Artist: Pearl Jam
Album: Vs.
Released: October 19, 1993
This is my second post about Pearl Jam; the first one, about Ten, was my very first post and I decided it was time to write about them again. I previously discussed how Ten today remains a pioneer album for the grunge movement of the early '90s. Two years later, Vs. was a highly anticipated album; indeed, it set a new record for most copies sold in the first week after release (a record that has since been broken).
Now, if you've followed Pearl Jam's entire career, you know that they were never really comfortable with such incredible success. At this point, they were already taking measures to step back from the spotlight; for example, they didn't make music videos for any of the songs on this album. But starting with their third album, Vitalogy, they experimented in other types of rock, and even recorded a couple of really bizarre songs (listen to "Bugs" or "Stupid Mop" if you get the chance and you'll get what I mean).
In fact, with Vs. there are some early signs of already drifting away from the predictable (and I do not mean this in a bad way) grunge rock of Ten. The album starts off similar to Ten with "Go" and "Animal"; they aren't really what I would call standout tracks, but still are awesome songs. The band then shows a softer side with "Daughter"; a song that many of the band's hardcore fans probably weren't expecting. However, it's a great song and they totally nailed it. They tried this again later with "Elderly Woman Behind the Counter in a Small Town", which is still a good song but I think they were trying just a little too hard on this one.
The middle of the album features some of the same social consciousness of Ten. "Dissident" could easily fit into Ten; the main riff is great and it's a solid track, though not among what I would consider to be the band's very best. The other three songs are less subtle in their social criticisms. I'm thinking particularly of "Glorified G" and Eddie Vedder's mocking of a gun enthusiast friend ("Got a gun, fact I've got two/That's ok man cause I love God"; "Don't think, dumb is strength/Never shot at a living thing"). It's actually a very enjoyable song; I prefer it to "W.M.A.", which is alright but a little melodramatic, and "Blood", in which they tried to combine hard rock with a little psychedelic; the result isn't terrible, but not their best either.
The rest of the album isn't just filler; there's some great stuff. "Rearviewmirror" has become one of my favorite Pearl Jam tracks; the same passion they bring to many other tracks, mixed with some new found optimism to make for a really enjoyable song. "Rats" and "Leash" are two solid tracks that also follow the Ten formula pretty well. I really like "Indifference"; possibly my all-time favorite closing track to an album. It's mellow and contemplative, with a great mixture of riffs and vocals.
So, to come back to my early points, Vs. was a great follow up to Ten and pleased most Pearl Jam fans. Yet there were some early signs of changing direction, and this became much more realized with Vitalogy a year later (but I'll get into that at a future date). To conclude, Vs. was not the groundbreaking album that Ten was, and it might not have as many memorable tracks. But this was still a masterful effort, and when putting everything into context it might be their most impressive album.
Track #, Name of Song, Duration, My Rating
1. Go (3:13) - 9/10
2. Animal (2:49) - 9/10
3. Daughter (3:55) - 10/10
4. Glorified G (3:27) - 9/10
5. Dissident (3:35) - 9/10
6. W.M.A. (5:59) - 8/10
7. Blood (2:50) - 7/10
8. Rearviewmirror (4:43) - 10/10
9. Rats (4:15) - 8/10
10. Elderly Woman Behind the Counter in a Small Town (3:16) - 9/10
11. Leash (3:09) - 8/10
12. Indifference (5:08) - 10/10
By the way, if you get the deluxe edition (with Vitalogy plus another live album), make sure you listen to their acoustic version of Hold On; it's really good!
Thursday, May 2, 2013
Friday, February 22, 2013
With the birds I'll share this lonely view...
Artist: Red Hot Chili Peppers
Album: Californication
Released: June 7, 1999
I tend to forget sometimes that Red Hot Chili Peppers have actually been around for quite a while. The band formed about 30 years ago and has had steady success, lots of hits, and many fans; yet they have been just edgy and alternative enough that they haven't been fully embraced by the mainstream pop scene. They haven't really had that one big hit that defines their career; I suppose "Under the Bridge" somewhat fits that description, though it's not usually mentioned among the biggest hits of the '90s.
The band has always been hit or miss with me; I can't say that I like everything I've heard from them. They hit a lull in the mid '90s; honestly, I don't know what the heck they were trying to do with their cover of "Love Rollercoaster". But they did come back pretty strong with Californication in 1999, producing a few memorable hits that still get radio time today. In fact, this ended up being their biggest selling album, and they've put out a couple more successful albums since then.
This band is known for their punk/funk brand of rock, though with Californication they went a little more mellow and alternative. In fact, this really sounds more like it came out in about 1995 than in 1999. There is a mix of easy and upbeat on this album, sometimes even within one song. "Scar Tissue" is one of the more laid back songs; it was a big hit and also one of my favorites. I really like how they used this formula with a few other songs on the album. "Emit Remmus" is another example of this. It has more of a raw grunge sound, and I really like how it turned out; though not nearly as well known as "Scar Tissue", I would say that these are my two favorites.
The other two radio hits were "Other Side" and "Californication", which have the post-grunge sound of the mid '90s. They're both good, but I prefer the former. Though not included in the big hits, the band's earlier sound shows up quite a bit, including the first two songs. "Around the World" has that mix of punk and alternative that I alluded to before, though I think they pulled it off well. "Parallel Universe" has the upbeat pace, and they also did a good job with it. This sound is revived towards the end with "Right on Time", which is catchy but not among my favorites.
For me, the album does tend to drop off after my favorites, especially towards the end, but this is at least made tolerable by the fact that there is some variety. Their funk/psychedelic background shows up in songs like "Get on Top", "Easily", and "Savior", which are all decent but not standout tracks. I have to say by the time we get to "Purple Stain", this gets a little old. I think they once again did a good job with the mellower sounds on "This Velvet Glove". I think the much slower "Porcelain" is a good break in the middle of the album. As many other rock bands, they tried their hand at acoustic with "Road Trippin'". I can't say that I was impressed, but I've heard worse efforts in this regard.
Maybe you could say that Red Hot Chili Peppers had "arrived" when they appeared on The Simpsons back in 1993; Moe tried to get them to change their lyrics to be less offensive, and Barney chanted, "We want chilly willy!" But with Californication in 1999, the band redefined their career and set course for a steady path of success for years afterward. I'm never going to consider it among my all-time favorite albums, but there are some great tracks on there that I always enjoy.
Track #, Name of Song, Duration, My Rating
1. Around the World (3:58) - 9/10
2. Parallel Universe (4:29) - 9/10
3. Scar Tissue (3:35) - 10/10
4. Otherside (4:15) - 10/10
5. Get On Top (3:18) - 8/10
6. Californication (5:29) - 9/10
7. Easily (3:51) - 8/10
8. Porcelain (2:43) - 8/10
9. Emit Remmus (4:00) - 10/10
10. I Like Dirt (2:37) - 8/10
11. This Velvet Glove (3:45) - 9/10
12. Savior (4:52) - 8/10
13. Purple Stain (4:13) - 7/10
14. Right on Time (1:52) - 8/10
15. Road Trippin' (3:24) - 7/10
Album: Californication
Released: June 7, 1999
I tend to forget sometimes that Red Hot Chili Peppers have actually been around for quite a while. The band formed about 30 years ago and has had steady success, lots of hits, and many fans; yet they have been just edgy and alternative enough that they haven't been fully embraced by the mainstream pop scene. They haven't really had that one big hit that defines their career; I suppose "Under the Bridge" somewhat fits that description, though it's not usually mentioned among the biggest hits of the '90s.
The band has always been hit or miss with me; I can't say that I like everything I've heard from them. They hit a lull in the mid '90s; honestly, I don't know what the heck they were trying to do with their cover of "Love Rollercoaster". But they did come back pretty strong with Californication in 1999, producing a few memorable hits that still get radio time today. In fact, this ended up being their biggest selling album, and they've put out a couple more successful albums since then.
This band is known for their punk/funk brand of rock, though with Californication they went a little more mellow and alternative. In fact, this really sounds more like it came out in about 1995 than in 1999. There is a mix of easy and upbeat on this album, sometimes even within one song. "Scar Tissue" is one of the more laid back songs; it was a big hit and also one of my favorites. I really like how they used this formula with a few other songs on the album. "Emit Remmus" is another example of this. It has more of a raw grunge sound, and I really like how it turned out; though not nearly as well known as "Scar Tissue", I would say that these are my two favorites.
The other two radio hits were "Other Side" and "Californication", which have the post-grunge sound of the mid '90s. They're both good, but I prefer the former. Though not included in the big hits, the band's earlier sound shows up quite a bit, including the first two songs. "Around the World" has that mix of punk and alternative that I alluded to before, though I think they pulled it off well. "Parallel Universe" has the upbeat pace, and they also did a good job with it. This sound is revived towards the end with "Right on Time", which is catchy but not among my favorites.
For me, the album does tend to drop off after my favorites, especially towards the end, but this is at least made tolerable by the fact that there is some variety. Their funk/psychedelic background shows up in songs like "Get on Top", "Easily", and "Savior", which are all decent but not standout tracks. I have to say by the time we get to "Purple Stain", this gets a little old. I think they once again did a good job with the mellower sounds on "This Velvet Glove". I think the much slower "Porcelain" is a good break in the middle of the album. As many other rock bands, they tried their hand at acoustic with "Road Trippin'". I can't say that I was impressed, but I've heard worse efforts in this regard.
Maybe you could say that Red Hot Chili Peppers had "arrived" when they appeared on The Simpsons back in 1993; Moe tried to get them to change their lyrics to be less offensive, and Barney chanted, "We want chilly willy!" But with Californication in 1999, the band redefined their career and set course for a steady path of success for years afterward. I'm never going to consider it among my all-time favorite albums, but there are some great tracks on there that I always enjoy.
Track #, Name of Song, Duration, My Rating
1. Around the World (3:58) - 9/10
2. Parallel Universe (4:29) - 9/10
3. Scar Tissue (3:35) - 10/10
4. Otherside (4:15) - 10/10
5. Get On Top (3:18) - 8/10
6. Californication (5:29) - 9/10
7. Easily (3:51) - 8/10
8. Porcelain (2:43) - 8/10
9. Emit Remmus (4:00) - 10/10
10. I Like Dirt (2:37) - 8/10
11. This Velvet Glove (3:45) - 9/10
12. Savior (4:52) - 8/10
13. Purple Stain (4:13) - 7/10
14. Right on Time (1:52) - 8/10
15. Road Trippin' (3:24) - 7/10
Thursday, January 3, 2013
Slowly walking down the hall...
Artist: Oasis
Album: What's the Story (Morning Glory)?
Released: October 2, 1995
When I was in college several years ago, and Coldplay was really popular, I heard someone say that Oasis was "the Coldplay of their time". To me that makes sense in the fact that they are both mainly mellow groups that have many listeners but don't quite get the media hype of other artists or bands. Oasis is still well known among those who listened to the radio in the '90s or otherwise know a lot about music from that era, but even among some of them, the band is an afterthought today. It will be interesting to see if Coldplay is in that same situation in 5-10 years.
Anyway, What's the Story (Morning Glory)? was their breakthrough album and by far their most well known album to this day, at least in the US. Definitely Maybe was released a year earlier and was a big success in the UK, setting up a breakthrough onto the worldwide, mainstream stage with What's the Story. Even though many critics familiar with Definitely Maybe didn't think that What's the Story was as strong of an album, it still was wildly successful and greatly expanded interest not only in the band itself, but in British Indie rock in general. Indeed, I first learned about Oasis when I heard "Wonderwall" on the radio a lot in fifth grade. I've heard quite a few people claim them to be a '90s version of the Beatles, and I guess I can see that. Some of their songs even have a quasi-psychedelic quality while retaining a '90s grunge/post grunge sound.
Now, taking away as much of the context as I can, I am a big Oasis fan and enjoy many of their songs. But if you know me, particularly anything about my taste in music, you know that I get irritated very easily when a song (or album) gets overplayed and overhyped. But also as a child of the 1990s, I can't help but say that "Wonderwall" and "Champagne Supernova" are two awesome songs! These are probably their two most popular and well known tracks today, though they had many other hit singles that aren't as well known. The vocals are definitely what make "Wonderwall" a great song. The guitars are what make "Champagne Supernova" so great, and being over seven minutes long, it's easy to get lost in that song without it seeming too drawn out. Indeed, whenever I hear it, it seems like about 4-5 minutes.
There really is not a weak track on this album, though I still have my favorites. I really like the optimism of "Some Might Say"; it's also really catchy and has some cool lyrics. Most of the other songs are still good, though at times it feels like there isn't enough variety of sound. That's why I didn't give "Hello" a 10/10 rating; same for "Morning Glory", which is a really cool song but has moved down my list slightly as time goes on. Besides being a big hit, "Wonderwall" provides a more laid back sound compared with several of the other more intense tracks. For that same reason, "Cast No Shadow" has grown on me more over time. "Don't Look Back in Anger" and "She's Electric" are interesting because they have a retro feel, though I don't think the band is at their strongest with this formula, at least not on this album. "Roll with It" and "Hey Now!" are pretty similar to "Hello" and "Some Might Say", respectively, and while they're decent songs, they don't stand out as much.
The next album from Oasis, Be Here Now, produced a few hits, but as is often the case with big breakthrough albums, they never replicated the success of What's the Story. Some infighting within the band certainly didn't help, though they have continued to put out albums since then. In any case, What's the Story (Morning Glory)? has to be considered a classic of the 1990's. The big hits alone make it memorable, but the rest of the album, though there isn't much variety, is still a great listen. If you're a '90s music person, chances are you're already familiar with this album, so I would recommend trying out some of their other stuff as well. I'm sure I'll be reviewing their other albums at a later date.
Track #, Name of Song, Duration, My Rating
1. Hello (3:22) - 9/10
2. Roll with It (3:59) - 8/10
3. Wonderwall (4:18) - 10/10
4. Don't Look Back in Anger (4:47) - 8/10
5. Hey Now! (5:41) - 8/10
6. (Untitled Track) (0:44)
7. Some Might Say (5:28) - 10/10
8. Cast No Shadow (4:51) - 9/10
9. She's Electric (3:40) - 8/10
10. Morning Glory (5:03) - 9/10
11. (Untitled Track) (0:39)
12. Champagne Supernova (7:27) - 10/10
(Note: The two untitled tracks are short reprisals of other tracks, and I decided not to rate them.)
Album: What's the Story (Morning Glory)?
Released: October 2, 1995
When I was in college several years ago, and Coldplay was really popular, I heard someone say that Oasis was "the Coldplay of their time". To me that makes sense in the fact that they are both mainly mellow groups that have many listeners but don't quite get the media hype of other artists or bands. Oasis is still well known among those who listened to the radio in the '90s or otherwise know a lot about music from that era, but even among some of them, the band is an afterthought today. It will be interesting to see if Coldplay is in that same situation in 5-10 years.
Anyway, What's the Story (Morning Glory)? was their breakthrough album and by far their most well known album to this day, at least in the US. Definitely Maybe was released a year earlier and was a big success in the UK, setting up a breakthrough onto the worldwide, mainstream stage with What's the Story. Even though many critics familiar with Definitely Maybe didn't think that What's the Story was as strong of an album, it still was wildly successful and greatly expanded interest not only in the band itself, but in British Indie rock in general. Indeed, I first learned about Oasis when I heard "Wonderwall" on the radio a lot in fifth grade. I've heard quite a few people claim them to be a '90s version of the Beatles, and I guess I can see that. Some of their songs even have a quasi-psychedelic quality while retaining a '90s grunge/post grunge sound.
Now, taking away as much of the context as I can, I am a big Oasis fan and enjoy many of their songs. But if you know me, particularly anything about my taste in music, you know that I get irritated very easily when a song (or album) gets overplayed and overhyped. But also as a child of the 1990s, I can't help but say that "Wonderwall" and "Champagne Supernova" are two awesome songs! These are probably their two most popular and well known tracks today, though they had many other hit singles that aren't as well known. The vocals are definitely what make "Wonderwall" a great song. The guitars are what make "Champagne Supernova" so great, and being over seven minutes long, it's easy to get lost in that song without it seeming too drawn out. Indeed, whenever I hear it, it seems like about 4-5 minutes.
There really is not a weak track on this album, though I still have my favorites. I really like the optimism of "Some Might Say"; it's also really catchy and has some cool lyrics. Most of the other songs are still good, though at times it feels like there isn't enough variety of sound. That's why I didn't give "Hello" a 10/10 rating; same for "Morning Glory", which is a really cool song but has moved down my list slightly as time goes on. Besides being a big hit, "Wonderwall" provides a more laid back sound compared with several of the other more intense tracks. For that same reason, "Cast No Shadow" has grown on me more over time. "Don't Look Back in Anger" and "She's Electric" are interesting because they have a retro feel, though I don't think the band is at their strongest with this formula, at least not on this album. "Roll with It" and "Hey Now!" are pretty similar to "Hello" and "Some Might Say", respectively, and while they're decent songs, they don't stand out as much.
The next album from Oasis, Be Here Now, produced a few hits, but as is often the case with big breakthrough albums, they never replicated the success of What's the Story. Some infighting within the band certainly didn't help, though they have continued to put out albums since then. In any case, What's the Story (Morning Glory)? has to be considered a classic of the 1990's. The big hits alone make it memorable, but the rest of the album, though there isn't much variety, is still a great listen. If you're a '90s music person, chances are you're already familiar with this album, so I would recommend trying out some of their other stuff as well. I'm sure I'll be reviewing their other albums at a later date.
Track #, Name of Song, Duration, My Rating
1. Hello (3:22) - 9/10
2. Roll with It (3:59) - 8/10
3. Wonderwall (4:18) - 10/10
4. Don't Look Back in Anger (4:47) - 8/10
5. Hey Now! (5:41) - 8/10
6. (Untitled Track) (0:44)
7. Some Might Say (5:28) - 10/10
8. Cast No Shadow (4:51) - 9/10
9. She's Electric (3:40) - 8/10
10. Morning Glory (5:03) - 9/10
11. (Untitled Track) (0:39)
12. Champagne Supernova (7:27) - 10/10
(Note: The two untitled tracks are short reprisals of other tracks, and I decided not to rate them.)
Wednesday, November 21, 2012
I am flying on a star...
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
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
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
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