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
Friday, May 4, 2012
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
Monday, December 26, 2011
The Verve Pipe in Concert: My Experience
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
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
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
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