MCFCTrick
Well-Known Member
Insulting to compare that shower to the sublime Cars.
The Album Review Club - End of Round #9 Break (page 1904)
- Thread starter RobMCFC
- Start date
Insulting to compare that shower to the sublime Cars.
mancity2012_eamo
Well-Known Member
I’m guessing;
Welcome Interstate Managers
FogBlueInSanFran
Well-Known Member
The Album Review Club – Week #17
Welcome Interstate Managers – Fountains of Wayne (2003)
Selected by FogBlueInSanFran
COVID first “hit” me on April 1, 2020, when I found out Adam Schlesinger died of it at age 52. That name doesn’t mean much to most if any of you, but he and Chris Collingwood were the driving forces behind the indomitable Fountains of Wayne, a band that can only be described as among the most wryly talented in America during the early 2000s. I’ve selected my favo(u)rite record of theirs, Welcome Interstate Managers.
Named after a now-closed garden store called Fountains of Wayne in Wayne, New Jersey (featuring prominently -- and no doubt cheekily -- in the Sopranos episode pictured in my first clue), FoW is best known for what sounds like a novelty song -- “Stacy’s Mom”, which is on this record. The video quite famously starred Rachel Hunter (Rod Stewart’s ex-wife), pictured in my second clue.
But this band was so, so much more than that.
As with my first selection, The Replacements' Let It Be, this record ranges through a very wide variety of musical styles: a lot of straight-ahead alt rock early on, but with several quieter pop songs later too. There’s folksy country and, for lack of a better term, 70s wocka-wocka rock.
On WIM, as some of you noted, FoW channels The Beatles, Cheap Trick, The Cars, Steve Miller Band, Weezer . . . and another group fronted by a couple of well-known City fans.
All the way along, the writing tells satirically-observed human stories, especially regarding the joys and naivete of youth -- from the still-hungover young idiot making his way on Wall Street (“Bright Future In Sales”) to the wistful and celebrity-obsessed young construction laborer in “Hackensack”, to the young football (American football) player dreaming of glory in “All Kinds of Time”, to the young restaurant worker who sucks at her job (“Halley’s Waitress”), to the young teenagers thrilled their parents are out of town so they can swim naked and drink beer (“Fire Island”).
But unlike Let It Be, this record is not unkempt. It’s slickly-produced, and detail-oriented. The musicianship is precise; the instruments are crisp. The vocals are pushed way forward so you pick up all the words, which are often witty, and sometimes moving. The harmonies and falsetto moments are also a huge part of the appeal.
Admittedly the record is a song or two long (I could do without “Peace and Love” and “Hung Up On You”), but I’ve infrequently listened to an album with more hooky, catchy tunes than this. It’s very hard to pick a favo(u)rite.
Depending on mood, I go back and forth between the ganja-celebratory homage to/parody of Oasis on “Supercollider”, and the pretty “Valley Winter Song” which is so evocative of January in northeast America that you can see your breath while you listen. And I don’t think many music lovers of any genre can help but sing along to “Hey Julie” -- I know I can’t, and that goes for my whole family.
Is there meaning in all this? I don’t think so. It’s a series of sketches and short stories – mostly observations, a few snide or empathetic judgments, but certainly no pronouncements.
The setting for nearly every tune is lovingly and specifically the New York metropolitan area. I guess you could call it a love song to the city, or a sketchbook of what it is like to be young, but not much more than that.
Whatever it is or is meant to be, it’s good, and I think a lot of fun. And a change of pace!
Happy listening!
PS. If you like this, also worth checking out is Schlesinger’s side project Ivy -- especially Apartment Life and Long Distance, two very good records.
PPS. Note that the Spotify closer “Elevator Up” was not on the original record -- it ended with “Yours and Mine”.
Welcome Interstate Managers – Fountains of Wayne (2003)
Selected by FogBlueInSanFran
COVID first “hit” me on April 1, 2020, when I found out Adam Schlesinger died of it at age 52. That name doesn’t mean much to most if any of you, but he and Chris Collingwood were the driving forces behind the indomitable Fountains of Wayne, a band that can only be described as among the most wryly talented in America during the early 2000s. I’ve selected my favo(u)rite record of theirs, Welcome Interstate Managers.
Named after a now-closed garden store called Fountains of Wayne in Wayne, New Jersey (featuring prominently -- and no doubt cheekily -- in the Sopranos episode pictured in my first clue), FoW is best known for what sounds like a novelty song -- “Stacy’s Mom”, which is on this record. The video quite famously starred Rachel Hunter (Rod Stewart’s ex-wife), pictured in my second clue.
But this band was so, so much more than that.
As with my first selection, The Replacements' Let It Be, this record ranges through a very wide variety of musical styles: a lot of straight-ahead alt rock early on, but with several quieter pop songs later too. There’s folksy country and, for lack of a better term, 70s wocka-wocka rock.
On WIM, as some of you noted, FoW channels The Beatles, Cheap Trick, The Cars, Steve Miller Band, Weezer . . . and another group fronted by a couple of well-known City fans.
All the way along, the writing tells satirically-observed human stories, especially regarding the joys and naivete of youth -- from the still-hungover young idiot making his way on Wall Street (“Bright Future In Sales”) to the wistful and celebrity-obsessed young construction laborer in “Hackensack”, to the young football (American football) player dreaming of glory in “All Kinds of Time”, to the young restaurant worker who sucks at her job (“Halley’s Waitress”), to the young teenagers thrilled their parents are out of town so they can swim naked and drink beer (“Fire Island”).
But unlike Let It Be, this record is not unkempt. It’s slickly-produced, and detail-oriented. The musicianship is precise; the instruments are crisp. The vocals are pushed way forward so you pick up all the words, which are often witty, and sometimes moving. The harmonies and falsetto moments are also a huge part of the appeal.
Admittedly the record is a song or two long (I could do without “Peace and Love” and “Hung Up On You”), but I’ve infrequently listened to an album with more hooky, catchy tunes than this. It’s very hard to pick a favo(u)rite.
Depending on mood, I go back and forth between the ganja-celebratory homage to/parody of Oasis on “Supercollider”, and the pretty “Valley Winter Song” which is so evocative of January in northeast America that you can see your breath while you listen. And I don’t think many music lovers of any genre can help but sing along to “Hey Julie” -- I know I can’t, and that goes for my whole family.
Is there meaning in all this? I don’t think so. It’s a series of sketches and short stories – mostly observations, a few snide or empathetic judgments, but certainly no pronouncements.
The setting for nearly every tune is lovingly and specifically the New York metropolitan area. I guess you could call it a love song to the city, or a sketchbook of what it is like to be young, but not much more than that.
Whatever it is or is meant to be, it’s good, and I think a lot of fun. And a change of pace!
Happy listening!
PS. If you like this, also worth checking out is Schlesinger’s side project Ivy -- especially Apartment Life and Long Distance, two very good records.
PPS. Note that the Spotify closer “Elevator Up” was not on the original record -- it ended with “Yours and Mine”.
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FogBlueInSanFran
Well-Known Member
There's some Weezer, and some Cars (specifically they were trying to emulate them on "Stacy's Mom"), but a ton of other bands too . . . and that's the point. When you listen to the entire record you'll hear a massive variety of styles, which is why I selected this, and why I think they were great talents.
And I love the Cars -- as I wrote on the other thread, three great records, and two pretty good ones. In fact, it's entirely possible they will show up in a future review of mine . . . :)
Edit: I recognize now you were objecting to the comparison of Weezer, not FOW, to The Cars and while wouldn't go as far as you as I like some songs by Weezer (a lot of the blue record and especially "Hash Pipe" from the green one) I like The Cars overall better than Weezer too by some distance. Someone once called Weezer "alt Boston" which I thought was pretty mean but stings a bit because it's somewhat true.
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FogBlueInSanFran
Well-Known Member
I think when you listen you will find that they are anything but a "Weezer, dirtbag type of band", which is precisely why I selected it -- for the vast range of styles they work through on this record. But, yes, if you just heard this one song, you'd think of them that way (or like Cars emulators).
I think they were terrific songwriters well beyond their hit. Sadly we won't hear them again.
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FogBlueInSanFran
Well-Known Member
Thanks for posting that. I hadn't seen it and it's very good. I hadn't thought that they sounded like an American Squeeze, but that's a good parallel as well -- just a little rock-ier.
Cult heroes: Fountains of Wayne – slacker songsmiths with a knack for melody
When they are in full flow, there’s no more tuneful and witty a group at work
www.theguardian.com
The author did a nice "goodbye" piece when Schlesinger passed away as well . . .
Fountains of Wayne's Adam Schlesinger: a bona fide pop genius
Whether creating wily pastiche or heartfelt hits, Schlesinger – who has died of Covid-19 – was driven by a purist’s devotion to old-fashioned songcraft
www.theguardian.com
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BlueHammer85
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superb write up and look forward to this.
Do I always have to follow Fog ffs ?!
Mancitydoogle
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Great choice and write up.Ive liked FOW from their very first record and I agree this is their best album.I too was saddened and shocked by the death of Adam Schlesinger.I wasn‘t aware of his side project so I’ll take a listen to Ivy.
I’ll rate WIM later in the week but it will get very high marks as it’s an album I still play often.
I’ll rate WIM later in the week but it will get very high marks as it’s an album I still play often.
No doubt the likeness to FLAE is too obvious not to make comment on.
Agree with Fog it is a wonderful track , chords and a combination of sound that I found as rare as hens teeth to discover before TSMB not in my favourite twenty mind you but has been on my play list for decades and Steve Miller I would have easily had in my top 100 musicians of all time.
I remember an interview with Hirst onetime where he said that a lot of his writings as I am sure it is for most comes from listening to other music , some are inspired to do so , some wish to compete and some attempt to lay their own mark but if you listen carefully enough some notwithstanding blatant repeats much of which you find are " modifications at least in part of other tunes.
You listen to a Crowded House for example and without knowing anything about Neil Finn you can ascertain that he is heavily influenced by Lennon and McCartney in his writing.
Not sure why I haven't played this album more often because I normally don't come to abrupt conclusions based on a single song like Stacy's Mom ( far worse "power pop" singles released around that time mind you ) and as Fog points out its musically much more diverse and has many terrific harmonies that go way beyond Stacy's Mom that IMO is if anything not suited to this album more so a single required to give the record company a leg over on the album.
I certainly played it a couple of times when I first came across it and the hit single is by no means a reflection of the album but I am sure I have never played it since and I am disappointed in myself that I have not.
Its way too good an album to be known for one single again IMO a bit out of place for the rest of the tracks.
Very easy on the ear and will no doubt grow on you over time if you give it time , comparing them to the Cars based on this album is non - sensical to me.
Tight musically and this group has musicians that are at the top of their craft on this album.
Again FOW make their own mark on this album without statement and without offence but that to me doesn't matter as they are not trying to do anything but get the blend and sound mix spot on to gel with the lyrics and IMO pull it off in nearly all of the tracks if not all and having as many tracks on this album to me is a bonus given the variety within the genres they manage to produce.
Definitely a change of pace and a good one at that I will certainly be listening to this over again.
BTW Fog if you are into your videos the picture of Rachael Hunter was more than generous alone to give away the album title.
7/10 but I suspect as I play it more it will get to an 8/10 but for this thread its a 7/10 for me.
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