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“No Excuses (Live)” – Alice in Chains
(Words/music: Jerry Cantrell, available on MTV Unplugged, Columbia 1996)

I’m fascinated by bands that play against type – specifically, when a band makes the deliberate choice to step outside their bread and butter and try something different.  Saying that Alice in Chains completely played against type by appearing on MTV Unplugged, but it meant revealing their strengths explicitly.  Where many of their songs, especially on their early albums, hid behind murky grunge-era production aesthetics, the arrangements on Unplugged pushed Jerry Cantrell’s songwriting into the spotlight.  Sure, Nirvana did it first, but it’s hard to imagine some of Alice in Chains’ other peers (Soundgarden comes to mind immediately) making an Unplugged appearance work this well.  In particular, Cantrell’s nimbler, quicker songs fit this arrangement as well, giving room for all of the instruments to mingle rather than mire together in feedback.

“No Excuses,” perhaps the brightest Alice in Chains song both in melody and demeanor, benefits the most from this reinvention.  Even in the murkiest songs, Cantrell’s harmonizing vocals provided a foil to Layne Staley’s more eccentric lead vocals.  On “No Excuses,” Staley puts aside his snarl and sings along with Cantrell, letting Sean Kinney’s drums fills nimbly dance around their long phrases.  It’s Kinney’s drums and the overtly melodic solo Cantrell plays during the song’s bridge that stand out in the song; if dark, brooding songs were Alice and Chains’ “type,” this plays against type.  Still, it’s unmistakably an Alice in Chains song (particularly for Staley’s distinctive vocals and Cantrell’s trademark harmonies), even if it’s the sun to “Man in the Box’s” lurking shadows.

More on Alice in Chains: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: alice in chains | jerry cantrell | layne staley | 1996 | 1990s | columbia | mtv unplugged |
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“Misery (Live)” – Soul Asylum
(Words/music: Dave Pirner, available on After the Flood: Live from the Grand Forks Prom, June ‘98, Columbia 2004)

I’ve walked through a lot of bookstores in my lifetime, and the sheer number of self-help books amazes me every time.  It stands to reason that a lot of shelf space equals a lot of sales, and as baffling as that seems at first, a new wave in new age thought crests every few months.  For example, the current pop-psychology pushes positive thinking – that living one’s life with an optimistic outlook will yield positive returns.  I’m not sure if I buy that, but I see merit in the opposite side of the spectrum; specifically, a lot of people bring negativity on themselves.  This doesn’t account for factors beyond one’s control; sometimes we’re stuck in awful situations with nothing else to do but wait it out or make the best out of it.  However, I also see a lot of people perpetually miserable because they (either actively or subconsciously) seek out things that make them unhappy.

Dave Pirner takes this idea, turns it into a pun, and runs with it.  “Frustrated incorporated,” the catchiest part in the song, turns the cliché “misery loves company” into this idea that people manufacture their own negativity.  It’s a clever way of approaching this idea while maintaining a thread of optimism (“we’ll create the cure – we made the disease”).  This is the essential notion in the song, especially on the After the Flood live album.  Soul Asylum volunteered to perform at the prom for a town in North Dakota devastated by flooding.  Their set, documented in this 2004 release, starts with a cover of “I Can See Clearly Now” and then into “Misery.”  Aside from being one of their catchiest songs, its early placement in the setlist seems designed for a specific purpose – the towns experienced enough misery already and it needs to put its manufacturing resources toward the cure.

More on Soul Asylum: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: soul asylum | dave pirner | 2004 | 2000s | 1998 | live recording | columbia | self-help |
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“Hold Yr Terror Close” – The Go! Team
(Words/music: The Go! Team, available on Thunder, Lightning, Strike (US Edition), Columbia 2005)

Reading reviews about Thunder, Lightning, Strike, especially a few years later now that the hype has subsided (and the sophomore slump has set in), the lavish praise and name checking seems a bit over the top.  Sure, the album was a breath of fresh air – it’s collection of funk-meets-rap-meets-guitarrock-meets-cheerleading sounded like nothing else, and it’s a very fun album to listen to.  However, just as the sounds on the record hop from one idea to the next with great speed, the attention span for the record came and went just as quick.

Still, the song I find most interesting is “Hold Yr Terror Close,” one of the songs added on to the US version of the album (and a b-side in their native UK).  While the rest of the album surrounds itself with samples of old 60s soul, distorted guitar, and frontwoman Ninja’s frenetic raps, this song is only honky tonk piano and vocals.  If Thunder, Lightning, Strike sounds like a high school talent show – it’s loud, full of energy, all over the place, and rapidly vacillating between being a complete triumph and a complete trainwreck – “Hold Yr Terror Close” is the kid who gets up and brings the house down with an original composition.  The circular piano line and near constant hum of the vocals sound sweet and somewhat hypnotic, especially compared to the loud, peppy songs that accompany it on the album.  It’s a pleasant break from the album’s relentless energy.  Also, at 2:18, it’s the perfect length for an interlude, giving us a quiet but sweet song before the album moves into its final sprint to the finish line.

More on The Go! Team: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the go! team | columbia | 2005 | 2000s | track analysis | no idea what to call it genre-wise |
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