This review is part of a series looking back at significant albums on their anniversaries. Through the benefit of hindsight we will be viewing the album not just as it was released, but how it stands the test of time, as well as its place in the band’s discography and the genre in general.
Capitol Records – 07 Oct 1997
A weird Portland twist on the Seattle grunge sound (FFO: 90s Post Grunge Alt Rock)
In 1995, Everclear released their Breakout Sparkle and Fade, almost a year after Kurt Cobain’s suicide. “Heartspark Dollarsign” made inroads on college radio, but “Santa Monica” received significant airplay, topping Billboard Hot Mainstream Rock tracks for three weeks.
Faced with replicating the success, Art Alexakis and co. went into the studio without any new songs. Six months later — and courtesy an early version of ProTools — they emerged from Whitehorse Studio with a classic of the decade.
The titular opening track starts with a capella Beach Boy melodies before ripping into chainsaw power chords, somehow making good on the promise of the Ramones self-titled debut.
Almost immediately, the record transitions into four straight alt rock anthems that were ever present on rock radio at the time. I interpret “Everything to Everyone” as the band’s critique of friends in the industry who turned out to be two-faced. “Father of Mine” is one of many songs penned by Alexakis about his absent father — this is perhaps his best. “One Hit Wonder” is Alexakis’ self-reflection about what might happen if Afterglow falls flat.
“I Will Buy You a New Life” introduced the band to an even broader audience — it hit number 20 on the Billboard Hot Adult Top 40 charts, and you might even remember that this is the fifteenth track on the first American Now That’s What I Call Music.
Not everything about this record holds up. I feel that “Ataraxia – Media Interlude” alludes to some broader theme or concept that was eventually dropped. While nominated for a Grammy, “El Distorto de Melodica” feels like an undeveloped song that’s deserving of lyrics.
The last three songs — “White Men in Black Suits”, “Sunflowers” and “Why I Don’t Believe in God” — hint at Everclear’s next genre pivot in Songs from an American Movie Vol. One and Two. While they’re fine songs, they stick out like a sore thumb.
All told, this is a great album, merging the punk fury, pop sensibility and burgeoning angst of 90s alternative rock. At times, it feels like a prototype for Against Me’s Searching for a Former Clarity. I had a great time revisiting this BMG Music Club purchase of my teenage years, and I think you will too.
the white drew carey (aka – Jeff Sorley) is the founder and head editor of TGEFM. He’s lived (outside of) Chicago, Madison WI, (ugh) Penn State, Lyon FR, Oxford UK, central New Jersey, and now within earshot of SFO in the Bay Area. When not scouring the web for more great bands and labels to post about, he also spends time drawing (mostly) silly sci-fi and anime stuff under the name Asplenia Studios.
