Originally posted on Big Black Disk
GUSTER “Ganging up on the Sun”
(2006 Reprise)
Sound: ****
Performance: ****
Hidden on Chicago’s FM dial is one of the most eclectic stations in the country. Driving with the windows down on a forgotten Saturday afternoon WXRT played the Cure’s “Just Like Heaven”, Muddy Waters’ “I’m a Man”, and Queen’s “Fat Bottom Girls” back to back to back. How many radio stations would play these three songs in the same year, let alone as part of the same set? XRT displays the same passion and courage when championing new talent. They freely lend their support to Guster and many other under-exposed artists. If you’re thinking about being jealous, don’t. Through the miracles of the internet it’s now available world wide, make sure to send Al Gore a nice thank you note written on a palm leaf using soy ink, delivered by Pony Express. Maybe he’ll read it while riding on a private jet to one of his $175,000 speaking engagements. (Remember do as he says, NOT as he does and Mother Earth will be just fine).
Guster’s “Ganging Up on The Sun” is a meticulously recorded and mixed, ambitious pop album lovingly crafted to induce toe tapping. By the second or third listen the album already sounds familiar, like an old favorite. Except of course it isn’t, it’s a brand new favorite. ”Satellite” has such a perfectly written melody it feels familiar after the first listen. The day after the first spin odds are good that you’ll be humming this one. “Manifest Destiny” combines romance, revolution, and the yearning for a new beginning. ”You and I could quit this scene/Build a town and then secede/Like Adam and Eve.” The pop arrangement stops the song from sounding holier-than-thou and assures that the band’s brand of wide-eyed optimism comes through unscathed. ”One Man Wrecking Machine” has a similar theme, a need for a simpler time. The tune expresses a desire to return to the simpler times of High School via a homemade time machine. The spacey beginning and ending are a nice garnish. The song contains the oddly poetic and yet apathetic line, “I’m going to see the homecoming queen/Take her to the Christmas dance/Maybe now I’ll get in her pants, whatever.” Except for a lack of money and having to follow far too many arbitrary rules I share certain sympathy with the sentiment.
Start with ingredients that include banjo and a shuffling drum rhythm. Stir in a dollop of twang in the form of a guitar solo and “The Captain” has a surprising country flavor. ”The New Underground” is a straight-ahead rocker reminiscent of The Clash in its guitar tone and angry staccato chords. ”Ruby Falls” is a beautiful song that begins with an intimate vocal nestled in soft sheets of arpeggio guitar cords and a bed of organ. A muted trumpet provides a mysterious coda. It would be a tragedy if this song didn’t become a centerpiece of their concerts. This song taps into whatever instinct forces audiences to simultaneously break out their lighters and slowly wave them to and fro. It would be the perfect song to use to leave the stage and say “goodnight,” then of course return for some really rocking encores. ”C’mon” is a call to arms to abandon the tendency of people in their late 20’s and early 30’s to “sell out.” Maracas and tambourine take turns giving the song a nice pacing and the appearance of mandolin is a nice flourish. ”Hang On” has an anthemic, life affirming feel and matching lyrics. Not in the cheesy 1990’s Elton John way, but in the “Hey life ain’t so bad. Everything is going to be ok after all” vein. Imagine Tears For Fears meeting the Beatles in the modern day and you’re there. In short it’s the perfect song to end the album on an emotional high note.
I’ll admit it, I’m a bonus track slut and I don’t care who knows! Live stuff, unreleased songs, b-sides, alternate takes, demos; bring them on. The pure joy of having something that most people don’t even know exists is exhilarating. I like to think of myself as John Cusack’s character from the film “High Fidelity” but truth be told I’m more of a cross between Jack Black and the really awkward one. The spiritedly performed four demos on the fourth side would have been deemed ”good enough” by most bands and record labels to have been unapologetically released as finished product, even though they sound a bit “digital” and lack depth. But that wasn’t allowed to happen here. Bottom line, we have them and the poor bastards who buy the CD don’t.
Every song is too short, only one song totals more than five minutes. In the spirit of a great appetizer they tease, leaving me wanting more, more, more. The album, much like Jennifer Lopez, has a healthy bottom end that is to be admired. Unlike Ms. Lopez it also has musical substance. Every spin rewards the listener with previously unnoticed nuances that add to the experience. With a near perfect distribution of introspective, poppy, and more rockers it’s clear that a great deal of thought went into the running order of the album. This is the type of music that will be appreciated by its owner more and more as the years pass. It’s hard to say what my tastes will be in ten years time, but chances are good that I’ll still be spinning this disc on occasion. Is there any higher compliment?
Guster’s “Ganging Up on The Sun” is a meticulously recorded and mixed, ambitious pop album lovingly crafted to induce toe tapping. By the second or third listen the album already sounds familiar, like an old favorite. Except of course it isn’t, it’s a brand new favorite. ”Satellite” has such a perfectly written melody it feels familiar after the first listen. The day after the first spin odds are good that you’ll be humming this one. “Manifest Destiny” combines romance, revolution, and the yearning for a new beginning. ”You and I could quit this scene/Build a town and then secede/Like Adam and Eve.” The pop arrangement stops the song from sounding holier-than-thou and assures that the band’s brand of wide-eyed optimism comes through unscathed. ”One Man Wrecking Machine” has a similar theme, a need for a simpler time. The tune expresses a desire to return to the simpler times of High School via a homemade time machine. The spacey beginning and ending are a nice garnish. The song contains the oddly poetic and yet apathetic line, “I’m going to see the homecoming queen/Take her to the Christmas dance/Maybe now I’ll get in her pants, whatever.” Except for a lack of money and having to follow far too many arbitrary rules I share certain sympathy with the sentiment.
Start with ingredients that include banjo and a shuffling drum rhythm. Stir in a dollop of twang in the form of a guitar solo and “The Captain” has a surprising country flavor. ”The New Underground” is a straight-ahead rocker reminiscent of The Clash in its guitar tone and angry staccato chords. ”Ruby Falls” is a beautiful song that begins with an intimate vocal nestled in soft sheets of arpeggio guitar cords and a bed of organ. A muted trumpet provides a mysterious coda. It would be a tragedy if this song didn’t become a centerpiece of their concerts. This song taps into whatever instinct forces audiences to simultaneously break out their lighters and slowly wave them to and fro. It would be the perfect song to use to leave the stage and say “goodnight,” then of course return for some really rocking encores. ”C’mon” is a call to arms to abandon the tendency of people in their late 20’s and early 30’s to “sell out.” Maracas and tambourine take turns giving the song a nice pacing and the appearance of mandolin is a nice flourish. ”Hang On” has an anthemic, life affirming feel and matching lyrics. Not in the cheesy 1990’s Elton John way, but in the “Hey life ain’t so bad. Everything is going to be ok after all” vein. Imagine Tears For Fears meeting the Beatles in the modern day and you’re there. In short it’s the perfect song to end the album on an emotional high note.
I’ll admit it, I’m a bonus track slut and I don’t care who knows! Live stuff, unreleased songs, b-sides, alternate takes, demos; bring them on. The pure joy of having something that most people don’t even know exists is exhilarating. I like to think of myself as John Cusack’s character from the film “High Fidelity” but truth be told I’m more of a cross between Jack Black and the really awkward one. The spiritedly performed four demos on the fourth side would have been deemed ”good enough” by most bands and record labels to have been unapologetically released as finished product, even though they sound a bit “digital” and lack depth. But that wasn’t allowed to happen here. Bottom line, we have them and the poor bastards who buy the CD don’t.
Every song is too short, only one song totals more than five minutes. In the spirit of a great appetizer they tease, leaving me wanting more, more, more. The album, much like Jennifer Lopez, has a healthy bottom end that is to be admired. Unlike Ms. Lopez it also has musical substance. Every spin rewards the listener with previously unnoticed nuances that add to the experience. With a near perfect distribution of introspective, poppy, and more rockers it’s clear that a great deal of thought went into the running order of the album. This is the type of music that will be appreciated by its owner more and more as the years pass. It’s hard to say what my tastes will be in ten years time, but chances are good that I’ll still be spinning this disc on occasion. Is there any higher compliment?
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