The One Hit Wonders Strike Back, Vol. 1: The Verve Pipe
Written: Feb 24 '02 (Updated Feb 24 '02)
Product Rating:
Pros: A strong album littered with infectious pop/rock tunes from front to back.
Cons: Small sequencing issues, but nothing much.
The Bottom Line: The Verve Pipe's third album avoids the *dreaded* junior jinx; Underneath is a solid and sometimes exhilarating effort all the way through.
Afterglow34's Full Review: Underneath by The Verve Pipe
Much like the slew of groups that were sprung following the death of a truly angry man, The Verve Pipe spent much of the latter half of the ‘90s slogging around in a post-grunge funk, not quite sure whether they should revamp their sound again or have macaroni and cheese for lunch. This was only an option when the band decided to fall out of bed before noon, leaving the band with a pretty easy decision on most days. Their bolt to stardom eventually worked as more of a curse than a blessing, as a re-recorded version of the band’s cult hit, The Freshman failed to produce a sufficient follow-up, leading the band to opt for the cheaper President’s Choice macaroni rather than the exquisite Kraft blue box. By this time the band had morphed from the shiny, guitar-driven pop of its’ early, club-touring incarnations to an unnatural, swampy post-grunge feel, a move that alienated many casual fans and critics. Swamp Thing was also reportedly upset that someone was moving in on his territory.
Looking to sever themselves from the faceless post-grunge movement, they took an awkward step backwards by canning producer Jerry Harrison and replacing him with reputed miracle worker Michael Beinhorn, who had helped Marilyn Manson advance from insulting to just plain unbearable. Beinhorn’s experience with harder-rocking acts resulted in an even more cluttered, gloppy sound, resembling the wax job from an automatic $3 car wash. When TVP’s self-titled third release was met with a resounding chorus of “meh” in 1999, Beinhorn found himself out on the curb, and the band found its’ pantry becoming a little bare. Looking to replenish their shelves, the band turned to a Fountain of pop production, and a pretty fine musician in his own right, Adam Schlesinger, who also helmed another overlooked 2001 release, David Mead’s Mine and Yours.
Schlesinger’s presence on the band’s new record was a revelation. Schlesinger remains one of the most underrated producers in the game, though due to the current substandards of record production, he’s just too good for mainstream producers and acts to have around. Schlesinger helped the band retain most of its’ early sound, an amiable, rich guitar-based sound that surrounds lead singer Brian Vander Ark’s like the skull that supports Bill Maher’s gigantic cranium . Underneath sounds like a record that was made in direct response to the mistakes that the band had made before, spinning 180 degrees from where the band was just two or three years ago. Vander Ark’s vocals and the instruments ring true throughout the entire record, untouched except for the presence of slight atmospheric touches and overdubs, or the occasional (and timely) string arrangement, handclap, or finger snap (!). Vander Ark shares songwriting duties with drummer Donny Brown, an intriguing twist, but one that works in the band’s favor on every track. Schlesinger, who is a member of two bands outside of his producing duties, does the band a great favor by taking a minimalist stance from the production chair, though I’m sure he did eventually sit down to twiddle knobs and push buttons.
Two of the albums best cuts are also the albums’ most rousing; Never Let You Down garnered some decent radio play, powered by a potent acoustic-electric dual guitar combo, and the inherently resilient lyrical value:
i’m trying to keep my feet on the ground
i’m getting to like this feeling i’ve found
i’m getting to love the thought of
having you around and
i will never let you down
A lock for a wedding anthem for those who have finally grown weary of Shania or K-Ci and Jojo. God forbid they were actually popular in the first place. (Only valid for professional best men and those who have been married multiple times, in which case you may not want to waste time with a song about commitment. Straight to the champagne bottle with you.) Happiness Is anchors the middle of the record under a shower of hooks (a potentially painful predicament, but not here) and a defiantly resilent message that would cause even the Russians to stop complaining. We can always be optimistic. They might stop someday.
the world is giving you the run-around
and leaves you feeling low and let down but
happiness is
wherever you find it
The pensive Only Words opens the record, acoustic at heart, but nicely combined with an electric lead and bridge that flesh out the song perfectly. I Want All Of You’s subject material explains itself rather sufficiently, an admirable showcase for the band’s more subtle talents. Miles Away flows well with its’ predecessor, pleading with a significant other for an amicable resolution rather than a turbulent split. Apparently there’s at least one man on this earth that thinks logically. My significant complaint with Medicate Myself is its’ placement on the record; after the fiery, optimistic Happiness Is it brings the mood of the record crashing back down to Earth in a sudden u-turn. The riffs are often too much on the sludgy, plodding side, I would have put this one further back on the record if at all.
Gotta Move On saunters along leisurely through its’ message of redemption and renewal, well-placed after Medicate Myself in contrast to its’ predecessors situation. The edgy Local Boys revs up the album again, marking a trip back to the hometown, familiar territory where it becomes easier for us to jump into our element. Colorful finds Vander Ark venturing into the territory of Local H’s “All The Kids Are Right,” in theme if not sound. More than any other song on the record it sounds as if the band is putting its’ past troubles behind them, acknowledging their mistakes, speaking facetiously about the faceless rock star life, and recognizing the one person that means the most to them. Whoever that is. I’m guessing it’s a girl.
Wonderful Waste marks the last true rock song on the record, a throwaway straightforward cut if it wasn’t for the fact that its so bloody fun to jam with. The album’s title track is also its’ last. The meditative, lilting Underneath finds the protagonist scrambling to deal with the harsh realities, as if he wasn’t aware of what he had on his hands. A rare ballad on the record, done competently despite that fact.
As a Cubs fan, the sophomore jinx is something that appears more than originally thought possible by the laws of physics. After winning Rookie of the Year, Jerome Walton’s second full season in 1990 blew up like a well-placed cherry bomb in a school’s plumbing system. By the time that the summer of 1991 came around, he had been replaced in center field a lawn chair, and he was soon traded for a bag of Fritos and a Crystal Pepsi.
The Verve Pipe also made some quantitative errors in their formidable days in the spotlight, revamping their style until the confusion between the name of their band and Richard Ashcroft’s band was much more than a logistical problem. By hiring Schlesinger to produce Underneath they proved that one could do more by doing less, a philosophy that many an artist or producer would be wise to heed. Luckily for The Verve Pipe, the asking price for a solid band these days is a little more than Fritos and a Pepsi. I’d give at least a large Slurpee for them. Mmmmmm, brain freeze.
OVERALL GRADE: B+
Luke’s Meteorological Mood Meter for Underneath: It would be wise to bring both an umbrella and a coat. Much like Chicago’s weather, wait 3 ½ minutes, it’ll change.
Recommended:
Yes
Great Music to Play While: Getting ready to go out
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