The Mollusk

10/10

  If forced to choose at gunpoint I suppose I'd have to say The Mollusk is my favorite Ween album.  I still remember buying it the day it came out back in 1997 and studying the strange creature on the cover just wondering what the heck waited within.

  Well it turned out, it was probably Ween's strongest, most accessible, and best produced set of songs to date.  Don't get me wrong, there's still plenty of weirdness to be found.  Right from the strange morphing vocals of the very first track, which was apparently a cover of some sort of children's dance song, this is recognizably a Ween album.  There's typical Ween humor to be found all over the dang place as well.  But the good news is after the "joke" wears off you're left with a whole lot of really awesome songs with high re-listenability.  There seems to be an ocean theme at work across these tracks, but they still manage to include plenty of genre hopping as is their modus operandi.  And there's plenty of experimentation... there's just nothing particularly ear-splitting or abrasive.  There's no Mourning Glory to be found here.  It's definitely not The Pod or Pure Guava.  There are signs of... gasp... maturation.  There's even a straightforward pretty love song in the form of It's Going to Be (Alright).  If there's any irony or snark to be found in that song, I sure can't detect it.

  But the thing is, if you've been paying attention they've already started to "mature" and include sincere songs prior to this.  I'm pretty sure Sarah from Pure Guava isn't meant as any kind of joke.  Even Birthday Boy from their first album seems to me to be "serious."  They've already become more accessible and utilized better production on the two albums prior to this.  So really it's just a natural continuation of the path they were already on.  Did I mention the songs are awesome?

  Looking over the tracklist, the only one I can point to as a sort of weak link is the instrumental Pink Eye (On My Leg), but even that one has a fun, catchy melody to it and isn't unpleasant to listen to.  Elsewhere you've got the supremely catchy Ocean Man, which there's no reason shouldn't have been a huge hit.

  I really like the title track as well.  There's this little instrumental break in it that makes me picture a Sgt. Pepper-ish band of Sea Monkeys playing crazy psychedelic instruments.  In other words, cool stuff.  Mutilated Lips has a lengthy chorus of strange imagery, and I really like the higher vocal effect they use when they repeat it.  Buckingham Green is an epic, complex song that goes through multiple sections during it's just over 3 minute run-time.  There are a couple songs that if you examine closely appear to be leftovers from the country album like I'll Be Your Jonny On the Spot and Waving My Dick in the Wind, but they've applied cool synths to them and they fit right in.  I do notice that Waving My Dick in the Wind seems to be a little bit of a re-write melodically speaking of I Don't Want to Leave You on the Farm from the country album.  It's different enough though that I can let it slide pretty easily.

  Overall there does seem to be a prog feel to this album.  I wasn't into prog rock at all when this came out, and I still enjoyed the hell out of it.  That's one of the great things about Ween.  They're extremely knowledgeable about all sorts of music, and they're able to translate it in a way that makes their songs enjoyable even if you don't know the genre or band they're parodying at that particular moment.  If you do come to discover those genres or bands later it just adds another layer of enjoyment to it.

  I can understand if a certain subset of Ween fans misses the lo-fi rawness of some of their earlier albums, but this is far from a sellout.  I also think this is a decent enough entry point to the band for newbies.  If I could only recommend one Ween album, I'm pretty sure it would be this one.  It might not be a "perfect" album, but it's damn good and I can give it a full 10 score without feeling guilty about it.

 

12 Golden Country Greats

8.5/10

  One of the truly great things about Ween is the way in which they often confound expectations and challenge the listener.  After four albums of genre hopping and general weirdness you might have said to yourself now this is a band that might do just about anything.  Even so I, for one, was certainly not expecting them to follow up Chocolate and Cheese by going to Nashville and hiring renowned old school Nashville musicians and making an authentic sounding country album.

  I actually remember making a joke before this album was announced on a radio show I had in college about Ween playing country music.  My roommate had called up my show pretending to be a redneck and asking me to play some country music and I said I'd put on some Ween, seeing as how they were the furthest thing from country I could think of.  The joke turned out to be on me when this was the next album they released.

  Granted you could point towards Drifter in the Dark on Chocolate and Cheese as having a bit of a country vibe, but it doesn't even come close to the assault of fiddles and harmonica honky tonk piano and pedal steel guitar they unleash on this album.  Gene even sings in a normal voice on most of these songs and reveals he has a very nice natural vocal instrument.

  Now at the time this came out country was probably about my least favorite genre, so I had some difficulty getting into this.  I appreciated the audacity of Ween releasing an actual country album and I thought it was funny that they did it, but I had some trouble at first overcoming my own distaste for country music.  Consequently for awhile I would say this was my least liked and least listened to Ween album.

  But gradually I started to notice that I really liked some of the songs.  I Don't Want to Leave You on the Farm is a really pretty song in a straight-forward and not obviously jokey way.  Likewise Japanese Cowboy is a nice tune, even if it bears some melodic resemblance to Chariots of Fire, as Ween themselves have been quick to acknowledge.  I really enjoy I'm Holding You as well and think it really shows off Gene's natural voice.

  You know what else?  This album's pretty damn funny at times.  The random introduction of Mohammed Ali after other members of the band on Powder Blue is pretty hilarious.  I heard they had to remove it from later versions of the album due to legal reasons, which is a shame.  Elsewhere Mr. Richard Smoker and especially Piss Up a Rope provide the vulgar humor that let you know this is, in fact, a Ween album.

  Nowadays I can honestly say I enjoy listening to the whole album.  I also have to give props to Ween for not only doing the unexpected, but forcing me out of my comfort zone in the process.  Country still isn't my favorite genre, but they helped me to realize it's not all Toby Keith and Garth Brooks.  They've made me more appreciative of the old guard of country such as Willie Nelson and Waylon Jennings and of course the titular golden country greats who served as the musicians on this album.  This is a band that really does love and respect the music that they're ostensibly sending up.  Who would've thought the obnoxious stoners responsible for God Ween Satan had it in them?  But even looking back at that album it becomes obvious that they really do like a wide range of music and that's why they genre hop so much.  They're not putting stuff down, they're celebrating it.  This is part of why I dig this band so much.

Chocolate and Cheese

9.0/10

  This is an incredibly strange album by any normal standards, but by Ween standards they were starting to sound kind of normal.  This is largely due to the production.  Whereas they had previously recorded at home on a 4-track cassette recorder, this album marks the first time they utilized a more "professional" recording studio.  I'm sure some hardcore fans of their early albums see this as a big sellout moment, and indeed this certainly marks a turning point in the sound of the band as all their future releases would see much cleaner production.  It's certainly a little easier on the ears for a newbie.

It's not as if they've thrown out everything that makes them Ween.  The silly humor, variety of voices and styles, and of course profanity is all still here.  And any album that has Spinal Meningitis and The HIV song on it can't really be called selling out to the mainstream.  They've moved away a little from the super whacked out druggy stuff in favor of genre hopping, although Candi remains as a throwback to their earlier days.  It's probably the weakest song on here though.

Overall the songwriting really does shine and they prove themselves adept at pulling off a multitude of styles from the opener Take Me Away, which sort of has a Tom Jones kind of vibe to it to the pseudo country feel of Drifter in the Dark.  Gener gets to really show off his vocal chops as he belts out Freedom of 76 in a smooth falsetto while Deaner demonstrates his guitar skills on the lengthy instrumental A Tear for Eddie.

I remember actually hearing Voodoo Lady on the radio a little bit when this came out!  The first time I heard it I didn't know who Ween was and I kind of didn't like it.  I never in a million years would have guessed at that point that I was listening to what would become one of my favorite bands.  And yes, I dig Voodoo Lady.  It's got a nice groove to it and that oogie oogie oogie oogie part is pretty catchy.

Baby Bitch is a pretty acoustic driven song with a fairly vicious message.  Good tune though.  And actually I can relate to it.  It even name checks Birthday Boy from God Ween Satan.  I don't know why, but I like when bands reference their own songs.  I'm easily amused sometimes, what can I say?

Spinal Meningitis Got Me Down was disturbing as hell and kind of terrifying the first time I heard it.  The vocal effect they use makes Gene sound like a creepy little kid and then the lyrics about "Am I gonna see God, Mommy?  Am I going to die?" are just downright creepy and kind of wrong.  But the thing is once you get past the initial shock and almost horror of it, there's a damn good song there.  When they get to the "Smile on mighty Jesus" chorus part, well that kicks ass.  I'm so desensitized to the main part now that I almost forget that if someone's unfamiliar with the band and you play that song around them they might think you're some kind of psycho.  But the thing is they're not making fun of people with spinal meningitis.  They're freaked out by it, too, and they're kind of conveying that feeling in musical form.

They tackle another disease in a slightly different way in the form of The HIV Song.  It's a bunch of cheerful almost carnival like music interspersed with a spoken word "AIDS" or "HIV."  It's that juxtaposition of wildly inappropriate music with a horrific disease that makes this track.

Elsewhere Roses Are Free is a cool song that Phish decided to cover for some reason and now a bunch of hippies think Ween is covering a Phish song.  I'm sure Phish does a perfectly fine rendition of it, but I'm not really a fan of hippie jam bands, so I'll stick with Ween's version.

My favorite song on here is probably What Deaner Was Talking About.  I've heard it said that it's kind of in the style of a Wings song and I can see that.  But it's just got a really fantastic melody.  It's a truly solid pop song that can stand up there with the best of them.  Whenever I meet people who think Ween are nothing but fart jokes and weird noise, this is one of the songs I play for them because it's catchy and pretty undeniably a great song.

Chocolate and Cheese isn't just an album with a lot of really good songs on it.  It's a fun album.  I like Radiohead as much as the next guy, but they really can't say that about any of their albums.  This is an album that just might convert you to Ween if you weren't convinced by their earlier, weirder ones.       

Pure Guava

9.5/10

  Depending on where you're coming from this is either one of the awesomest or most irritating albums ever.  When I first listened to it I probably fell into the latter category.  The only song I remotely liked at first was Sarah, as it's the closest thing to traditional sounding music on here and it's actually kind of pretty.  The rest of it sounded like noise with various annoying voices singing over the top.  There's no doubt these are Frankenstein mutants of songs and it's kind of crazy that this was released on a major label.  It's even crazier when you think some record executive signed them to said major label based on their previous album The Pod.  Apparently this was recorded at the same time as The Pod.  In fact it could almost be looked at as songs that didn't make the cut for The Pod, but now they've been given some sort of major label production polish that makes them sound even weirder.

  The early 90's really was an insane time as far as underground bands scoring major label record contracts.  I guess after Nirvana hit it big and upset the established order of things, record companies had no clue what the kids wanted and thus scrambled to sign every band that was remotely "alternative."  Hence Pure Guava coming out on Elektra records.  They even scored a bit of a hit with Push th' Little Daisies.

  So anyway I can't say I was initially a fan of this.  It was kind of a chore to sit through and it sort of seemed like it was weird simply for the sake of being weird.  But then when I was college and beginning to mess around with drugs and alcohol a little bit I came back to this.  I kind of put it on just for fun after getting really high for one of my first times.  All of a sudden I "got" this album in a major way.  It was almost like hearing music for the first time, or hearing a completely new kind of music.  All of those songs that seemed like pointless noise suddenly revealed themselves to have purpose.  Mourning Glory which had previously appeared to be nothing more than a lengthy mess of irritating feedback with a go nowhere semi-story about some pumpkins became the most amazingly brilliant thing I'd ever heard.  I remember having this distinct image of an electric starfish piercing my head with its arms as I listened to the song.  It was kind of intense and even painful but in an astonishing way.  And that story about the pumpkins became strangely meaningful and hilarious.  Long story short, my mind was blown.

  Now you could easily just dismiss this as being due to drugs and how all music sounds better when you're high, and to an extent you'd be correct.  I think Pure Guava definitely benefits from not being sober.  But it does so in a way that's above and beyond a lot of other music I've heard.  I'm doubtlessly inflating the score of this album due to both nostalgia and because it introduced me to the concept of music sounding different when you're high.  Lots of people have probably had lots of different albums fill that role for them and thus those albums will hold a special place in their hearts.  But Pure Guava really is some freaking deliciously out there brilliant music.  And the best part was once I realized that I could enjoy it without having to be high.  It was like the door had been unlocked and now I understood it.  On some level it changed the way I listened to music from that point on.  So yeah, I'm always going to have some bias towards this album.

  That said, some of this rules harder than other parts of it, but I think every track "works."  I dig opener Little Birdy a lot and The Stallion Pt. 3 is seriously whacked out in the best possible way.  Big Jilm is oddly catchy and hilarious at the same time.  I really do picture some big old hillbilly or something and the weird deep voice they use sells it.  The image kind of cracks me up.

  Oddly enough Push th' Little Daisies, despite being the "hit" off the album might be one of my least favorite tracks on here.  I like it.  It's once again catchy in a strange way, but it doesn't touch the bizarre awesomeness of Touch My Tooter or some of the other songs I've previously mentioned.

  Some of the other tracks here definitely seem like stoned jokes, although sometimes brilliantly so.  Reggaejunkiejew is driven by a memorable synth line and contains some really cool strange noises, even as it consists of lyrics like "Fuck you reggaejunkiejew" over and over.  I suppose it could be deemed offensive, but I've heard it's about a particular annoying person that rubbed Gene Ween, who happens to be Jewish, the wrong way.

  Elsewhere Hey Fat Boy (Asshole) is kind of simplistic and crass, but also kind of funny and catchy.  And at less than two minutes long it doesn't wear out its welcome.  Loving U Through It All kind of sounds like they were making it up as they recorded... like maybe they agreed on a few lyrics they would sing in advance, but then they don't always hit the same lyrics at the same time.  It's still listenable somehow.  That's one of the coolest things about this album.  There are probably a few songs that were being "written" simultaneously as they were being recorded.  Some of the songs have noticeable mistakes or the guys start laughing or something in the middle.  You can even hear one of them say "You fucked it up again!" in the middle of one of the songs.  Yet somehow it all works.  At least within the twisted, warped logic of Pure Guava it does.  Plus the mistakes, laughter, and chatter all just add to the feeling that this was probably a lot of fun for Gene and Dean to make.

  I probably wouldn't recommend this as the first Ween album to listen to, unless you're a stoner who's into weird music.  They definitely have other albums that are more accessible and easier on the ears.  But this is still a really cool album if you can get your head around it and it'll always be one of my favorites.  This is probably the last really weird Ween album.  They would stay plenty strange, but as they recruited a full band and began to write songs that were more conventionally musical and professionally produced they changed quite a bit.  In a lot of ways they probably changed for the better, but they never sounded like Pure Guava again.  So it remains an essential document of the early Ween sound. 

The Pod

8.5/10

  Okay I'm just going to come out and say that this was a damn hard album to get into.  The songs are dark, murky, and slow as hell and there are a lot of them on here.  Additionally the vocals have pretty much been messed with on every single track, often through tape manipulation.  They are either sped up, or as is often the case, slowed down.  Even the backing tracks seem to have been slowed down on many songs.  And the subject matter tends to be really weird.  There's a whole running theme throughout several of the songs of pork roll egg and cheese on a kaiser bun.  It's there to such an extent that this is almost a concept album about pork roll egg and cheese.  This could very well be the weirdest Ween album and that's saying something.  At the first listen it's pretty much impenetrable.  There is humor here but it's not quite as overtly goofy as it is on some of their other albums.  It definitely took me a little while to get to like this one.

  But the thing is once you do manage to wrap your brain around it there are a ton of really good songs on here.  It takes a little effort on the listener's part to get a handle on this thing, but there is a reward for putting the work in.  Looking at it now almost every song has something to recommend it, and many of them are flat out fantastic.  Plus it's more diverse than it initially seems.

  The popular theory is that Gene and Dean had a nasty case of mono and were also huffing scotch guard as they recorded this and that's why everything's so murky and weird.  The song Mononucleosis seems to lend credence to part of this as it would appear to be a somewhat factual account of one of the guys suffering from mono and the other guy offering his sympathy.  It's a nice showing of friendship and solidarity and it's actually got a hell of a melody to go along with it.  The scotch guard huffing part seems to have been a hoax, although it also seems to be reinforced by the cover, which is worth mentioning in and of itself.  It's quite simply the cover to Leonard Cohen's greatest hits album, with a picture of one of their friends with a scotch guard bong mask pasted right over Cohen's head.  It's not too subtle and it's not like they recreated the picture.  They used the original artwork and just plastered another head on top of it.  I read somewhere that Leonard Cohen was aware of it and thought it was funny, which is pretty cool.

  Some of the more accessible tunes on here include Pork Roll Egg and Cheese, which is probably the first song I was able to really embrace, because it's got an undeniable catchy pop melody, even as the subject matter remains weird and silly.

 Sorry Charlie was fairly easy to grasp as well.  It's a pretty straightforward song with some fairly relatable lyrics.  They seem to kind of muffle the sound on it a little though, so it seems really quiet at first.  It does increase a bit in volume as it goes along.  It might be the closest thing here to a normal song.

  There's also some good rockers on here in the form of Dr. Rock and Captain Fantasy.  Both of these tracks were staples of their live show late into their career and they lended themselves well to the live format.  But they're both pretty awesome as they exist here.  Sketches of Winkle actually rocks pretty hard, too.  Just thought I'd mention that.

  Elsewhere the tape manipulation-heavy Molly is one of the craziest songs I've ever heard, especially with its numerous pauses that trick you into thinking the song is over, before it kicks right back in again.  Pollo Asado is goofy as hell, but surprisingly listenable considering it consists of a couple of dudes who sound extremely stoned ordering Mexican food and screwing up the money transactions.  It's oddly funny especially since they make no attempt to change the voice of what is presumably several different customers.  I don't know if that's some sort of commentary on our consumer culture or if it's just drugged out ridiculousness.  Maybe a little of both.  It would seem like a track that would get old really quick, but I actually still enjoy listening to it.

  I honestly like almost every song on here, but I do want to give a shout out to Frank, Laura, Right to the Ways and the Rules of the World, Alone, and She Fucks Me.  Heck, I even dig the two Stallion songs, although they're pretty damn weird.

  At the end of the day I have to say this album kicks ass, but I sure as hell wouldn't recommend it to someone who's new to Ween.  I probably wouldn't play it around your mom either, unless she's a cool mom into weird music.  It's just too damn out there and I can see it being off putting for sure.  But once you kind of get what Ween's all about you're going to absolutely want to hear this one.  It's a really warped version of rock and pop music, and it's pretty unique.  It's definitely not going to be everyone's cup of tea, but I for one am glad these bizarre mutant songs exist.

God Ween Satan: The Oneness

9.0/10

  I just want to come out and admit from the getgo that Ween is one of my all time favorite bands.  I can't really be too objective about them because I just like them too damn much.  I genuinely think they're an awesome band, but I've found that outsiders to the cult of the Boognish don't always seem to see their amazingness quite as apparently as I do.  Maybe they're a little too weird, vulgar, or silly for some people.  But for me the fact remains that they are phenomenal songwriters, they're diverse as hell, Gener is an awesome singer, Deaner is one hell of a guitar player, they're experimental, they can pull off other band's styles better than the bands they're cribbing from, and they're pretty damn funny a lot of the time.  Plus they seem like they'd be a lot of fun to hang out with.  For the record I would say pretty much the same things about the Beatles.

  GodWeenSatan was their first "officially released" album.  They'd been making limited release cassette only albums for awhile before this, but those are mostly of interest to die-hard fans only.  In their early days they consisted of two friends who posed as fake brothers Gene and Dean Ween.  They recorded on 4-track cassettes at home presumably high on drugs and tended to utilize drum machines and other "fake" instrumentation.  They would recruit a full band later on, but Gene and Dean would always remain the heart of the band and some fans prefer these early days.  I, for one, am glad of the existence of early Ween.  It's much more "brown" to use the band's terminology.  I'm also glad their later more polished and accessible stuff exists, too.  

 A lot of what makes Ween "Ween" is already on display here.  There are goofy jokes, lots of different styles, some really awesome songs mixed with some weird little experiments, a fondness for messing with the vocals via effects or tape manipulation, and some killer guitar parts.  Also lots of screaming and curse words.  I can actually understand this album being a little off-putting to the uninitiated.  The humor's sometimes kind of crude and frat boy-ish and the screaming could rub you the wrong way if you're not in the mood for it.  But one of the things that's great about Ween on all of their albums is that once the shock wears off from the joke or the bad language, there are solid if not amazing songs underneath to be discovered.  It's one of the reasons why they are not the "joke band" they're often accused of being.  They're a completely serious band that happens to utilize a lot of goofy humor.  And for some reason humor in music tends to be marginalized and looked down upon.  You can take your "serious" self-pitying emo crybaby band.  I'll take Ween.

  They really don't hold anything back right from the start.  Things get kicked off in full obnoxious fashion with You Fucked Up, in which Gener screams the title along with numerous other vulgar insults.  Now this could easily come across as misogynistic, mean-spirited, annoying, or kind of dumb.  But the thing is Ween is taking the piss out of this kind of music.  There are bands out there who sing stuff like this for real and mean it.  Ween is poking fun of this kind of attitude while simultaneously rocking out with a kick-ass guitar part.

  There are several other songs that kind of fit into the same sort of vein as You Fucked Up, but there are also a couple of Prince odes, a super twee love song, some faux gospel music, some pretty acoustic music, a 19 second long dead-on impression of Bruce Springsteen, and some just plain weirdness.

  At 26 tracks (29 if you have the reissue) and over 70 minutes this is undoubtedly a lot to take in in one sitting.  Especially nowadays when everyone's attention spans are shorter.  I don't often sit down and listen to the whole thing anymore, but there are some major highlights here.  Birthday Boy is just a really phenomenal song.  The melody is fantastic in that sends-chills-down-your-spine kind of way and I dig the sound they get on the guitar and the choice to not use any kind of drums pays off as well.  Plus there are actual real-world relatable lyrics on display, something Gene in particular would explore more and to good effect as time went on.

 Another one I really like is Marble Tulip Juicy Tree.  I don't really have a clue what it's about, but it's catchy and has a genuinely awesome guitar solo.  I'm not even a big guitar solo type of guy but Deaner's just tearing it up here.  I even dig the weird spoken word bit at the end.

  I could probably go on a lot more about this album, and it's not even my favorite of theirs.  They were really young when they made it and it sounds like they had a super fun time.  The enthusiasm is infectious.  It's plenty weird, but it's not even close to the weirdest Ween album.  And if you don't like this one, you still shouldn't write them off because they sound completely different from album to album and even song to song.  They're Ween, damn it, and they rule.

Nanobots

7.0/10

  Thirty years into their career They Might Be Giants are still cranking out pretty solid albums.  Once again I haven't had the chance to live with this one as much as their earlier stuff, nor did it reach me at an age when I probably would have been most susceptible to its charms, so I can't help but rate it below their classic output.  Yet, I don't see anything to dislike here.

  Granted there's a tiny bit of TMBG by numbers feel to this.  They have the by now obligatory educational song in the form of Tesla and the series of short quirky songs can't help but feel like a slight retread of Fingertips.  But at this point in their career do we really want them to make radical departures in their sound or approach?  I don't really.  They have their formula down and it consists of ingredients that I enjoy.  Catchy songwriting and slightly off the wall subject matter are what I expect from this band, and once again, they deliver.

  I'm not sure if there's a major standout track here, but as usual they start off with a strong song in You're On Fire which features a melody that gets stuck in the old noggin.  The title track is also pretty catchy, which is something this band has always been good at.  It's nice to see that skill hasn't abandoned them this far into their lifespan as a band.

   Call You Mom is deliciously silly and weird with its line about dressing in a sailor suit and calling someone Mom because they remind the narrator of his mom.

  Black Ops has that familiar TMBG feel to it to such a degree that I was really surprised I hadn't heard it before.  I'm not saying it rips off any song in particular, just that I could have sworn it was already on one of their earlier albums.

  As I mentioned earlier, I don't know this album inside out like I do with their older ones.  I could see my rating going up or down a point with more familiarity, but probably not much more than that.  What I hear is another solid TMBG.  It's honestly surprisingly strong considering how long they've been at this.  I don't think they're done for yet.  They may not particularly innovate anything but if they continue to put albums out every few years as solid as this I'll keep listening.

Join Us

7.5/10

  Somehow the release of this one escaped my notice at first.  I thought I was pretty in tune to knowing when albums were coming out these days, but I didn't find out about Join Us until almost a year after it came out.  Talk about dropping the ball.  I don't remember a lot of fanfare accompanying the release of this album.  I don't recall reading any reviews of it or seeing any sorts of advertisements.  In a weird sort of way it was cool because it sort of took me back to the pre-internet days when I was surprised to discover John Henry had been released.

  So I was behind the game a bit in listening to this.  At first it kind of didn't make much of an impression, but as I've been listening to this more it makes me happy to say this is a really solid album.  They're once again giving you a lot of songs for your dollar at 18 tracks, and they seem to have really returned to form here.  I don't detect any obvious stinkers, while there are some damn catchy tunes on here that could have easily fit on their earlier albums.

  They've honestly always opened their albums strongly and this one is no exception.  I think the first four tracks are quite good, and it doesn't even drop off much after that.  Who would have thought they could be this solid so late in their career?  Especially as they'd already gone through a bit of a rough patch.

  There are plenty of their trademark quirky lyrics and catchy melodies on display.  2082 is an odd but amusing tale about traveling into the distant future and somehow finding that you're still alive.  Meanwhile When Will You Die is quite upbeat for what amounts to some pretty dark subject matter.  They've definitely paired catchy happy melodies with dark lyrics dating all the way back to their debut, so this fits in well with their canon.

  As much as this album is a throwback in some ways to their old days, they still manage to try a few new tricks on here.  Spoiler Alert features both Johns singing two different vocal melodies at the same time.  It works surprisingly well and you can kind of focus on one, the other, or both and almost hear three different songs.  Dog Walker utilizes some pitch-shifted vocals in a manner somewhat reminiscent of Ween.  The Lady and the Tiger features a spoken word verse over an almost hip-hop beat.  That's the kind of thing that could have been a disaster, but they manage to pull it off.

  I've been listening to this album more in preparation of reviewing it and I have to say that overall I've been pretty impressed with it.  I could imagine bumping the rating up a little.  As it stands I'm just not as familiar with this album as the early stuff because it hasn't been around long enough for me to have the same level of attachment.  I think I can safely say that if this album had come out in the 90's I would have loved it just as much as their other albums from that era.  It's good, man.

The Else

7.0/10

  I'm tempted to call this a comeback album.  I definitely like it more than the last two They Might Be Giants albums.  I think I was still slightly down on them at the time this was released, and while it didn't necessarily knock my socks off, I was pleasantly surprised with the results.  There's nothing on this album that approaches the obnoxiousness of Mr. Xcitement, which if you haven't been able to figure out by now was a song I just really didn't like.  What's more I don't think any of the songs here are boring either.  They all have something to recommend them, albeit some more than others.  On top of that there are some really excellent songs to be found here.

  Looking back I have to say TMBG have always been good at kicking off their albums and this one is no exception.  I'm Impressed is upbeat and catchy and gets things started on the right note.  Take Out the Trash isn't my favorite track on here, but it's not bad by any means.  It almost has a little bit of a funk vibe to it, but it's not quite as clever or catchy as their very best stuff.  But then, that's a pretty high standard.

  The next two tracks are pretty killer and really cement this for me as a return to form.  Upside Down Frown gives me a right-side up smile and I especially like Climbing the Walls.  This is probably my favorite song on the album, and maybe my favorite song they've released since Factory Showroom.  With the possible exception of Hopeless Bleak Despair from Mink Car.  That song's been stuck in my head for a few days since I wrote that review.

 (The) Else-where (get it?  The Else?  I know, it's obvious and bad.) Bee the Bird of the Moth is kind of strange lyrically.  Not that that's anything unexpected from this band, but I'm really not sure exactly what they're going on about.  But it's got an oddly infectious melody that guarantees its status as a keeper.

  I also like The Cap'm, which is both catchy and funny.  I can't help but crack up at the notion of a guy who insists on being called the Captain (or cap'm in this case) but doesn't drive a boat.  I also like the part where he jumps on the notion that he thinks he heard someone say they like his hat and accepts the compliment.  Somehow they've managed to leave some doubt as to whether anyone actually gave such a compliment, but he's ready to hear it anyway.  I can totally picture this dude and he's funny.

  The other highlight for me is The Mesopotamians.  Apparently chronicling the adventures of an unknown band comprised of members hailing from an ancient civilization, it's goofy and catchy in the best possible way.

  Most of the rest of the songs here range from not bad to pretty dang good but not especially worth singling out.  I definitely would rate this a notch below their classic albums, but it stands as a solid latter day TMBG album and shows that this band isn't finished yet.  And that's pretty good news.

The Spine

5.5/10

  I have a confession to make.  I haven't really given this album a fair shake over the years.  I don't know if I had a bit of residual disappointment from Mink Car or what, but I wasn't even all that excited to hear that a new TMBG album was out at the time this was released.  I think maybe I also felt a little like I had started to "outgrow" this band.  They were starting to do children's albums around this time and my musical interests were starting to evolve elsewhere.  So I gave it a bit of a cursory listen.  It didn't seem to have many tracks that stood out and I kind of just dismissed it as the worst They Might Be Giants album yet.  I was starting to get ready to write this band off completely.  This was somewhat misguided of me, but this remains one of my least listened to TMBG albums.  As such. my opinion of this is more subject to change than on the albums prior to this, which my feelings about are pretty cemented.

  I've been listening to this album a bit more closely during the process of writing these reviews and there are definitely some good songs on here.  It actually starts off pretty strong.  The opener Experimental Film is catchy as hell and could have easily fit on one of their earlier albums.  Memo to Human Resources and Wearing a Raincoat are solid tracks.  Thunderbird is a good tune.  Museum of Idiots is another very strong track.  Even the couple of Spine tracks aren't bad even though they're only about 30 seconds long.  Heck, I even like Some Crazy Bastard Wants To Hit Me even though it features what kind of sounds like autocorrect or something on the vocals, which is normally something I don't enjoy very much.

  The latter half of the album has still kind of failed to make much of an impression on me up to this point.  I'm open to the idea that some of those songs might reveal themselves to me.  As such I might just revise the rating of this one up over time.  I still don't feel like it stands up to their classic albums like Lincoln or Flood.  I feel it's more on par with Mink Car, although it doesn't contain anything as unpleasant as Mr. Xcitement.  But there are a few songs that are slightly boring, which is something I really couldn't say about their earlier albums.  I will say that a lot of my issues with this album are just on me.  It's not the Spine, it's me.

Mink Car

6.0/10

  They Might Be Giants used to release a new album every other year like clockwork.  This was the case from their debut in 1986 all the way through Factory Showroom, which came out in 1996.  Thus it was a bit of a surprise that it took five long years for Mink Car to come out in 2001.  To be fair they did release an mp3 only album called Long Tall Weekend in 1999, which was actually a pretty innovative thing to do back then.  That was the days before Napster, and as far as I know nobody had really done the online release thing prior to that.  The thing is, because it was such an odd idea at the time I think they sort of assumed not many people would hear it and it's kind of a half-assed collection of odds and sods.  Sort of a B-sides album if you will.  And they were sort of correct.  I didn't get it at the time because the idea of listening to music on my computer seemed ludicrous and I didn't think it was worth spending money on something I would never listen to.  That's kind of funny now on several levels.

  But the point is, Mink Car was the "official" followup to Factory Showroom.  Remember how I mentioned it came out in 2001?  Can you guess of all days, which one it came out on?  That's right.  It was 9/11.  THE 9/11.  It's kind of odd because I remember I had been looking forward to that day because there were going to be new albums released that day by TMBG and Mercury Rev, who I was also really into at the time.  But stupid real world events cast a shadow over what should have been a cool day.

  If I wanted to be mean-spirited I could make a joke that Mink Car was only the second biggest disaster that occurred on that day.  To be fair it's not really that bad of an album, it was just kind of a disappointment.  After a five year absence I expected them to come back with something really killer, but instead they released what, to my ears, was the worst TMBG album to date.  They really did seem to have kind of run out of ideas a little bit.  To make matters worse several of the songs on here were re-recorded versions of songs that had appeared on Long Tall Weekend or otherwise had been previously released.

  That's not to say it's all bad.  Opener Bangs is catchy, although something about it is starting to sound a tad TMBG-by-numbers to me.  It's got a memorable melody that'll stick in your head but for some reason it just seems a little generic.  Like it's the sort of thing they could just toss off in their sleep.  It's very typical sounding for them, which isn't actually a bad thing, considering some of the "experiments" on this album.

  I also really like Hopeless Bleak Despair.  It's probably my favorite song on this album.  It goes through several different catchy hooks including a great sing-along chorus.  It also has some dark subject matter as you may have guessed given the title, but they somehow make it amusing in the way that they excel at.

  Hovering Sombrero is almost as catchy and certainly sillier.  It's a fairly ridiculous image, and I'm not sure there's much of a deeper meaning here, but it's still a worthy addition to the TMBG canon.

  Then there's the title track, which sounds heavily influenced by Burt Bacharach.  I actually enjoy that kind of music, so I can dig it.  It's not my favorite song on the album, but it's a keeper.

  I'm not a huge fan of dance music, but I really like Man It's So Loud In Here.  They're kind of making fun of dance music by playing dance music.  It actually works surprisingly well.  Similarly My Man has some kind of electronic borderline dancey effects, but it sounds pretty cool to me instead of the horribly cheesy misfire it could have been.

  On the other hand there are a lot of mediocre songs on here and unfortunately some real stinkers.  I don't really know what they were going for with Mr. Xcitement.  Featuring guest vocals from the Soul Coughing dude it doesn't even sound anything like TMBG.  Maybe that was the point, but whatever this is, it isn't the type of music I enjoy listening to.  This is probably my least favorite TMBG song of all time.  Congratulations, Boat of Car.  You are no longer the worst song.

  I've Got a Fang isn't really much better.  It's kind of tuneless and kind of dumb.  I feel much the same way about Wicked Little Critta.  It's probably a lot funnier and more enjoyable if you're a fan of Boston sports and accents, or at least making fun of them.  I can't say that I'm a huge fan of either.  So for me this song is kind of an unpleasant chore to sit through.

  Most of the other songs just fall into the okay category for me.  Older is kind of catchy and kind of clever but it's also kind of creepy.  I sort of don't need to be reminded of how fast time is going.  It sort of freaks me out.  But that's on me.  I don't dislike the remaining songs, but they're sort of just there.  Compared to their earlier albums, which were usually close to 90% awesome at least, okay just doesn't cut it.  I'm still rating the album a little above average on the whole because I really do like some of the songs.  It's still the weakest TMBG album up to this point by a considerable margin.  

Factory Showroom

8.0/10

  I've seen many reviews that point at this album as some sort of turning point in the band's career, as in it was their first misstep and they were starting to run out of ideas.  Personally I find this to be another very solid album, and the only thing I can see lending credence to the notion that they might be running out of ideas is that at only 13 tracks this is by far the shortest album TMBG had released up to this point.  Since they didn't release another proper album for another five years after this one I could maybe say that they might have somewhat exhausted their ideas with this album, but there are plenty of really good songs on here.  In fact I could even see the argument that less tracks actually makes for a tighter album.  They're still plenty silly, smart, weird, and catchy as all getout.  Plus I think the production on this album might be the strongest yet.

  It kicks off in fine fashion with S-E-X-X-Y, which features some slinky strings and almost a funky James Brown sound or something.   It actually is a pretty sexy song, as the title would suggest.  

  The requisite really bizarre track is here in the form of Exquisite Dead Guy.  But for what could possibly be considered an elaborate throwaway joke, it's remarkably complex and fully formed.  It's freaking weird, yes, but pretty funny at the same time.

  We also get another educational song in the form of James K. Polk.  These educational songs have become kind of a regular thing for the band and they do them very well.  I remember watching a special about all the presidents awhile ago and when they got to Polk it was pretty cool because I knew a lot of the stuff they were talking about because of this song.  Polk isn't really one of those presidents you study much in school, so it's nice to have They Might Be Giants to teach me.

  There's also a really cool experiment on this album in the form of I Can Hear You.  It was recorded without electricity onto wax using equipment that Thomas Edison invented.  It's lo-fi as hell, but it's a catchy little song and the gimmick is pretty damn neat.

  There are a couple of lesser songs on here.  I'm not a huge fan of XTC Vs. Adam Ant or Pet Name.  On the other hand Till My Head Falls Off, Spiralling Shape, and The Bells Are Ringing are all top-notch awesome songs.  I remember I was in college when this album came out and one of my good friends and I would just jam Bells over and over because we were completely addicted to it.  Additionally New York City is apparently a cover of a song by a band called Cub, but it's super catchy and totally fits the TMBG aesthetic.

  Oh yeah, another cool thing about this album.  I owned it for like five or six years on CD before I discovered there's a hidden track on it.  Token Back to Brooklyn is lurking before track 1.  You actually had to rewind the CD from track 1 to find it.  It's not the greatest song of all time or anything, but it was a super cool Easter Egg to discover several years down the line.

  To my ears this is another high quality album from the two Johns.  It's got some really memorable tunes.  No reason to skip this one.  If you're a fan you'll want to hear it.

John Henry

8.0/10

  John Henry marked a pretty major change in the sound of the band as they added a full backing band.  Previously they had used synthesized drums and bass.  This makes for a bit of a harder rocking, possibly more conventional sound.  This switch probably angered some of the hardcore contingency, but it doesn't bother me too much as I think the full band sound suits them well and five albums in it was probably time to evolve their sound a bit anyway.

  This album has the distinction of being the first "new" album they released after I was already a fan.  In those dark pre-internet times I didn't even know it was coming out.  I went to the record store to buy the newly released R.E.M. album Monster and while I was there I decided to just look at the They Might Be Giants.  I remember losing my breath in excitement for a moment when I realized there was a new TMBG album I didn't know about.  Say what you will about the pre-information age but you just never get that sense of excitement any more.  Any time I went to a record store I had to check all of the bands I liked because there might be a new album, or perhaps even more tantalizingly they might have an older album I didn't know existed.  Prior to having easy access to discography lists you could never be completely sure you had a band's complete output.

  At any rate I got to buy new albums by two of my favorite bands on the same day.  That was a good day.

  You can hear the difference the full band makes pretty much right away.  The bass is much more pronounced and the drums just seem to hit harder.  Otherwise at 20 tracks this is the longest TMBG album to date and maintains the catchy songwriting and quirky lyrics that are their hallmark.

  They had a semi-hit single with this in the form of Snail Shell.  It's a good tune, but not my favorite on the album.  Apparently AKA Driver was also released as a single but didn't chart, which to me is odd because that song's freaking awesome.  Apparently it was supposed to be called NyQuil Driver, but due to trade infringement issues they had to change the name.  They still sing it in the chorus though.

  Their typical bizarre throwaway jokes are pretty fully formed this time around.  Heck, the only song that probably really qualifies for that label is O, Do Not Forsake Me an acapella song that sounds a little like a monk chant or maybe a barbershop quartet.

  There's another kind of educational song in the form of Meet James Ensor about Belgium's famous painter.  It educated me, at any rate.  I'd never heard of the guy before this song so it did in a way introduce me to him.

  I can't say I particularly dislike any of the songs on here, but some other highlights for me include opener Subliminal, Destination Moon, Stomp Box, and closing track The End of the Tour, which just might be the most heartfelt song they'd written up to this point.  I remember reading an analysis of this song a long time ago in which the writer theorized the song is about a car accident.  I think they might be onto something there.  But I also think the song is open to interpretation, like most of the best songs are.

  Even though some people probably didn't like the change to a full band sound, I could also easily believe this could be some people's favorite TMBG album.  It's pretty solid.  It might actually have less weak links than any of their other albums.  But for me personally it's a notch below Flood for sure.

  I did get to see them live for the first time shortly after this album came out.  I only found out they were playing the day of the concert, once again due to lack of easily obtainable info in those primitive days before the internet.  They were part of some weird festival or something so I had to sit through a bunch of crappy bands like Sponge and that annoying chick from 4NonBlondes, but it was totally worth it.  I remember they had the audience get into a giant conga line while they played No One Knows My Plan off of this album.  You'd better believe I participated in that business.  I was all over it.

Apollo 18

8.0/10

  Apollo 18 continues the winning streak for the two Johns.  It maintains the formula of catchy pop songs, quirky subject matter and a lot of songs including a few throwaway tracks.  It also features some of their funniest songs like The Statue Got Me High, Turn Around, and I Palindrome I.

  It kicks off in energetic fashion with the energetic rocker Dig My Grave.  This song probably rocks harder than anything they'd done up to this point and might make you wonder if you're in for a different sort of album.  But the next song is the aforementioned I Palindrome I, which sets you firmly back into traditional They Might Be Giants territory.  It's catchy as all get out and has some funny if dark lyrics about the narrator longing for his mother's eventual death so he will come into money.  The mom in turn has similar feelings.

  The band also has a penchant for educational songs, which we see here in the form of Mammal, which name calls several examples and discusses the warm blood lacking nuclei flowing through their large four chambered hearts.

  We also have some unfettered weirdness on display here.  There's not much to describe Spider other than bizarre.  But it is kind of funny.  There's also Fingertips, a series of bizarre short clips.  I later learned you're supposed to set your CD player to random so the various Fingertips tracks would pop up at different points in between the more traditional songs and serve as sorts of interludes.  When I initially bought this album I got it on a cassette, so there was no possibility of randomizing the order.  Thus I experienced Fingertips as a sort of medley of strangeness.  Maybe it's just because that's how I first encountered it, but I still kind of prefer it that way now.

  Later on Turn Around has some dark, weird, and funny lyrics about doing interpretive dances in graveyards and human skulls on the ground.  I'm not 100% convinced songs like these have anything deeper to say about the human condition, but they're certainly entertaining in a deliciously odd way.

  Apollo 18 was the most recently released TMBG album when I first discovered them so I bought it pretty much at the same time as all their albums that existed at that time.  Thus I was able to listen to it in my initial wave of enthusiasm for discovering a new band.  I find that I like it slightly less than Flood, but it certainly remains an enjoyably catchy and weird listen.  If you're a fan of this band this is a must listen for sure.

Flood

9.5/10

  This is another one of those albums that I just have no objectivity over.  I discovered this album at exactly the right time and it instantly became a huge favorite.  I remember being around fifteen or sixteen years old and attending a summer music camp at NAU.  This guy that was staying a few doors down from me had this album and was constantly playing Istanbul and Particle Man over and over.  I immediately liked both of these songs and so inquired as to who the band was.  He showed me the album cover and I realized there were a whopping 19 tracks on here.  He seemed to really like those two tracks in particular but I talked him into playing the rest of the album for me.  Over the course of the two weeks I was at that camp I became obsessed with almost every song on this album.

  The particular standout for me was Birdhouse in Your Soul, which I still think has to be in consideration for best ever They Might Be Giants song.  It's uber-catchy, the lyrics are quirky and clever and it might even take you a couple listens to realize the narrator of the song is a canary-shaped nightlight.

  This album is bursting at the seams with catchy melodies and odd, funny lyrics from the image of everyone wanting prosthetic foreheads on their real heads in We Want a Rock to writing with a green magic marker on the back of Mr. Horrible's head in Someone Keeps Moving My Chair.

  Dead is another highlight with an unforgettable piano driven melody and memorable lines such as "I'll never see myself in the mirror with my eyes closed" and "I didn't apologize for when I was eight and I made my younger brother have to be my personal slave."

  There are certainly some lesser tracks scattered throughout the album, which is fairly typical form for this band.  My least favorite is probably Hot Cha.  Elsewhere Your Racist Friend is maybe a tiny bit preachy, but I can't argue with the message and the melody's still catchy.  Minimum Wage is a bit of a throwaway joke, but it's one hell of a tossed off joke.  Consisting of the title a hearty "Hee-Ya!" and a whipcrack followed by some bouncy music, it gets its point across in short order and is funny at the same time.

  The intro to Sapphire Bullets of Pure Love always kind of sounded like video game music to me for some reason.  The rest of the song isn't bad but it's never been one of my favorites.  They also include a song named after themselves and it's kind of odd, but also quite catchy.

  So even the not-quite-as-good tracks still offer something worthwhile and don't really detract from the album as a whole.  The rest of the album is so damn quirky and catchy.  As a somewhat nerdy and disaffected teenager it just really spoke to me.  It was so different from everything I'd heard at the time, it made me laugh, and it was just so deliciously odd.  When I got home from that camp I went to a record store as quickly as I could and bought this album.  I was stoked to learn they had other albums, too, and I bought those up as quickly as I could as well.  I liked the other albums, too, but this one was somehow just special.

  I'm not entirely certain this is even the band's best album.  There would be a solid argument to be made for Lincoln or possibly even John Henry.  But this is the one I heard first and personally fell the hardest for.  It's a great place to start if you're new to the band.  It might not be everyone's cup of tea.  Maybe it's a little too weird or nerdy for some people, but the catchy melodies are pretty undeniable.  If you're of the right temperament this could be your new favorite album.

Lincoln

9.0/10

  They Might Be Giants took a fairly sizable leap forwards on their second album.  It still maintains all of their hallmarks.  Catchy melodies, quirky subject matter, and humor are all here in spades.  Not to mention they include a lot of songs again.  There are still a couple of tracks that are kind of throwaway jokes, but even these seem to be of a much higher quality than the ones on the first album.  There's nothing here that's the equivalent of Boat of Car in terms of pointlessness or unpleasantness.  I'd say every song on here is catchy to some degree or another with the best songs being really stellar.  Some of the best songs of their entire catalog can certainly be found here.  Yet despite how catchy these songs are, this album was actually a bit of a grower for me.  It's often funny or zany but it doesn't hit you over the head with it.  When I was first starting to listen to They Might Be Giants I might have listed this as my least favorite of their albums, but as I got to know it better it really grew in stature, as many of the best albums are wont to do.

  They start the album off with what may be their best song up to this point in Ana Ng.  It's full of killer hooks both in the verse and the chorus.  Once again I'm not quite sure how this song failed to make a huge splash.  Perhaps the Asian sounding name was too exotic for Americans to embrace?  I don't know, I'm just speculating because this is an awesome song.

  The next song I want to mention is Purple Toupee because it's catchy as hell once again.  I also find its subject matter interesting, beyond the goofiness of the image of a purple toupee.  It's interesting because the lyrics seem to be addressing actual historical events and yet somehow they're off.  Like the narrator of the song can't quite remember or didn't understand what he was seeing in the first place.  I don't know exactly how it all ties in to the purple toupee, but there's something intriguing here nonetheless.  I'm not the hugest lyrics guy in the world, but this band certainly has a lot of interesting lyrics and this is a good case of that.

  The Pencil Rain is another example of their strange but interesting lyrics.  They seem to be talking about it literally raining pencils out of the sky, which is an intriguing image.  I wouldn't want to be caught out in such a storm as they mention "the thundering clatter of splintering wood and lives that are claimed."  There is some military imagery in here, so I suppose this is in some way a metaphor for war.

  This brings to mind for all the humor and silliness, they tackle some pretty depressing subjects on here.  Mr. Me for instance has a repeated refrain about how "He ended up really really really sad."  The aforementioned Pencil Rain details people dying brutally.  Santa's Beard is about the narrator's girl cheating on him with a guy dressed in a Santa suit.  They'll Need a Crane is a fairly devastating portrait of a failed relationship.  I've Got a Match seems to be about someone who doesn't want to be in a relationship any more.  Kiss Me Son Of God appears to be a bit of a scathing commentary about religion.

  Then there's Shoehorn With Teeth.  It's a goofy yet somewhat disturbing image, if you think about it.  Then they go on to say "People should get beat up for stating their beliefs."

  It's somewhat easy to overlook the darkness present on this album because it's dressed up in catchy poppy tunes and accompanied by some silly and quirky images.  But honestly these are intelligent guys and they have some dark things on their mind.  They just talk about it in an interesting way, not the normal cut-your-wrists, weepy-voiced, "woe is me" tone that a lot of insufferable "artists" adopt.

  People who dismiss They Might Be Giants as a joke or a novelty band will probably look at the surface of this album and still think that.  But I'd point to this one as in some ways their most serious album.  If they happen to deliver their message in the form of catchy tunes that also sometimes make me chuckle, I'm all in favor of it.  

They Might Be Giants

7.5/10

  Ah... They Might Be Giants.  This is another of my favorite bands from my high school days.  Surprisingly they're still chugging along, at least at the time of this writing.  This band consists of two guys named John from Brooklyn who have an interest in odd subject matter and have a knack for catchy melody.  I've heard this called "nerdy" music, but all I know is they've made me laugh quite a bit and they've lodged many catchy tunes in my head over the years.  Plus I'll take this over some whiny little emo bastard any day.

So this is their first album.  It's self-titled but I always referred to it as the pink album, since that was the color of the sleeve.  They establish much of their modus operandi on this.  The catchy hooky melodies and quirky subject matter are here in spades.  They've also always been very generous as far as the number of songs they include on each album.  This one's no different and features no less that 19 tracks.  Some of them are pretty short and some are just kind of throwaway jokes, but still.  A few of the songs on this album are a little weird even for my tastes, but there are also several fully formed catchy-as-fuck pop songs on here.

This album honestly starts off awesomely.  The first five tracks are all brilliant and catchy.  In a perfect world Don't Let's Start should have been a smash radio hit.  Number Three is perfectly and hilariously placed in the third spot following a very strong opening two tracks, it contains the joke that they only have two songs in them and this is the third one.  They quickly put a lie to the notion that they're only capable of writing two good songs as this album has at least a dozen of them.  Hideaway Folk Family comes in at track five and is catchy as all hell and features some weird fake backwards singing at the end.  Why?  Why not?

The first very slight misstep for me comes with 32 Footsteps.  It's not unlistenable or horrible or anything and it's even still sort of catchy.  It's just kind of weird and not particularly in a funny way.  I'm not really certain what they're going on about here to be honest.

It's followed by the very brief and quirky Toddler Hiway, which is honestly kind of a throwaway joke, but it's a catchy one.  I kind of wish they had developed the song more.

This is followed by another string of strong catchy songs.  Nothing's Gonna Change My Clothes is pretty silly, but it's got a hell of a hook.  It's really hard not to get this stuck in the old noggin.  A couple tracks after that we get She's An Angel, an oddly sweet little love song that for my money might feature the catchiest chorus on the whole album.  Plus it has some really funny imagery of racing around in those little Shriner cars.

Have you noticed I've been using the word catchy a lot?  Aside from demonstrating an unimpressive diversity of my vocabulary skills, it's simply the name of the game when it comes to this band.  I'll probably be using that word quite a bit more as I review all their albums.  Catchy is one of my favorite qualities a band can have.  Yes, it can be used in service of really terrible annoying songs, but way too many bands couldn't write a catchy melody to save their lives.

Unfortunately the second half of the album kind of drops the ball a little bit in the catchy department.  There are still a few memorable hooks here, but there are also more of the quirky experimental throwaways that are just kind of weird without being especially funny or clever.  What the hell is Boat of Car about?  I don't have a clue.  It's not especially pleasant to listen to, but it's mercifully short.  I'm not super sure about Chess Piece Face either, but it's also quite short.

I'm re-listening to the second half as I write this and overall maybe the songs are actually a little better than I'm giving them credit for.  They just suffer in comparison to the awesome songs on the earlier part of the album.  There are still quite a few catchy melodies, they're just maybe not quite as catchy and the quirky stuff just seems odd instead of being all that funny.  The end of the album just feels like a slight letdown to me.  But really only slightly.

Overall this is an album bursting with quirky ideas and awesomely catchy hooks.  It's well worth checking out if you like memorable melodies and a slightly skewered sensibility.  It bodes of good things to come and things would soon get even better.

Collapse Into Now

7.5/10

  This ended up being the final R.E.M. album as they announced their breakup shortly after it came out.  I think this ended up being a good album to go out on.  It doesn't do anything innovative whatsoever, but it succeeds in sounding like an R.E.M. album.  All the classic elements are here from the jangly guitar to the Mike Mills backing vocals and most of the songs could have easily fit on other albums.  It serves as sort of a career retrospective in a way, with certain songs being really reminiscent of earlier works.  In many cases this wouldn't be a positive thing but for R.E.M. this far into their career and as their last album, it's kind of what you're looking for.  It's like R.E.M. comfort food or something.

They start off right off the bat with a couple of high energy uptempo songs that wouldn't have been out of place on Accelerate.  One gets the sense that they're still trying to assure you that they haven't slipped back into their Around the Sun style.

The acoustic guitar driven Uberlin really invokes Drive from Automatic for the People without quite being a straight ripoff.  The way Stipe sings the verse with the pauses in between words is really similar to the way he delivered the verses in Drive.  I definitely get the impression this similarity is purposeful and is supposed to kind of put you in the mindframe of Automatic.  The chorus, which is quite nice, goes in another direction entirely.  So it really is a different song, you see.

Later you get the ballad Walk it Back, which sounds like it could have fit on any number of albums from Out of Time to New Adventures in Hi-fi.  It's immediately followed by the aggressive rocker Alligator Aviator Autopilot Antimatter, which could have been on Monster, New Adventures, or maybe even Document.

Final track Blue invokes the hell out of E-Bow the Letter with the spoken word lyrics and atmosphere.  They even went so far as to get Patti Smith to sing backup vocals again.

The album as a whole contains a nice mix of uptempo and slower songs, as well as acoustic and electric arrangements.  The melodies are pretty consistently solid throughout.  To my ears there are no obvious weak links here.  While I can't in any way say this is among their best albums, they most definitely did not drop the ball for their final album, which is kind of a relief in and of itself.

Looking back at their extensive catalog, they definitely have released a high number of above average to really good if not great albums.  Is that enough to put them into the pantheon of classic bands?  In my opinion, yeah, it is, even if I'm not as obsessed with them as I once was.  I don't think I would consider them my favorite band anymore.  My tastes have shifted a little more towards noisy psychedelic stuff, but I always appreciate good melodies and R.E.M. has long delivered those.  I'm also quite aware that I have a fairly strong personal bias towards this band just because they came along at the right time for me.  That said I think their classic albums have stood the test of time well.  I think new generations will continue to discover and enjoy R.E.M. for awhile at least.      

Accelerate

7.0/10

  The world seemed to issue a collective yawn after the release of Around the Sun.  That is, if they weren't loudly grumbling that R.E.M. should have broken up after New Adventures in Hi-Fi, if not even sooner.  Even the band didn't seem to like Around the Sun too much.  It seems like it even sucked the energy out of them.  The four year wait between that album and this one represents the longest gap between any two R.E.M. albums.

Accelerate feels like a conscious effort on the part of the band to not sound like Around the Sun.  Thus the electric guitar rears its head prominently and most of the songs are much more uptempo.  Even the title of the album seems like a blatant advertisement that this is not another album of plodding mid-tempo songs.  They've also addressed the album length problem that's dogged them for a little while now.  This is the shortest album they've released in years and many of the songs don't even break the three minute mark.  As such Accelerate is a brisk listen, which is good, but it may suffer a bit from feeling slight.

For me the renewed sense of energy is definitely a welcome sign.  It really would have kind of sucked if Around the Sun had been their final album just because it wasn't a good note to go out on.  While I don't personally feel Accelerate lives up to their earlier classic material it's certainly a bounce back in the right direction.

You can tell the difference in the energy level right off the bat with Living Well is the Best Revenge.  Peter Buck's electric guitar rips off a riff and some upbeat drums come in.  Stipe joins in after a few bars with much more energetic singing than appeared anywhere on the previous album.  They're wasting no time in letting you know you're not in for a repeat of Around the Sun.  This song is a nice little jolt of adrenaline and wouldn't sound out of place on Lifes Rich Pageant.  That's a good thing.  I think I even hear some much missed Mike Mills backing vocals near the end of it.  They're low in the mix, but it's very welcome to hear them.

The next song Man-Sized Wreath maintains the sound and energy level of the first track.  If the first track was this album's equivalent of Begin the Begin, then this song is its These Days.  I'm relieved to say we're off to a pretty good start so far.

The next song is Supernatural Superserious, which I seem to recall actually getting some airplay.  It's fast-paced like the first two tracks and it's pretty damn catchy.  It might be the best song on the album so far.  Not to mention those are almost certainly Mike Mills backing vocals in the chorus.  They're such an essential part of the R.E.M. sound I really don't understand why they seemed to disappear for awhile there.

Next track Hollow Man brings in some piano and seems to slow down the pace a little, which is actually okay at this point, but even this song brings in some electric guitar and gets more upbeat at the chorus.  It actually makes for a pretty neat trick as it injects a little variety into the album, something the last album was sorely missing.

Houston brings in some jangly minor key acoustic guitar and what sounds like some organ.  It's different sound-wise than anything we've seen so far, which furthers the diversity and variety of the album.  Once again this is a positive thing.

Elsewhere Until the Day is Done almost sounds like it could have been on Automatic for the People and I have to say I find Mr. Richards to be a very catchy tune.  I think it might be my favorite song on the whole album.

Final track I'm Gonna DJ is kind of dumb, but at least they stuck it at the end of the album.  Granted it doesn't end the album on the highest note, but it doesn't interrupt the flow of the rest of the album and you can always skip it.

  Accelerate is a sizable improvement, but it doesn't resonate with me the way the early albums did.  Part of that is timing.  I was an impressionable teenager when I fell head over heels for Out of Time and Automatic for the People.  I had entered my 30's by the time Accelerate came out.  I still like music, but it's not as all-consumingly amazing as it was back then.  I haven't lived with Accelerate like I have with the earlier albums.  It didn't accompany my formative years.  I haven't listened to it hundreds, if not thousands of times.  It's not seared into my brain in the same way.  All of this places it at a bit of an unfair disadvantage as far as my personal estimation goes.  But I'm glad that I like it as much as I do and I'm especially glad that R.E.M. was able to go out on a higher note between this album and the next one, which proved to be their last.

Around the Sun

5.0/10

  The critical consensus seems to be that this is the worst R.E.M. album of all time.  Unfortunately I have to agree with that assessment.  The thing is, it's not horrible or irredeemable, it's just kind of bland.  Taken individually I don't really have a problem with any of the songs, but they're all kind of the same mid-tempo ballad.  There's not a lot of variety on display here and it gets to sound really samey after awhile.  They've done albums in the past that maintain an overall sound to them.  Automatic for the People was largely acoustic while Monster featured the same distorted guitar sound on many of its tracks.  Even Murmur sounds largely of a piece.  It's just the sound they chose this time isn't very interesting.  It's kind of like Automatic-Lite.  Plus the arrangements are just a little boring.  There's not much in the way of electric guitar to be seen and while there are some synths present, they seem to always remain in the realm of "tasteful."  But tasteful isn't what this album needs.  It needs some energy and some diversity.  It needs some more Mike Mills backing vocals.  It ultimately just kind of sounds like they weren't very inspired this time around.

  The thing is I think most of these songs are salvageable.  Like I said, taken individually I don't think they're all that bad, but they're just too similar in sound to each other.  If they had increased the tempo of a few songs or added some more interesting bleeps and bloops to the background it really would have helped.  Plus, like the last few albums, it's too long.  It's kind of a chore to sit through, which makes it feel really long.  Only two songs top the five minute mark this time, but a lot of them are above four minutes still.

  It honestly starts out promisingly enough.  Leaving New York is probably the best song on the album and I dig the part near the end where Stipe is singing different parts of the song at the same time.  So far so good, right?

  Electron Blue is next and it's not really a bad song at all, but it just doesn't seem like it's bringing anything new or interesting to the table.  Still, it's pretty good so not all hope is lost.  After that we get the Outsiders, which is mostly notable for featuring Q-Tip rapping at the end.  The thing is they already did the guest-rapper thing back on Radio Song from Out of Time.  And at least in that song it seemed more integrated to the song as a whole.  Here it feels more tacked on to the end and gimmicky.  And it's not even a new gimmick.

  This kind of seems to start a downward spiral as we get track after track that just sort of fails to impress.  I kind of like High Speed Train a little more than a lot of the other tracks, but it's not enough to right what's kind of a sinking ship.

  Around the Sun really isn't overtly terrible, but in a way that's sort of worse.  I kind of wish it was just a piece of crap unmitigated disaster.  Instead it's just sort of lodged firmly in the middle of the road.  James Taylor could have released this exact same album in 2004 and I wouldn't have blinked an eye.  That's what makes it kind of depressing.  I'd still rather listen to it than the majority of crap that's foisted upon the public, but it's really just a solidly average album from a band that used to be consistently well above average.  I will also allow that this is probably the R.E.M. album that I've listened to the least number of times, so it's possible that it's some kind of grower.  I don't really know it as well as I know their classics and I have difficulty distinguishing a lot of the songs or remembering how they go after the album finishes.  As it stands, I don't hate Around the Sun, but I wouldn't recommend it to anyone and I definitely would steer newbies away from this one.

Reveal

7.5/10

  We have firmly arrived in the era of R.E.M. that most critics have agreed to dump on as much as possible.  I've once again heard the accusation that there are no memorable tunes on this album, but that is completely not the case.  The truth is R.E.M. have once again delivered a highly melodic album, and many of the songs feature lushly appealing arrangements as well as upbeat and catchy hooks.  So why does everyone seem to hate this album so much?  I can only guess that on some level they're still bitter about the band carrying on without Bill Berry.

  I'm here to tell you that this is not actually a bad album.  It's not particularly their most innovative album either, and there are a couple songs I'm ever so slightly less fond of, so that's why I rated it a little lower than Up.  They've retained a lot of the electronic sounds from the previous album, but they've also married them to more of the traditional R.E.M. jangly guitar sound.  One thing this album lacks, as did Up, is much in the way of Mike Mills backing vocals.  They were such an integral part of the early R.E.M. sound and I'm not sure why they wandered so much away from that on their later albums.  If you want to use that as an excuse to hate later R.E.M. albums, I'm willing to concede you that point.

Reveal kicks off in nice fashion with The Lifting.  You get some cool spacey synth sounds right off the bat followed by a catchy melody.  This is a good song, damn it.  They really put the electronic touches to good use here.

  The next track I've Been High is a bit slower and maaaaybe breaks up the momentum a little.  It's not a bad song at all, but maybe track 2 wasn't the right spot for it.  On the other hand it doesn't really ruin the album for me either.  I'm fine with it where it is, I'm just trying to think of ways in which other people might like this album better.

  Next up is All The Way To Reno, which features some cool guitar parts that almost sound like they could be in a western movie to me.  They somehow evoke dusty trails and tumbleweeds to me.  Also it has some pretty genuinely funny lyrics, what with the whole notion of somebody going to Reno to become a star.  I think Stipe is making some sort of joke here.  That prankster.

Elsewhere we get another Beach Boys homage in Summer Turns to High and what clearly sounds like a Burt Bacharach tribute to me in Beachball.  There's certainly nothing wrong with tipping the hat to either of these acts in my book and I quite enjoy both tracks.

Imitation of Life got some airplay at the time and it's a damn catchy song.  I've seen it pointed out elsewhere that it follows the same chord progression as Driver 8, but the melody is different.  Plenty of songs have been written using the same chord progressions and numerous artists have done much more blatant re-writes of their own songs than this.  Plus if you're going to steal something, you may as well steal from yourself, right?

I don't dislike any of the songs on this album really, but I'm maybe not quite as huge on Saturn Return or Chorus and the Ring.  On the other hand I think I'll Take The Rain is a pretty epic song that never seems to get any love.

To my ears the songwriting remains pretty strong overall on this album.  There are possibly some slight signs of dwindling inspiration here and there and I wouldn't recommend this as a starting point to someone who's never heard R.E.M. before, but it's nowhere near as horrible as the critical consensus would like you to think it is.  It's like everyone just arbitrarily decided it was time to turn on R.E.M. because they had been around for a long time and because of that, they just had to suck.  But people really jumped the gun on this one.  They wrote them off a couple of albums too early.  It's not really until the next album that things took a noticeable downturn... (cue scary music)