Showing posts with label Marshall Crenshaw. Show all posts
Showing posts with label Marshall Crenshaw. Show all posts
Wednesday, August 15, 2018
Forgotten?: Gin Blossoms
Gin Blossoms: Hey Jealousy [purchase]
Remember back in the 90s, when “Hey Jealousy” was all over the radio? It was a top-25 hit in the US, and was popular on the college/alternative stations. And the follow up single, “Found Out About You,” did well, too, also cracking the top-25, and topping Billboard’s Modern Rock chart. The album from whence these songs came, 1992’s New Miserable Experience, made it to No. 30 on Billboard’s album chart, and the band was riding high. But behind this success was something darker.
One of the founding members of the band, which got together in Tempe, Arizona in the late 1980s, was guitarist and songwriter Doug Hopkins, who was in many ways the “spiritual leader” of the band, which was named after the slang phrase for what alcohol abuse did to W.C. Fields’ nose. After the band cycled through members, gigged regularly and independently released an album, they were signed by A&M Records, and began to work on what became New Miserable Experience. Hopkins contributed both future hits, and some other songs to the album, but his alcoholism became so difficult to deal with, that at the end of the recording sessions, Hopkins was sacked. And because of financial hardship, Hopkins sold his publishing rights for a relative pittance.
So, while the Gin Blossoms were gathering momentum, the guy who wrote their two biggest songs was out of the band. Now, that’s not to say that only Hopkins’ songs were good. In fact, New Miserable Experience is, for the most part, a deep album, with many good songs written by a number of different writers. It is an album that fits broadly into the power pop genre, with influences from Big Star, to R.E.M., to The Replacements, but they often married upbeat tunes with darker lyrics. Personally, I really liked the album and a number of the songs made it onto cassette mixtapes that were played in my car, turning the Gin Blossoms into a favorite of my young son.
In 1992, as the Gin Blossoms were rising, Hopkins, who had taken a job as a pop songwriter for hire, told an interviewer:
When it comes on the radio, I turn it off, because I don't really want to hear that. It doesn't make me feel good or anything. . . I mean it makes me feel like I accomplished something, but it didn't turn out the way I intended. Well, nothing ever does.
Now's getting to be the time when, in a way it would be a lot of fun, because they're on the radio all the time. It's my song but I don't enjoy it. I can't listen to it because it just pisses me off. I started the band five years ago. I spent five years of my life on this, to get it to where it is now, and now it got yanked out from under me, so I'm a little on the disenfranchised side.
On December 5, 1993, Hopkins committed suicide.
The band had a successful song on the Empire Records soundtrack, "Til I Hear It from You," co-written with Marshall Crenshaw (who is probably a good subject for another “Forgotten?” piece), which charted as a single, and the band’s follow up album, Congratulations I’m Sorry, named after comments the band received—“Congrats on your success, but sorry about Doug,” was also successful, if not to the level of its predecessor. I liked it, and there are a bunch of good songs on it. The Gin Blossoms appeared on Leno, Letterman (sometimes with Kiss) (and Paul Shaffer often used their music to go in and out of commercial breaks), and Saturday Night Live. But their momentum stalled, and in 1997, the Gin Blossoms broke up.
Reunion tours in the early 2000s, and a handful of album releases thereafter, including one a couple of months ago produced by the great Don Dixon, have pretty much failed to break through in any real way, and I have not listened to them (although I probably should).
Speaking of Forgotten, the current Gin Blossoms website fails to mention Hopkins at all, which is kind of petty. Although he hasn’t been part of the band for decades, it is likely that had it not been for him and his songs, we might not even know about the Gin Blossoms at all. But, for a few years, Gin Blossoms were blooming everywhere, and maybe this will prompt you to move them from the Forgotten column to the “Oh yeah, I remember those guys” column.
Posted by Jordan Becker at 3:06 PM View Comments
Labels: Don Dixon, Forgotten?, Gin Blossoms, KISS, Marshall Crenshaw
Friday, July 26, 2013
MUSICAL HOMONYMS: ALL OR NOTHING AT ALL
This was always going to be a tough assignment. I mean, let's be honest, we could all do "Hallelujah" or "Angel", and some may curse me as I write that, but SMM is all about digging a tad deeper. (Crosses fingers that the Boss won't take umbrage at my new boy, relative, gaucheness.) So, rather than "All or Nothing", cos you all know that, how's a bit of classic jazz and a bit of classic rock'n'roll, 80s style, and add the "At All."
Purchase (single track)
No introduction for the 'Trane. Bit of a latecomer to bebop me, as it all seemed atonal yet samey to my rockist ears, until I came to an epiphany. Stuff all this earnest head nodding, fingers a clicking in eyes-shut reverie. Jazz. Is. Dance. Music. That's right. Throw your head back and your arms out. Smile. Daaaance. (I'm struggling to convince my girlfriend of this, but bear with me. Try it!) When it suddenly kicks in, it will all be understood. Problem solved. I love it. This, from 1962, is wonderful, from the drum intro, percussive piano, then suddenly, marvelously, the horn. I'm weaving in my seat, on my chair, as this glides all over and around me.Join me? Of course there are lashings of other versions, with vocals, of this tune, with both Frank Sinatra and Diana Krall coming closest to mind, with my bestest singer, Mr Chet Baker, not far behind.. They're good, but why embellish the unnecessary?
Purchase (whole Lp, but well worth the investment!!)
You couldn't get much different than with Mr Crenshaw, an out and out classic rock 'n' roller with hints of Buddy Holly about his stylisations. Always tastefully tunesome, somehow a shame he has always seemed somewhat of an also run, at least perhaps thus avoiding the overkill of mass acclaim. I like him and this is a good example of his style. However, in just the same way that the Coltrane is a cover, or "standard" as that genre will have it, so too this is not of Crenshaw's pen, but being a mid period, E Street Band on leave, Springsteen, from "Human Touch" (And pedants will cite there is no g at the end of "Nothin", but I am nothin' if not too well brought up to ignore such a criticism, not least as I have only realised this point at this stage, 3 paras down. Live with it. Sue me. Either way, it's great.)
Posted by Seuras Og at 2:18 PM View Comments
Labels: All or Nothing at All, john coltrane, Marshall Crenshaw, Musical Homonyms
Subscribe to:
Posts (Atom)

