me to warm to the latter.
The album closes with "Blue", a somewhat complex but also interesting song. In a way, it's a good closer for R.E.M.'s career; it features vocals from Patti Smith (as "E-Bow the Letter" did) and also a reprisal of the riffs from "Discoverer". When I hear this song, I can visualize the curtain closing on an incredible career. I don't think anyone will ever consider Collapse Into Now as among R.E.M.'s all-time classics, but it's really nice to see that after all this time, they were still able to put together a solid album and exit the stage with some dignity.
Track #, Name of Song, Duration, My Rating
1. Discoverer (3:31) - 9/10
2. All the Best (2:46) - 8/10
3. Uberlin (4:13) - 10/10
4. Oh My Heart (3:20) - 9/10
5. It Happened Today (3:48) - 9/10
6. Every Day Is Yours to Win (3:25) - 9/10
7. Mine Smell Like Honey (3:11) - 8/10
8. Walk It Back (3:23) - 8/10
9. Alligator_Aviator_Autopilot_Antimatter (2:44) - 8/10
10. That Someone Is You (1:43) - 7/10
11. Me, Marlon Brando, Marlon Brando and I (3:03) - 8/10
12. Blue (5:45) - 8/10
Wednesday, November 21, 2012
Tuesday, September 11, 2012
Stay with me and I'll have it made...
Artist: Blind Melon
Album: Blind Melon
Released: September 14, 1992
It seems like there were a lot of bands back in the '90s that are still vaguely remembered for one or two hits but otherwise have faded into relative obscurity. It's a theme that I have already hit on several times since starting this blog. Blind Melon certainly falls into that category, and they are an especially sad case because lead singer Shannon Hoon died from a drug overdose in 1995, just weeks after they released their second album.
Whenever a band loses their lead singer or another influential member during the peak of their success (or at least when it appears they still have a lot left in the tank), it's easy to think about what would have happened had that person survived. Sometimes, it's hard to say. But it appears that Blind Melon's success may have been short lived in either case. Their first album, self-titled, was released in 1992 and put an interesting twist on the alternative rock that was exploding at that time. They mixed alternative with some elements of Southern and psychedelic rock that made for a great album; at the same time, it would have been virtually impossible to replicate it without sounding repetitive. Indeed, they didn't even try, as their second album, Soup, was different and not nearly as successful or well-known. After Hoon died, they did little of note before disbanding.
Though the rest of the story is pretty rough, Blind Melon is an enjoyable album and adds some nice variety to my music rotation. If you had a radio on throughout the '90s you probably heard "No Rain" quite a bit. It's certainly a classic from that time and one of my personal favorite hits, but it isn't representative of what's on the rest of the album. You'll get a good sense of what Hoon offers in terms of vocals, but the Southern/psychedelic sound is far less apparent here.
The album actually starts off with two harder, faster-paced rock tracks with "Soak the Sin" and "Tones of Home"; I slightly prefer the former, though I like them both. The album shifts more towards psychdelic rock starting at track three. "I Wonder" is one of my favorites; Hoon's voice blends well with the riffs, yet is just edgy enough at times to make it a song that I can really get into. "Paper Scratcher" is pretty good too; overall it's lighter, yet mixes in a few heavier parts that make them sound like Metallica. "Dear Ol' Dad" is mellow and good in its own way but perhaps not quite as strong. Some people still remember "Change" as a mildly successful hit, but it is one of my least favorites. It seems like they were trying for a popular radio hit while also adding some slower variety to the rest of the album, but didn't really succeed at either.
"Change" and "No Rain" serve as a bridge to the second half of the album, which takes a turn towards Southern style rock. "Deserted" is a great song; I am tempted to say it is my favorite track on the whole album. The vocals are intense, possibly Hoon's best, while there seems to be a perfect blend of fast and slow, psychedelic and alternative. "Sleepyhouse" is good, but at some points the sound seems forced and doesn't flow well. "Holyman" is more up tempo with a strong Southern bent, which distinguishes it a little from the other tracks. However, by this point it appears that they have carried this sound about as far as it will go. "Seed to a Tree" is pretty nondescript; "Drive", at a much slower pace, and "Time", the final song that tries to send the album out with a bang, are decent but aren't really that much different from the rest of the album and therefore not particularly memorable.
So, with this one album, Blind Melon made their own unique mark on early '90s rock. Even if they did virtually nothing else or don't have nearly as strong of a following as other bands from this time, this is still an album that is worth listening to. Maybe it isn't useful for capturing what early '90s music is all about, but it's still an album you can stick in your CD player and enjoy.
Track #, Name of Song, Duration, My Rating
1. Soak the Sin (4:01) - 9/10
2. Tones of Home (4:27) - 9/10
3. I Wonder (5:33) - 10/10
4. Paper Scratcher (3:13) - 9/10
5. Dear Ol' Dad (3:01) - 8/10
6. Change (3:41) - 7/10
7. No Rain (3:37) - 10/10
8. Deserted (4:20) - 10/10
9. Sleepyhouse (4:28) - 9/10
10. Holyman (4:47) - 8/10
11. Seed to a Tree (3:29) - 7/10
12. Drive (4:40) - 8/10
13. Time (6:02) - 8/10
Album: Blind Melon
Released: September 14, 1992
It seems like there were a lot of bands back in the '90s that are still vaguely remembered for one or two hits but otherwise have faded into relative obscurity. It's a theme that I have already hit on several times since starting this blog. Blind Melon certainly falls into that category, and they are an especially sad case because lead singer Shannon Hoon died from a drug overdose in 1995, just weeks after they released their second album.
Whenever a band loses their lead singer or another influential member during the peak of their success (or at least when it appears they still have a lot left in the tank), it's easy to think about what would have happened had that person survived. Sometimes, it's hard to say. But it appears that Blind Melon's success may have been short lived in either case. Their first album, self-titled, was released in 1992 and put an interesting twist on the alternative rock that was exploding at that time. They mixed alternative with some elements of Southern and psychedelic rock that made for a great album; at the same time, it would have been virtually impossible to replicate it without sounding repetitive. Indeed, they didn't even try, as their second album, Soup, was different and not nearly as successful or well-known. After Hoon died, they did little of note before disbanding.
Though the rest of the story is pretty rough, Blind Melon is an enjoyable album and adds some nice variety to my music rotation. If you had a radio on throughout the '90s you probably heard "No Rain" quite a bit. It's certainly a classic from that time and one of my personal favorite hits, but it isn't representative of what's on the rest of the album. You'll get a good sense of what Hoon offers in terms of vocals, but the Southern/psychedelic sound is far less apparent here.
The album actually starts off with two harder, faster-paced rock tracks with "Soak the Sin" and "Tones of Home"; I slightly prefer the former, though I like them both. The album shifts more towards psychdelic rock starting at track three. "I Wonder" is one of my favorites; Hoon's voice blends well with the riffs, yet is just edgy enough at times to make it a song that I can really get into. "Paper Scratcher" is pretty good too; overall it's lighter, yet mixes in a few heavier parts that make them sound like Metallica. "Dear Ol' Dad" is mellow and good in its own way but perhaps not quite as strong. Some people still remember "Change" as a mildly successful hit, but it is one of my least favorites. It seems like they were trying for a popular radio hit while also adding some slower variety to the rest of the album, but didn't really succeed at either.
"Change" and "No Rain" serve as a bridge to the second half of the album, which takes a turn towards Southern style rock. "Deserted" is a great song; I am tempted to say it is my favorite track on the whole album. The vocals are intense, possibly Hoon's best, while there seems to be a perfect blend of fast and slow, psychedelic and alternative. "Sleepyhouse" is good, but at some points the sound seems forced and doesn't flow well. "Holyman" is more up tempo with a strong Southern bent, which distinguishes it a little from the other tracks. However, by this point it appears that they have carried this sound about as far as it will go. "Seed to a Tree" is pretty nondescript; "Drive", at a much slower pace, and "Time", the final song that tries to send the album out with a bang, are decent but aren't really that much different from the rest of the album and therefore not particularly memorable.
So, with this one album, Blind Melon made their own unique mark on early '90s rock. Even if they did virtually nothing else or don't have nearly as strong of a following as other bands from this time, this is still an album that is worth listening to. Maybe it isn't useful for capturing what early '90s music is all about, but it's still an album you can stick in your CD player and enjoy.
Track #, Name of Song, Duration, My Rating
1. Soak the Sin (4:01) - 9/10
2. Tones of Home (4:27) - 9/10
3. I Wonder (5:33) - 10/10
4. Paper Scratcher (3:13) - 9/10
5. Dear Ol' Dad (3:01) - 8/10
6. Change (3:41) - 7/10
7. No Rain (3:37) - 10/10
8. Deserted (4:20) - 10/10
9. Sleepyhouse (4:28) - 9/10
10. Holyman (4:47) - 8/10
11. Seed to a Tree (3:29) - 7/10
12. Drive (4:40) - 8/10
13. Time (6:02) - 8/10
Sunday, August 12, 2012
I wish I was 6'1"
Artist: Liz Phair
Album: Exile in Guyville
Released: June 22, 1993
There are several features of this album that make it stand out: the lo-fi sound that gives it character; the way that several of the tracks start of really upbeat and make you think they are gonna take off, only to come back down to earth; and the often unpleasant lyrics (Now all we gotta do is get a preacher / He can probably skip the 'until death' part / Because Johnny my love you're already dead – wow, how many songs are like that?) Yes, this is a really difficult album to listen to in some ways, yet there is something to be said for being different and even outlandish. And, if you can get past that, this can actually be an enjoyable album.
For a debut album, this turned out pretty well, especially since there is a lot of experimentation and variety. A few of the songs are pretty nondescript, but the songs I mentioned above in particular are entertaining and definitely make for something to talk about. For now, I’m gonna turn it back over to Dan and let him talk about a few of the other songs before wrapping things up.
Album: Exile in Guyville
Released: June 22, 1993
Hello blog reading world! I’m not Brian
unfortunately. This is personal, close friend of Brian, Dan! I’ve discussed
music at length with Brian over the years we’ve known each other.
Recently, as I was listening to some 90s music that slipped me by during my
youth, I stumbled upon Liz Phair. I immediately starting chatting up
Brian right away about this great sound I overlooked.
Well, I mainly overlooked it because all I was
familiar with was her 2003 hit, “Why Can’t I.” But thank goodness for
Pandora, it really does help to expand the view to new artists as it did in
this case. One thing I liked right away looking back on Liz, was just her
sound on the albums before the self titled 2003 album. It was rough,
grungy, and had an attitude of “this is who I am, deal with it.” During
my discussion with Brian I thought it was important to get some history on Liz
Phair.
Finding out that she was born in 1967 and I in
1986 and with the explicit lyrics (“Flower”) from what she was putting out,
it’s not a surprise I wasn’t listening to it at that age. But anyway, she
attended school at Oberlin College after growing up in a Chicago suburb.
Then she moved out to San Francisco and came back to Chicago then eventually
got a label with Matador records and put out Exile in Guyville [with a
very racy cover, thanks Liz!]. She had some earlier tracks on tapes
called Girly Sound but I can’t find that to listen to anywhere. In
an interview with itunes, she said, she called it that because she would speed
up her voice and use explicit lyrics to challenge gender norms. Her next
couple albums up to the 2003 album did have some radio hits like “Never Said”
and “Supernova.” But that’s not what set her apart and made her a cult
icon of the time; it’s what wasn’t on the radio.
“F*** and Run” is probably her most popular song
from Exile in Guyville but clearly could not be released on the
radio. Now there were other female artists at the time. You can
draw some comparisons to Courtney Love, The Cranberries, Sheryl Crow, and this
is a bit of a 90s stretch (slightly 80s), The Cowboy Junkies. But I can
explain how she is completely different with one word, honesty. Her music
took the reality of what most women are like that are in their mid 20s and put
it in song. It feels honest to me. When I listen to a Liz track, I
know I’m listening to someone who is honest about not knowing what they want,
being vocal about it, and not caring what others think. This music was
awesome and not only is how women feel, but guys can relate too because guys
date women and know how they are. I’m not trying to disparaging any of
the other artists I’ve mentioned or call them dishonest (after all she did
perform with Sheryl Crow on “Soak Up The Sun”) but this is someone who went on
a solo tour (as in no backup band) in 1995 and it wasn’t acoustic. She is
the stand alone, the real female icon of the 90s.
Now a lot of people accuse Liz of selling out in
2003 when she switched labels to Capitol Records and put out some Poppy
songs. But honestly, I don’t think so. Many people get angry with
artists for changing their sound (people today hate Weezer for the same
reason), but in fact a true music artist doesn’t write songs for people, they
write them for themselves. And the only thing people didn’t like about
it, was that it sounded like a Pop record. But in fact, if you listen to
the lyrics, even “What Can’t I,” it is not stuff you would just yell out
loud. “Why Can’t I” is about two people cheating on each their
significant others even though it sounds like a Pop song. And so what,
can’t an artist evolve and become the “Volvo Driving Soccer Mom” if they want
to? Liz only released Somebody’s Miracle before re-releasing Exile
in Guyville and now composes music for television shows and released a
downloadable album called Funstyle in 2010.
Overall, Liz
Phair is great and is a departure from the idolized women that fill the media
and radio. She really broke the mold and did what she wanted to do.
So many female Pop artists today are not like that at all (well, Liz IS a Rock
artist though, but you get my point.) Too much vanity in female artists
today, and Liz is not about that, which is refreshing. So I’ve spoken
enough about what spurred from a conversation with Brian, let’s Rock and Roll
and get Grungy with Liz in Exile in Guyville.
BRIAN:
Thanks, Dan, I appreciate your
suggesting this album to me and for your effort in writing the above.
There’s no doubt, this is not an album that children should be listening
to! Anyway, there were several females who tried the whole
alternative/pop rock thing back in the ‘90s, such as Courtney Love, Sheryl
Crow, Alanis Morisette, The Cranberries, and I guess even Melissa Etheridge…
but none of them pulled off that edge, that attitude of “this is reality, deal
with it” the way that Liz Phair does in Exile in Guyville. (I
discussed one of my favorite female performers, Natalie Merchant, in an earlier
post, but I don’t think she was going for quite the same thing.)
There are several features of this album that make it stand out: the lo-fi sound that gives it character; the way that several of the tracks start of really upbeat and make you think they are gonna take off, only to come back down to earth; and the often unpleasant lyrics (Now all we gotta do is get a preacher / He can probably skip the 'until death' part / Because Johnny my love you're already dead – wow, how many songs are like that?) Yes, this is a really difficult album to listen to in some ways, yet there is something to be said for being different and even outlandish. And, if you can get past that, this can actually be an enjoyable album.
In many of my reviews, I
try to at least mention every song, but with 18 tracks and two people writing
this would get way too long. So, I’ll just touch on a few. “Dance
of the Seven Veils” is an awesome song on several levels. The lyrics are
entertaining, and I also like the irony of what sounds like a sweet love song
with some cruel lyrics (the line from above is from this song). I think
the most interesting part of the album is roughly around tracks 5-8. At
the beginning of the album, Liz goes with her basic indie rock and later
revisits that, but she experiments a little along the way. “Explain It to
Me” is possibly my favorite song on the album. The vocals and the guitar
sound just seem to blend perfectly to create a great soft rock track.
“Soap Star Joe” is interesting, as it introduces some blues rock with the lo-fi
sound. The vocals are a little more upbeat, and I think it one of Liz’s
best vocal performances on the album. Then there’s “Canary”, which I also
really like. The piano sounds chilling in lo-fi, and Liz’s deeper female
voice actually blends with it well because she is singing more softly.
For a debut album, this turned out pretty well, especially since there is a lot of experimentation and variety. A few of the songs are pretty nondescript, but the songs I mentioned above in particular are entertaining and definitely make for something to talk about. For now, I’m gonna turn it back over to Dan and let him talk about a few of the other songs before wrapping things up.
DAN:
What
isn't enjoyable about this Brian? The very first track 6’ 1” is enjoyable
in and of itself. It has that low-fi simple grunge sound. It’s a
song of identity. Pretty much, if you are looking to feel independent and
strong, then this song will give that exactly. The next song I’m
rating is “The Divorce Song.” This song has some minor special meaning to
me because I was in a long-term relationship that ended and we tried the
friendship thing but it still didn’t work out. This song is probably one
of the best break-up songs of all time and pretty much proves that once an
intimate relationship is over, so is all connection to the other person and it
has some raw lyrics to go with it. The last song I’m reviewing quickly
here was not released on the original release but rather the re-release.
It’s “Instrumentals.” I love this one and it is easily my favorite on the
track because it is literally Liz playing with a phased guitar for several
minutes just living life. That’s exactly what I do half the time when I’m
bored and trying to past time. Even if you don’t play an instrument,
sometimes you are humming to yourself something random just thinking about
whatever and this song captures that to a T. Either way, I would say this
is in my top 3 90s albums of all time with or without the additional tracks
from the re-release with the other two being New Miserable Experience by
the Gin Blossoms and Ten by Pearl Jam. These three albums of the
early 90s blazed a path of grunge, rock, and blues that set up so many other
great artists for success and Exile in Guyville is the one people tend
to forget about most. But not anymore, hopefully Brian and I can declare
today Exile in Guyville day in remembrance of the day when one women
took on grunge and 90s angst to make it her own.
Track #, Name of Song, Duration, My Rating
1. 6'1" (3:06) - 9/10
2. Help Me Mary (2:16) - 8/10
3. Glory (1:29) - 8/10
4. Dance of the Seven Veils (2:29) - 10/10
5. Never Said (3:16) - 9/10
6. Soap Star Joe (2:44) - 10/10
7. Explain It to Me (3:11) 10/10
8. Canary (3:19) - 9/10
9. Mesmerizing (3:55) - 8/10
10. F*** and Run (3:07) - 8/10
11. Girls! Girls! Girls! (2:20) - 7/10
12. Divorce Song (3:20) - 9/10
13. Shatter (5:28) - 9/10
14. Flower (2:03) - 7/10
15. Johnny Sunshine (3:26) - 8/10
16. Gunshy (3:15) - 7/10
17. Stratford-On-Guy (2:59) - 9/10
18. Strange Loop (4:56) - 7/10
Track #, Name of Song, Duration, My Rating
1. 6'1" (3:06) - 9/10
2. Help Me Mary (2:16) - 8/10
3. Glory (1:29) - 8/10
4. Dance of the Seven Veils (2:29) - 10/10
5. Never Said (3:16) - 9/10
6. Soap Star Joe (2:44) - 10/10
7. Explain It to Me (3:11) 10/10
8. Canary (3:19) - 9/10
9. Mesmerizing (3:55) - 8/10
10. F*** and Run (3:07) - 8/10
11. Girls! Girls! Girls! (2:20) - 7/10
12. Divorce Song (3:20) - 9/10
13. Shatter (5:28) - 9/10
14. Flower (2:03) - 7/10
15. Johnny Sunshine (3:26) - 8/10
16. Gunshy (3:15) - 7/10
17. Stratford-On-Guy (2:59) - 9/10
18. Strange Loop (4:56) - 7/10
Friday, June 29, 2012
All you ever wanted in a band, and less!
Artist: Toad the Wet Sprocket
Album: Fear
Released: August 27, 1991
I like to browse the internet to find reviews and user comments for albums that I like (and occasionally, albums I don't, just for fun). When discussing Toad the Wet Sprocket, I think that one reviewer summed it up well: they are a band that no one gives you credit for liking. Though they featured some of the best songwriting from the big alternative phase of about 20 years ago, they are frequently either scoffed at or forgotten altogether today. It just doesn't make sense to me... unless some people think they have a funny name and can't get past that. I was excited to hear recently that they are working on their first studio album in fifteen years.
Anyway, before Fear, Toad the Wet Sprocket released two low-budget albums: Bread & Circus in 1989 and Pale in 1990. They had a few mildly successful singles from these two albums, but as a whole they were not very successful and are basically forgotten today. (They aren't even available on iTunes.) Fear was their big breakthrough, a more mature and polished sound than the jangle/college rock of their early days. Interestingly, it was released on the same day as Pearl Jam's Ten, yet their take on the exploding alternative rock phase was much different. While Pearl Jam achieved more widespread and longer-lasting success with their classic rock/grunge sound and raw social consciousness, Fear was more mature in sound and focused on the contemplative life, at times pondering the deeper questions of our existence.
Listeners will pick up on this right away: a commune with nature in "Walk on the Ocean", followed by a flashback to innocent childhood memories in "Is It For Me". Most of the album follows this same formula, though they show some anger in tackling the difficult issue of rape in "Hold Her Down". "All I Want" was the big hit from this album, a simple tune with lyrics that aren't complicated, yet the song is capable of evoking deep emotions. It's one of my favorite Toad songs and possibly my favorite on the album, though I actually prefer the alternate take that was used in the promotional video. Overall this is a solid album that doesn't have many standout songs. I will say that I really like "Nightingale Song"; I wish it were longer than it is, but maybe that's part of its charm.
As for the rest... "Walk on the Ocean" is really good, a calming way to start the album. I also find "Before You Were Born" to be catchy; though it does show a little anger, it also has a good rhythm and vocals. "Stories I Tell" provides some more intense rock that is absent from most of the rest of the album, along with some of the best vocals on the album. "Is It For Me" is actually similar in sound to "All I Want", which means it's solid but maybe not quite as good. "Butterflies" is an interesting song, putting somewhat of an '80s power rock spin on their '90s sound. "Hold Her Down", "Pray Your Gods", and "Something to Say" are all solid, though they are not the easiest to listen to, especially the first two because they express strong emotions. Listeners can get a little lost in tracks 7-9, which lack any real standout sound. "In My Ear" is probably my least favorite; it's ok, but seems uninspired and comes at a point when the album can be exhausting.
Of Toad's three major albums (Dulcinea and Coil being the others), this one by far takes the most listens to appreciate. While this can be an enjoyable album, it also is not very easy to get through. I've discussed how it deals with tough issues and deep emotions, and it comes at a crossroads in Toad's career: after their lighter earlier days and before producing more upbeat, catchier songs later on. I think this can be a great album if you're in the right mood; though if you're new to Toad the Wet Sprocket, besides "All I Want" you might be better off listening to Dulcinea first. The band still had some room for improvement after Fear, but the talent was certainly on display.
Track #, Name of Song, Duration, My Rating
1. Walk on the Ocean (3:01) - 9/10
2. Is It For Me (3:25) - 8/10
3. Butterflies (4:26) - 8/10
4. Nightingale Song (2:02) - 10/10
5. Hold Her Down (3:05) - 8/10
6. Pray Your Gods (5:02) - 8/10
7. Before You Were Born (3:44) - 9/10
8. Something to Say (4:01) - 8/10
9. In My Ear (3:08) - 7/10
10. All I Want (3:16) - 10/10
11. Stories I Tell (5:34) - 9/10
12. I Will Not Take These Things For Granted (5:46) - 8/10
Album: Fear
Released: August 27, 1991
I like to browse the internet to find reviews and user comments for albums that I like (and occasionally, albums I don't, just for fun). When discussing Toad the Wet Sprocket, I think that one reviewer summed it up well: they are a band that no one gives you credit for liking. Though they featured some of the best songwriting from the big alternative phase of about 20 years ago, they are frequently either scoffed at or forgotten altogether today. It just doesn't make sense to me... unless some people think they have a funny name and can't get past that. I was excited to hear recently that they are working on their first studio album in fifteen years.
Anyway, before Fear, Toad the Wet Sprocket released two low-budget albums: Bread & Circus in 1989 and Pale in 1990. They had a few mildly successful singles from these two albums, but as a whole they were not very successful and are basically forgotten today. (They aren't even available on iTunes.) Fear was their big breakthrough, a more mature and polished sound than the jangle/college rock of their early days. Interestingly, it was released on the same day as Pearl Jam's Ten, yet their take on the exploding alternative rock phase was much different. While Pearl Jam achieved more widespread and longer-lasting success with their classic rock/grunge sound and raw social consciousness, Fear was more mature in sound and focused on the contemplative life, at times pondering the deeper questions of our existence.
Listeners will pick up on this right away: a commune with nature in "Walk on the Ocean", followed by a flashback to innocent childhood memories in "Is It For Me". Most of the album follows this same formula, though they show some anger in tackling the difficult issue of rape in "Hold Her Down". "All I Want" was the big hit from this album, a simple tune with lyrics that aren't complicated, yet the song is capable of evoking deep emotions. It's one of my favorite Toad songs and possibly my favorite on the album, though I actually prefer the alternate take that was used in the promotional video. Overall this is a solid album that doesn't have many standout songs. I will say that I really like "Nightingale Song"; I wish it were longer than it is, but maybe that's part of its charm.
As for the rest... "Walk on the Ocean" is really good, a calming way to start the album. I also find "Before You Were Born" to be catchy; though it does show a little anger, it also has a good rhythm and vocals. "Stories I Tell" provides some more intense rock that is absent from most of the rest of the album, along with some of the best vocals on the album. "Is It For Me" is actually similar in sound to "All I Want", which means it's solid but maybe not quite as good. "Butterflies" is an interesting song, putting somewhat of an '80s power rock spin on their '90s sound. "Hold Her Down", "Pray Your Gods", and "Something to Say" are all solid, though they are not the easiest to listen to, especially the first two because they express strong emotions. Listeners can get a little lost in tracks 7-9, which lack any real standout sound. "In My Ear" is probably my least favorite; it's ok, but seems uninspired and comes at a point when the album can be exhausting.
Of Toad's three major albums (Dulcinea and Coil being the others), this one by far takes the most listens to appreciate. While this can be an enjoyable album, it also is not very easy to get through. I've discussed how it deals with tough issues and deep emotions, and it comes at a crossroads in Toad's career: after their lighter earlier days and before producing more upbeat, catchier songs later on. I think this can be a great album if you're in the right mood; though if you're new to Toad the Wet Sprocket, besides "All I Want" you might be better off listening to Dulcinea first. The band still had some room for improvement after Fear, but the talent was certainly on display.
Track #, Name of Song, Duration, My Rating
1. Walk on the Ocean (3:01) - 9/10
2. Is It For Me (3:25) - 8/10
3. Butterflies (4:26) - 8/10
4. Nightingale Song (2:02) - 10/10
5. Hold Her Down (3:05) - 8/10
6. Pray Your Gods (5:02) - 8/10
7. Before You Were Born (3:44) - 9/10
8. Something to Say (4:01) - 8/10
9. In My Ear (3:08) - 7/10
10. All I Want (3:16) - 10/10
11. Stories I Tell (5:34) - 9/10
12. I Will Not Take These Things For Granted (5:46) - 8/10
Sunday, June 3, 2012
I need something I can be proud of...
Artist: Eric Clapton
Album: Journeyman
Released: November 3, 1989
This was an album that my dad used to play when I was growing up. Clapton is one of the most renowned guitarists ever, and by this stage in his career he had already accomplished a lot. Yet, Journeyman marked a critical point in his career, both in terms of where he had been and what the future would hold.
Clapton gained fame starting in the 1960s as a guitarist/vocalist for several different groups, with Cream and Derek and the Dominos probably being the two groups with which he made his biggest mark. Each group he was with achieved success with blues and/or psychedelic rock, even if they were all short lived. Clapton launched his solo career in the 1970s, though he was dealing with drug and alcohol abuse during this time and into the 1980s. His career was in decline until working with Phil Collins on two albums in the mid-1980s: Behind the Sun in 1985 and August in 1986.
With Journeyman, it appeared that Clapton's "comeback" was complete. But what exactly did that mean? Behind the Sun and August were more pop-oriented than most of his previous work, featuring a more mainstream sound and utilizing newer music technology. Then came Journeyman, which featured many of these same characteristics; yet in many places Clapton also revived the blues/classic rock sound that first made his career.
The result was a strong and unique album that brought back some old fans and won over some new ones. "Bad Love" is probably the biggest hit from this album. This track features Phil Collins on drums and backup vocals. It's more upbeat than Clapton fans may have been used to and did not really feature that blues sound, yet it was a big success and is also one of my favorites from the album. "Pretending", the leadoff track, was also a big hit and in many respects is similar to "Bad Love". I would say those two, along with "Old Love", are my favorites. As I mentioned, several tracks on this album signal a return to the old blues/classic rock sound, and with "Old Love" I think Clapton hit a home run.
As is the case with these three tracks, the rest of the album is diverse and moves back and forth between the pop sound prevalent in the 1980s and Clapton's older blues with a more slick sound than from his earlier days. I think even on this more modern album, Clapton is stronger when he uses the blues sound. With his covers of both "Hound Dog" and "Before You Accuse Me", Clapton proves that he by no means has abandoned that sound; he does a great job with both, though I slightly prefer the former. "Hard Times" is another solid blues effort, even if it is solemn; "Running on Faith" is a little more optimistic and has more of a gospel feel. I prefer the former of those two.
I don't think the rest of the album is quite as strong. I do think that "Anything for Your Love" is interesting; I'm not a big fan of the artificial '80s sound in some places, though ironically it also features some of the best vocals and guitar playing on the entire album, making it an enjoyable song. "Lead Me On" relies on vocals perhaps more than any other track; it's a nice easy listening song, though by no means the album's best. "Run So Far" has a country feel to it; it's not bad, but it is a little repetitive. "No Alibis" and "Breaking Point" are my two least favorite; there is some decent guitar on the latter, but other than that they are pretty bland and have too much of an artificially produced sound.
Of Eric Clapton's more recent work, Journeyman is one of the better known and more successful albums. It featured a few popular singles and also marked a point in his career in which he both completely committed himself to the popular genre while also moving back to his older blues days. So, it was a comeback for Clapton, but was that as a move into a new era, or as a return to the old? It looks like the answer is both.
Track #, Name of Song, Duration, My Rating
1. Pretending (4:43) - 10/10
2. Anything for Your Love (4:10) - 8/10
3. Bad Love (5:08) - 10/10
4. Running on Faith (5:33) - 8/10
5. Hard Times (3:14) - 9/10
6. Hound Dog (2:27) - 9/10
7. No Alibis (5:38) - 7/10
8. Run So Far (4:07) - 8/10
9. Old Love (6:24) - 10/10
10. Breaking Point (5:32) - 7/10
11. Lead Me On (5:52) - 8/10
12. Before You Accuse Me (3:57) - 9/10
Album: Journeyman
Released: November 3, 1989
This was an album that my dad used to play when I was growing up. Clapton is one of the most renowned guitarists ever, and by this stage in his career he had already accomplished a lot. Yet, Journeyman marked a critical point in his career, both in terms of where he had been and what the future would hold.
Clapton gained fame starting in the 1960s as a guitarist/vocalist for several different groups, with Cream and Derek and the Dominos probably being the two groups with which he made his biggest mark. Each group he was with achieved success with blues and/or psychedelic rock, even if they were all short lived. Clapton launched his solo career in the 1970s, though he was dealing with drug and alcohol abuse during this time and into the 1980s. His career was in decline until working with Phil Collins on two albums in the mid-1980s: Behind the Sun in 1985 and August in 1986.
With Journeyman, it appeared that Clapton's "comeback" was complete. But what exactly did that mean? Behind the Sun and August were more pop-oriented than most of his previous work, featuring a more mainstream sound and utilizing newer music technology. Then came Journeyman, which featured many of these same characteristics; yet in many places Clapton also revived the blues/classic rock sound that first made his career.
The result was a strong and unique album that brought back some old fans and won over some new ones. "Bad Love" is probably the biggest hit from this album. This track features Phil Collins on drums and backup vocals. It's more upbeat than Clapton fans may have been used to and did not really feature that blues sound, yet it was a big success and is also one of my favorites from the album. "Pretending", the leadoff track, was also a big hit and in many respects is similar to "Bad Love". I would say those two, along with "Old Love", are my favorites. As I mentioned, several tracks on this album signal a return to the old blues/classic rock sound, and with "Old Love" I think Clapton hit a home run.
As is the case with these three tracks, the rest of the album is diverse and moves back and forth between the pop sound prevalent in the 1980s and Clapton's older blues with a more slick sound than from his earlier days. I think even on this more modern album, Clapton is stronger when he uses the blues sound. With his covers of both "Hound Dog" and "Before You Accuse Me", Clapton proves that he by no means has abandoned that sound; he does a great job with both, though I slightly prefer the former. "Hard Times" is another solid blues effort, even if it is solemn; "Running on Faith" is a little more optimistic and has more of a gospel feel. I prefer the former of those two.
I don't think the rest of the album is quite as strong. I do think that "Anything for Your Love" is interesting; I'm not a big fan of the artificial '80s sound in some places, though ironically it also features some of the best vocals and guitar playing on the entire album, making it an enjoyable song. "Lead Me On" relies on vocals perhaps more than any other track; it's a nice easy listening song, though by no means the album's best. "Run So Far" has a country feel to it; it's not bad, but it is a little repetitive. "No Alibis" and "Breaking Point" are my two least favorite; there is some decent guitar on the latter, but other than that they are pretty bland and have too much of an artificially produced sound.
Of Eric Clapton's more recent work, Journeyman is one of the better known and more successful albums. It featured a few popular singles and also marked a point in his career in which he both completely committed himself to the popular genre while also moving back to his older blues days. So, it was a comeback for Clapton, but was that as a move into a new era, or as a return to the old? It looks like the answer is both.
Track #, Name of Song, Duration, My Rating
1. Pretending (4:43) - 10/10
2. Anything for Your Love (4:10) - 8/10
3. Bad Love (5:08) - 10/10
4. Running on Faith (5:33) - 8/10
5. Hard Times (3:14) - 9/10
6. Hound Dog (2:27) - 9/10
7. No Alibis (5:38) - 7/10
8. Run So Far (4:07) - 8/10
9. Old Love (6:24) - 10/10
10. Breaking Point (5:32) - 7/10
11. Lead Me On (5:52) - 8/10
12. Before You Accuse Me (3:57) - 9/10
Friday, May 4, 2012
Maybe this year will be better than the last...
Artist: Counting Crows
Album: Recovering the Satellites
Released: October 15, 1996
With the majority of bands I have discussed to this point, I have tried to post about their debut album first. I'll talk about Counting Crows' first album, August and Everything After, later on, but now I wanted to discuss their second album, Recovering the Satellites, I guess just to mix things up a little bit. With August and Everything After, Counting Crows achieved huge success in 1993. "Mr. Jones" was the big hit on that album, though a few other tracks from that album received a lot of radio airtime as well.
August and Everything After is a great rock album, combining elements of alternative and folk rock, filled with introspection that many listeners can just turn on and easily relate to. Yet, I've heard quite a few people complain that while it's a good album, it has been way overplayed and overhyped. Much of the same emotion and introspection is found on Recovering the Satellites, though it was largely a response to dealing with the major fame they achieved with their first album. It also is in many places a little edgier, at times featuring more hard rock elements and at other times displaying the same raw, straightforward emotion found with other late '90s bands such as Matchbox Twenty, Tonic, or Fuel.
The result here is an album with a little more angst and also more variety than August and Everything After, as the album establishes its own identity. "A Long December" is the best known hit from this album; it was on the radio frequently back in 1997, and I always enjoyed hearing it when it was played. For me, this song represents the best of all the qualities this album has to offer: simple yet deep and meaningful lyrics, slow and powerful instrumental performances, and just enough angst to give it an edge that makes it memorable. The placement of this song on the album, second-to-last, is interesting, though I guess given the lyrics it makes sense.
This is not an album that one can listen to one or two songs and get a good idea of what the album is about, as each song seems to build on the last. "Catapult" starts off slow and builds in intensity, followed by "Angels of the Silences", one of the fastest paced and hard rock style tracks on the album. "Daylight Fading", which also received some radio time, is somewhere in between the two extremes and has a folk rock feel to it, while "I'm Not Sleeping" is a return to the sound of "Catapult".
These are all good songs, but I think the best and most interesting part of the album is in the middle, where the tracks are much slower and the vocal talent of Adam Duritz and the musical talent of the rest of the band is on full display. "A Long December" is always going to be the signature track, but "Children in Bloom" is also a personal favorite, as it might be Duritz's best vocal performance on the album. "Miller's Angels" is close behind; it's longer than it probably should be, yet the vocals are great here too, and blend perfectly with the instrumental parts.
The rest of the album features some interesting tracks. "Goodnight Elisabeth" and "Another Horsedreamer's Blues" also follow the slower paced, vocal heavy formula mentioned above. They are good, but not as high on my list; I know that "Goodnight Elisabeth" is popular with many listeners. "Recovering the Satellites" is similar in a way, though this track doesn't draw me in all the way and isn't different enough from the other tracks to make it really memorable. "Have You Seen Me Lately?" is similar to the harder rock heard earlier in "Angels of the Silences", while "Monkey" and "Mercury" again feature more folk rock elements. "Walkaways" is a somewhat disappointing way to end the album; the acoustic sound feels forced and really doesn't work well with Duritz's voice.
I've found that as a whole, when you're in a calm and contemplative mood, August and Everything After would be a good album to listen to. Recovering the Satellites is more somber and diverse in terms of sound; they are both good in their own way. Recovering the Satellites many not quite match the quality depth of August and Everything After, and it certainly will not be remembered as much as a classic. But the fact that it is often overlooked and builds on what Counting Crows started three years earlier is largely what makes it so appealing. Fans of rock or '90s music in general trying to find something unique and not overhyped should enjoy this one.
Track #, Name of Song, Duration, My Rating
1. Catapult (3:34) - 8/10
2. Angels of the Silences (3:37) - 9/10
3. Daylight Fading (3:49) - 9/10
4. I'm Not Sleeping (4:55) - 8/10
5. Goodnight Elisabeth (5:18) - 8/10
6. Children in Bloom (5:23) - 10/10
7. Have You Seen Me Lately? (4:08) - 8/10
8. Miller's Angels (6:32) - 10/10
9. Another Horsedreamer's Blues (4:31) - 9/10
10. Recovering the Satellites (5:23) - 7/10
11. Monkey (3:01) - 8/10
12. Mercury (2:47) - 8/10
13. A Long December (4:55) - 10/10
14. Walkaways (1:12) - 6/10
Album: Recovering the Satellites
Released: October 15, 1996
With the majority of bands I have discussed to this point, I have tried to post about their debut album first. I'll talk about Counting Crows' first album, August and Everything After, later on, but now I wanted to discuss their second album, Recovering the Satellites, I guess just to mix things up a little bit. With August and Everything After, Counting Crows achieved huge success in 1993. "Mr. Jones" was the big hit on that album, though a few other tracks from that album received a lot of radio airtime as well.
August and Everything After is a great rock album, combining elements of alternative and folk rock, filled with introspection that many listeners can just turn on and easily relate to. Yet, I've heard quite a few people complain that while it's a good album, it has been way overplayed and overhyped. Much of the same emotion and introspection is found on Recovering the Satellites, though it was largely a response to dealing with the major fame they achieved with their first album. It also is in many places a little edgier, at times featuring more hard rock elements and at other times displaying the same raw, straightforward emotion found with other late '90s bands such as Matchbox Twenty, Tonic, or Fuel.
The result here is an album with a little more angst and also more variety than August and Everything After, as the album establishes its own identity. "A Long December" is the best known hit from this album; it was on the radio frequently back in 1997, and I always enjoyed hearing it when it was played. For me, this song represents the best of all the qualities this album has to offer: simple yet deep and meaningful lyrics, slow and powerful instrumental performances, and just enough angst to give it an edge that makes it memorable. The placement of this song on the album, second-to-last, is interesting, though I guess given the lyrics it makes sense.
This is not an album that one can listen to one or two songs and get a good idea of what the album is about, as each song seems to build on the last. "Catapult" starts off slow and builds in intensity, followed by "Angels of the Silences", one of the fastest paced and hard rock style tracks on the album. "Daylight Fading", which also received some radio time, is somewhere in between the two extremes and has a folk rock feel to it, while "I'm Not Sleeping" is a return to the sound of "Catapult".
These are all good songs, but I think the best and most interesting part of the album is in the middle, where the tracks are much slower and the vocal talent of Adam Duritz and the musical talent of the rest of the band is on full display. "A Long December" is always going to be the signature track, but "Children in Bloom" is also a personal favorite, as it might be Duritz's best vocal performance on the album. "Miller's Angels" is close behind; it's longer than it probably should be, yet the vocals are great here too, and blend perfectly with the instrumental parts.
The rest of the album features some interesting tracks. "Goodnight Elisabeth" and "Another Horsedreamer's Blues" also follow the slower paced, vocal heavy formula mentioned above. They are good, but not as high on my list; I know that "Goodnight Elisabeth" is popular with many listeners. "Recovering the Satellites" is similar in a way, though this track doesn't draw me in all the way and isn't different enough from the other tracks to make it really memorable. "Have You Seen Me Lately?" is similar to the harder rock heard earlier in "Angels of the Silences", while "Monkey" and "Mercury" again feature more folk rock elements. "Walkaways" is a somewhat disappointing way to end the album; the acoustic sound feels forced and really doesn't work well with Duritz's voice.
I've found that as a whole, when you're in a calm and contemplative mood, August and Everything After would be a good album to listen to. Recovering the Satellites is more somber and diverse in terms of sound; they are both good in their own way. Recovering the Satellites many not quite match the quality depth of August and Everything After, and it certainly will not be remembered as much as a classic. But the fact that it is often overlooked and builds on what Counting Crows started three years earlier is largely what makes it so appealing. Fans of rock or '90s music in general trying to find something unique and not overhyped should enjoy this one.
Track #, Name of Song, Duration, My Rating
1. Catapult (3:34) - 8/10
2. Angels of the Silences (3:37) - 9/10
3. Daylight Fading (3:49) - 9/10
4. I'm Not Sleeping (4:55) - 8/10
5. Goodnight Elisabeth (5:18) - 8/10
6. Children in Bloom (5:23) - 10/10
7. Have You Seen Me Lately? (4:08) - 8/10
8. Miller's Angels (6:32) - 10/10
9. Another Horsedreamer's Blues (4:31) - 9/10
10. Recovering the Satellites (5:23) - 7/10
11. Monkey (3:01) - 8/10
12. Mercury (2:47) - 8/10
13. A Long December (4:55) - 10/10
14. Walkaways (1:12) - 6/10
Saturday, March 31, 2012
You say that money isn't everything...
Artist: Silverchair
Album: Frogstomp
Released: June 20, 1995
About five years ago, I was driving home from work one day when I heard a new song on the radio. It was kind of a catchy song, really upbeat and positive... then the DJ came on and said the song was "Straight Lines" by Silverchair. I just about slid off the road at that point! (OK, that was an exaggeration.) But I couldn't believe it; Silverchair might literally have been the last band I would have guessed. Was this really the same band that released the grunge-sounding, angst-filled, at times angry-sounding rock from Frogstomp back in the '90s?
Silverchair is an Australian band that released their breakthrough album, Frogstomp, when the band members were just 15 years old. They are an interesting case, because although they arrived on the scene after the grunge era of the early 1990s, their style resembles the grunge sound perhaps as much as any of the most well-known rock bands of this time. Frogstomp overall might be a little bit darker in mood than, say, Ten or Nevermind, yet the resemblance is at times striking. However, at times they also add their own Metallica-like heavy metal edge, particularly on "Leave Me Out" and "Madman". If you're familiar with the more recent 3 Doors Down, you might find some similarities with them on "Faultline" and "Suicidal Dream".
The band shows a lot of talent on this album, but at many times their age shows. Several of the songs have catchy riffs, yet in many instances are frustratingly repetitive. There also is little experimentation or variety from track to track. The lyrics are sometimes weak, particularly on tracks such as "Shade" and "Findaway". And then there's "Suicidal Dream"... there are good songs that are about depression, and then there are songs that are depressing. "Suicidal Dream" is a depressing song. Despite this, overall the vocal and instrumental talent is there, and this definitely saves the album.
Obviously, "Tomorrow" was the big hit from this album; I first heard it on the radio back in 1995, and to me it's still a great song today. Beyond that, there are several solid tracks but few that really stand out. "Leave Me Out" is probably my second favorite. While it doesn't deviate much from the tracks that came before, it's catchier and a little easier to listen to. "Tomorrow" is the second track; it is bookended by the angst-filled "Israel's Son" and the more solemn "Faultline". They aren't bad songs, but the group's weak songwriting skills again are evident.
The rest of the album is filled with both strong and weak points as well. I like "Pure Massacre" in some ways, though I don't feel like it's as strong as it could be; by the end it gets too repetitive and overly dramatic. The first four tracks are overall negative in tone, and it's nice to hear a more upbeat tone with "Shade" and "Leave Me Out" (even if, as I mentioned earlier, the lyrics aren't the greatest). The negativity hits rock bottom with "Suicidal Dream"; though the sound isn't bad, the lyrics make it really difficult to listen.
The tone picks up a little with the instrumental "Madman", which is surprisingly catchy. "Undecided" is similar to some of the album's earlier tracks, yet calmer in tone and thus in some ways is easier to listen to. "Cicada" is more upbeat and also shows some of the stronger lyrics the band featured earlier in "Tomorrow". Unfortunately, the sound isn't very distinct from the earlier tracks. "Findaway" is a good way to end. It actually bears a slight resemblance to Green Day and sounds like it should play at the end of an MTV movie, yet it has appeal on this album because it's so much more optimistic than most of the rest of the album.
So, this album does have several glaring weaknesses, and like many other young bands early in their careers, in some places they are a little over dramatic and trying just a little too hard to create powerful, meaningful tracks. Yet despite these shortcomings, I still find this at times to be an enjoyable album, particularly if I am in the right mood. And it has to be considered a really great first effort considering how young these musicians were at the time. It certainly would be interesting to see how they progressed and matured in the years to come.
Track #, Name of Song, Duration, My Rating
1. Israel's Son (5:17) - 8/10
2. Tomorrow (4:25) - 10/10
3. Faultline (4:18) - 9/10
4. Pure Massacre (4:58) - 8/10
5. Shade (4:01) - 7/10
6. Leave Me Out (3:02) - 9/10
7. Suicidal Dream (3:11) - 6/10
8. Madman (2:41) - 9/10
9. Undecided (4:34) - 8/10
10. Cicada (5:10) - 8/10
11. Findaway (2:56) - 8/10
Album: Frogstomp
Released: June 20, 1995
About five years ago, I was driving home from work one day when I heard a new song on the radio. It was kind of a catchy song, really upbeat and positive... then the DJ came on and said the song was "Straight Lines" by Silverchair. I just about slid off the road at that point! (OK, that was an exaggeration.) But I couldn't believe it; Silverchair might literally have been the last band I would have guessed. Was this really the same band that released the grunge-sounding, angst-filled, at times angry-sounding rock from Frogstomp back in the '90s?
Silverchair is an Australian band that released their breakthrough album, Frogstomp, when the band members were just 15 years old. They are an interesting case, because although they arrived on the scene after the grunge era of the early 1990s, their style resembles the grunge sound perhaps as much as any of the most well-known rock bands of this time. Frogstomp overall might be a little bit darker in mood than, say, Ten or Nevermind, yet the resemblance is at times striking. However, at times they also add their own Metallica-like heavy metal edge, particularly on "Leave Me Out" and "Madman". If you're familiar with the more recent 3 Doors Down, you might find some similarities with them on "Faultline" and "Suicidal Dream".
The band shows a lot of talent on this album, but at many times their age shows. Several of the songs have catchy riffs, yet in many instances are frustratingly repetitive. There also is little experimentation or variety from track to track. The lyrics are sometimes weak, particularly on tracks such as "Shade" and "Findaway". And then there's "Suicidal Dream"... there are good songs that are about depression, and then there are songs that are depressing. "Suicidal Dream" is a depressing song. Despite this, overall the vocal and instrumental talent is there, and this definitely saves the album.
Obviously, "Tomorrow" was the big hit from this album; I first heard it on the radio back in 1995, and to me it's still a great song today. Beyond that, there are several solid tracks but few that really stand out. "Leave Me Out" is probably my second favorite. While it doesn't deviate much from the tracks that came before, it's catchier and a little easier to listen to. "Tomorrow" is the second track; it is bookended by the angst-filled "Israel's Son" and the more solemn "Faultline". They aren't bad songs, but the group's weak songwriting skills again are evident.
The rest of the album is filled with both strong and weak points as well. I like "Pure Massacre" in some ways, though I don't feel like it's as strong as it could be; by the end it gets too repetitive and overly dramatic. The first four tracks are overall negative in tone, and it's nice to hear a more upbeat tone with "Shade" and "Leave Me Out" (even if, as I mentioned earlier, the lyrics aren't the greatest). The negativity hits rock bottom with "Suicidal Dream"; though the sound isn't bad, the lyrics make it really difficult to listen.
The tone picks up a little with the instrumental "Madman", which is surprisingly catchy. "Undecided" is similar to some of the album's earlier tracks, yet calmer in tone and thus in some ways is easier to listen to. "Cicada" is more upbeat and also shows some of the stronger lyrics the band featured earlier in "Tomorrow". Unfortunately, the sound isn't very distinct from the earlier tracks. "Findaway" is a good way to end. It actually bears a slight resemblance to Green Day and sounds like it should play at the end of an MTV movie, yet it has appeal on this album because it's so much more optimistic than most of the rest of the album.
So, this album does have several glaring weaknesses, and like many other young bands early in their careers, in some places they are a little over dramatic and trying just a little too hard to create powerful, meaningful tracks. Yet despite these shortcomings, I still find this at times to be an enjoyable album, particularly if I am in the right mood. And it has to be considered a really great first effort considering how young these musicians were at the time. It certainly would be interesting to see how they progressed and matured in the years to come.
Track #, Name of Song, Duration, My Rating
1. Israel's Son (5:17) - 8/10
2. Tomorrow (4:25) - 10/10
3. Faultline (4:18) - 9/10
4. Pure Massacre (4:58) - 8/10
5. Shade (4:01) - 7/10
6. Leave Me Out (3:02) - 9/10
7. Suicidal Dream (3:11) - 6/10
8. Madman (2:41) - 9/10
9. Undecided (4:34) - 8/10
10. Cicada (5:10) - 8/10
11. Findaway (2:56) - 8/10
Saturday, March 3, 2012
I don't mind stealing bread...
Artist: Temple of the Dog
Album: Temple of the Dog
Released: April 16, 1991
Chris Cornell and Eddie Vedder: two of the three biggest names of the grunge era of the early 1990s (Kurt Cobain being the other). But in early 1991, both were virtual unknowns: Cornell the lead singer for the Seattle underground band Soundgarden, and Vedder a surfer from San Diego who would soon become lead singer for another such band called Mookie Blaylock (later renamed Pearl Jam). In less than a year, both bands would release albums that would skyrocket them to big and much wider success.
Though it wouldn't become clear until years after the fact, Temple of the Dog was the precursor to this success. Temple of the Dog was a one-album project started by Cornell after his friend Andrew Wood, lead singer of Mother Love Bone, died from a drug overdose. Wood's bandmates Stone Gossard and Jeff Ament joined, as did Mike McCready and Soundgarden's Matt Cameron. (All of them would be future members of Pearl Jam.) Later in 1991, Soundgarden broke through with Badmotorfinger, as did Pearl Jam with Ten, but only after these albums became so popular did people notice Temple of the Dog.
I would say that this album sounds a little bit more like Pearl Jam that it does Soundgarden, though it has a sound that is unique from both of them. In general, it's slower and more melodic. It doesn't quite have the edge of Badmotorfinger or the intensity of Ten, but the sounds of the grunge era are certainly there, as is much of the emotion evident in early albums from these two bands. Cornell showed his deeper emotional side with "Say Hello 2 Heaven" and "Reach Down", which were written in response to Wood's death. Some of the other songs offer social commentary as well... for example, "Wooden Jesus" is an indictment of televangelists who care more about making money than saving souls. And of course, "Hunger Strike" is pretty straightforward; the band members admitted that it does have a somewhat socialist bent.
"Hunger Strike" was the big hit from this album and is still played on the radio quite a bit. It's one of my all-time favorite songs and somehow seems to get better every time I hear it. Cornell and Vedder have completely different voices, yet they play off each other so well. (Vedder provided vocals for a few other songs as well.) Before it comes "Say Hello 2 Heaven" and "Reach Down", which combined are over 17 minutes long yet don't seem drawn out at all. The former is great in its own right, as Cornell gives an outstanding performance on vocals. "Reach Down" features a powerful vocal performance as well, though the grunge sound plays a more prominent role here, particularly during the long instrumental part. However, in many spots, it has a slower and more classic rock feel than do later grunge albums.
Throughout the album, we continue to hear a more mellow grunge sound, possibly an indication that the band was trying to develop a more mainstream sound. Yet, there isn't much experimentation beyond these confines. "Call Me a Dog" and "Times of Trouble" are the slower tracks, as contrasted with "Pushin' Forward Back", which sounds more like the Pearl Jam of later on and provides a nice break from the emotionally draining tracks surrounding it. "Call Me a Dog" and "Times of Trouble" might be the two most unique tracks; the former has a great classic rock ballad sound to it, while the later leans a little towards blues, which they pull off well.
The rest of the album is still very solid. "Wooden Jesus" and "Your Savior" sound much like Soundgarden did in future albums. They both have a somewhat laid back sound yet still get their lyrics across in a powerful way. As with many other albums, the slowest track, "All Night Thing", is also the last; it's a good song, but considering how amazing the rest of the album is, it seems like there might have been a better way to wrap things up. "Four Walled World" might have been a better way to close; it's slower, yet almost seven minutes long, building in intensity to a dramatic ending.
I really don't know what more I can say about this album, other than that it is one of my all-time favorites. Though it might not be widely recognized as such, it was a major step forward in bringing about the grunge movement of the early '90s. The grunge era may not have been fully realized in this album, but perhaps that's what makes it so unique and enjoyable; it's more down-to-earth and humbling to listen to. It might not have had the glamour of later albums that these guys were involved in, yet it has steadily withstood the test of time as a great rock album.
Track #, Name of Song, Duration, My Rating
1. Say Hello 2 Heaven (6:24) - 10/10
2. Reach Down (11:13) - 9/10
3. Hunger Strike (4:06) - 10/10
4. Pushin' Forward Back (3:45) - 9/10
5. Call Me a Dog (5:05) - 10/10
6. Times of Trouble (5:43) - 9/10
7. Wooden Jesus (4:11) - 8/10
8. Your Savior (4:04) - 8/10
9. Four Walled World (6:54) - 8/10
10. All Night Thing (3:52) - 8/10
Album: Temple of the Dog
Released: April 16, 1991
Chris Cornell and Eddie Vedder: two of the three biggest names of the grunge era of the early 1990s (Kurt Cobain being the other). But in early 1991, both were virtual unknowns: Cornell the lead singer for the Seattle underground band Soundgarden, and Vedder a surfer from San Diego who would soon become lead singer for another such band called Mookie Blaylock (later renamed Pearl Jam). In less than a year, both bands would release albums that would skyrocket them to big and much wider success.
Though it wouldn't become clear until years after the fact, Temple of the Dog was the precursor to this success. Temple of the Dog was a one-album project started by Cornell after his friend Andrew Wood, lead singer of Mother Love Bone, died from a drug overdose. Wood's bandmates Stone Gossard and Jeff Ament joined, as did Mike McCready and Soundgarden's Matt Cameron. (All of them would be future members of Pearl Jam.) Later in 1991, Soundgarden broke through with Badmotorfinger, as did Pearl Jam with Ten, but only after these albums became so popular did people notice Temple of the Dog.
I would say that this album sounds a little bit more like Pearl Jam that it does Soundgarden, though it has a sound that is unique from both of them. In general, it's slower and more melodic. It doesn't quite have the edge of Badmotorfinger or the intensity of Ten, but the sounds of the grunge era are certainly there, as is much of the emotion evident in early albums from these two bands. Cornell showed his deeper emotional side with "Say Hello 2 Heaven" and "Reach Down", which were written in response to Wood's death. Some of the other songs offer social commentary as well... for example, "Wooden Jesus" is an indictment of televangelists who care more about making money than saving souls. And of course, "Hunger Strike" is pretty straightforward; the band members admitted that it does have a somewhat socialist bent.
"Hunger Strike" was the big hit from this album and is still played on the radio quite a bit. It's one of my all-time favorite songs and somehow seems to get better every time I hear it. Cornell and Vedder have completely different voices, yet they play off each other so well. (Vedder provided vocals for a few other songs as well.) Before it comes "Say Hello 2 Heaven" and "Reach Down", which combined are over 17 minutes long yet don't seem drawn out at all. The former is great in its own right, as Cornell gives an outstanding performance on vocals. "Reach Down" features a powerful vocal performance as well, though the grunge sound plays a more prominent role here, particularly during the long instrumental part. However, in many spots, it has a slower and more classic rock feel than do later grunge albums.
Throughout the album, we continue to hear a more mellow grunge sound, possibly an indication that the band was trying to develop a more mainstream sound. Yet, there isn't much experimentation beyond these confines. "Call Me a Dog" and "Times of Trouble" are the slower tracks, as contrasted with "Pushin' Forward Back", which sounds more like the Pearl Jam of later on and provides a nice break from the emotionally draining tracks surrounding it. "Call Me a Dog" and "Times of Trouble" might be the two most unique tracks; the former has a great classic rock ballad sound to it, while the later leans a little towards blues, which they pull off well.
The rest of the album is still very solid. "Wooden Jesus" and "Your Savior" sound much like Soundgarden did in future albums. They both have a somewhat laid back sound yet still get their lyrics across in a powerful way. As with many other albums, the slowest track, "All Night Thing", is also the last; it's a good song, but considering how amazing the rest of the album is, it seems like there might have been a better way to wrap things up. "Four Walled World" might have been a better way to close; it's slower, yet almost seven minutes long, building in intensity to a dramatic ending.
I really don't know what more I can say about this album, other than that it is one of my all-time favorites. Though it might not be widely recognized as such, it was a major step forward in bringing about the grunge movement of the early '90s. The grunge era may not have been fully realized in this album, but perhaps that's what makes it so unique and enjoyable; it's more down-to-earth and humbling to listen to. It might not have had the glamour of later albums that these guys were involved in, yet it has steadily withstood the test of time as a great rock album.
Track #, Name of Song, Duration, My Rating
1. Say Hello 2 Heaven (6:24) - 10/10
2. Reach Down (11:13) - 9/10
3. Hunger Strike (4:06) - 10/10
4. Pushin' Forward Back (3:45) - 9/10
5. Call Me a Dog (5:05) - 10/10
6. Times of Trouble (5:43) - 9/10
7. Wooden Jesus (4:11) - 8/10
8. Your Savior (4:04) - 8/10
9. Four Walled World (6:54) - 8/10
10. All Night Thing (3:52) - 8/10
Saturday, January 28, 2012
Let's give this another try...
Artist: Breaking Benjamin
Album: We Are Not Alone
Released: June 29, 2004
The 1990s is and always will be by far my favorite era for music. I probably listen to stuff from the '90s more than I listen to music from all other eras combined. Personally, I see nothing wrong with that; why should anyone not listen to what they like? Yet sometimes people will ask me if I ever listen to anything else, and the answer is that I absolutely do. You might see from an earlier blog post that I am a pretty big Genesis fan (from before the '90s). One of my favorite groups from the 2000s is Breaking Benjamin, and We Are Not Alone is the album that got me interested in them.
By the time Breaking Benjamin achieved big success in the early 2000s, the nature of rock music had changed quite a bit from the grunge era of the early 1990s. There was the post-grunge era of the middle and late 1990s that was a little more down-to-earth and mainstream in nature, but around 2000 or so, things began to swing in the opposite direction. We saw bands such as 3 Doors Down, Seether, Staind, and Audioslave (the latter led by Chris Cornell) that at first achieved success on the pop charts but who over the long run garnered a more focused following. By around 2003, rock (at least as we know it from the 1990s) had moved almost entirely out of the mainstream. Personally, I had stopped listening to pop radio stations around this time and started listening to rock stations. (I basically never listen to music on the radio anymore, but that's another discussion.)
The type of music that such bands released in the early and middle 2000s was not radically different from the grunge material from about ten years earlier, but there were some noticeable differences. The sound was a little more intense, while the vocals played a more important role. Also, the songs seemed to lack the social conscience found in, say, the early days of Pearl Jam or Soundgarden, and instead expressed more personal experiences or emotions. It is within this context that Breaking Benjamin released We Are Not Alone, which was actually their second album.
"So Cold" obviously was the big hit from this album; it is also the first track. Back in the fall of 2004, I remember having the radio on all the time hoping it would be played (which it frequently was). If you haven't watched the music video for this song, I would recommend doing so; it's actually interesting and well-done. The other two hits come later; "Sooner or Later" is in the middle, while "Rain" is the last track. The former is like a low-key version of "So Cold"; depending on your mood, it might be a little more enjoyable to listen to than "So Cold" is. "Rain" is the slowest track on the album, just as the last track is on so many other rock albums. I'm actually surprised that it didn't achieve more mainstream success; it is clearly geared towards a more popular audience.
Most of the rest of the tracks honestly aren't that distinguishable from each other. Tracks 3-11 are all under four minutes, which makes it a little easier to get through. Still, I tended to rate the songs below more on their uniqueness than I have on other reviews. Of the non-released singles, "Follow" is my favorite, though "Simple Design" is a close second. "Firefly", "Break My Fall", "Breakdown", and "Away" are pretty intense songs that are good in their own right, but again there's virtually no experimentation at this point. Indeed, the listener might be exhausted by the time "Away" comes around. "Forget It" is a calmer and, frankly, enjoyable break, along with the aforementioned "Sooner or Later". I will say that I find "Believe", the second-to-last track, to be catchy. I think that's because it's more upbeat than many of the previous tracks.
There are a few issues to address both with this album and with this era of music as a whole. This is a really good album, but with little innovation within the album, it was questionable as to how far Breaking Benjamin and other bands could carry this sound. Indeed, here nearly eight years later, this style of rock has quickly fizzled out while not much of note has succeeded it, though Breaking Benjamin did put out some other good tracks later on. In any case, We Are Not Alone is an enjoyable album that also captures a unique and important moment in modern rock.
Track #, Name of Song, Duration, My Rating
1. So Cold (4:33) - 10/10
2. Simple Design (4:14) - 9/10
3. Follow (3:16) - 10/10
4. Firefly (3:07) - 8/10
5. Break My Fall (3:23) - 8/10
6. Forget It (3:36) - 9/10
7. Sooner or Later (3:38) - 10/10
8. Breakdown (3:36) - 8/10
9. Away (3:12) - 7/10
10. Believe (3:18) - 9/10
11. Rain (3:25) - 8/10
Here's a link to the "So Cold" video: http://www.youtube.com/watch?v=rTiGlNDnOtE
Album: We Are Not Alone
Released: June 29, 2004
The 1990s is and always will be by far my favorite era for music. I probably listen to stuff from the '90s more than I listen to music from all other eras combined. Personally, I see nothing wrong with that; why should anyone not listen to what they like? Yet sometimes people will ask me if I ever listen to anything else, and the answer is that I absolutely do. You might see from an earlier blog post that I am a pretty big Genesis fan (from before the '90s). One of my favorite groups from the 2000s is Breaking Benjamin, and We Are Not Alone is the album that got me interested in them.
By the time Breaking Benjamin achieved big success in the early 2000s, the nature of rock music had changed quite a bit from the grunge era of the early 1990s. There was the post-grunge era of the middle and late 1990s that was a little more down-to-earth and mainstream in nature, but around 2000 or so, things began to swing in the opposite direction. We saw bands such as 3 Doors Down, Seether, Staind, and Audioslave (the latter led by Chris Cornell) that at first achieved success on the pop charts but who over the long run garnered a more focused following. By around 2003, rock (at least as we know it from the 1990s) had moved almost entirely out of the mainstream. Personally, I had stopped listening to pop radio stations around this time and started listening to rock stations. (I basically never listen to music on the radio anymore, but that's another discussion.)
The type of music that such bands released in the early and middle 2000s was not radically different from the grunge material from about ten years earlier, but there were some noticeable differences. The sound was a little more intense, while the vocals played a more important role. Also, the songs seemed to lack the social conscience found in, say, the early days of Pearl Jam or Soundgarden, and instead expressed more personal experiences or emotions. It is within this context that Breaking Benjamin released We Are Not Alone, which was actually their second album.
"So Cold" obviously was the big hit from this album; it is also the first track. Back in the fall of 2004, I remember having the radio on all the time hoping it would be played (which it frequently was). If you haven't watched the music video for this song, I would recommend doing so; it's actually interesting and well-done. The other two hits come later; "Sooner or Later" is in the middle, while "Rain" is the last track. The former is like a low-key version of "So Cold"; depending on your mood, it might be a little more enjoyable to listen to than "So Cold" is. "Rain" is the slowest track on the album, just as the last track is on so many other rock albums. I'm actually surprised that it didn't achieve more mainstream success; it is clearly geared towards a more popular audience.
Most of the rest of the tracks honestly aren't that distinguishable from each other. Tracks 3-11 are all under four minutes, which makes it a little easier to get through. Still, I tended to rate the songs below more on their uniqueness than I have on other reviews. Of the non-released singles, "Follow" is my favorite, though "Simple Design" is a close second. "Firefly", "Break My Fall", "Breakdown", and "Away" are pretty intense songs that are good in their own right, but again there's virtually no experimentation at this point. Indeed, the listener might be exhausted by the time "Away" comes around. "Forget It" is a calmer and, frankly, enjoyable break, along with the aforementioned "Sooner or Later". I will say that I find "Believe", the second-to-last track, to be catchy. I think that's because it's more upbeat than many of the previous tracks.
There are a few issues to address both with this album and with this era of music as a whole. This is a really good album, but with little innovation within the album, it was questionable as to how far Breaking Benjamin and other bands could carry this sound. Indeed, here nearly eight years later, this style of rock has quickly fizzled out while not much of note has succeeded it, though Breaking Benjamin did put out some other good tracks later on. In any case, We Are Not Alone is an enjoyable album that also captures a unique and important moment in modern rock.
Track #, Name of Song, Duration, My Rating
1. So Cold (4:33) - 10/10
2. Simple Design (4:14) - 9/10
3. Follow (3:16) - 10/10
4. Firefly (3:07) - 8/10
5. Break My Fall (3:23) - 8/10
6. Forget It (3:36) - 9/10
7. Sooner or Later (3:38) - 10/10
8. Breakdown (3:36) - 8/10
9. Away (3:12) - 7/10
10. Believe (3:18) - 9/10
11. Rain (3:25) - 8/10
Here's a link to the "So Cold" video: http://www.youtube.com/watch?v=rTiGlNDnOtE
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