As a musician and a lover of music, it is truly a rare
occurrence that any piece of music rubs me the wrong way. Whether I disagree
with the sound or have a distaste for the writing, I almost always find some
redeeming quality that brings me back. Thus, when I added Dinosaur Jr.’s Where You Been to my rotation, I opened
my ears with all the objectivity that I feel is due every piece of music.
I picked up this record purely on a whim and the faint
impression that the opening track was a pretty good tune the last time I heard
it. I knew very little about the band or the record, simply that it was part of
the wave of alternative rock in the 90’s, which holds a very warm place in my
heart. Thus, I felt that I was already predisposed to connect well with it. And
I was very, very wrong.
Initially, what is presented by Dinosaur Jr. is a good mix
and lots of energy. They have a heavy and distorted sound, and all seem to wail
on their instruments. Being that Where
You Been is one of the few albums featuring the entire band’s participation
in recording[1], the unity seems to have had
a positive effect on the sound of the record. The musicianship is tight, and
dotted with inspired fills, especially in Murph’s drumming. However, as one
listens on, that tightness in the music is overshadowed by the obvious and
overwhelming feebleness of the writing.
The foremost weakness in the writing is the absolute lack of
life or significance in the lyrics. Almost none of the songs have any coherent
direction able to be communicated by the words. The lyrics seem a haphazard
pile of phrases cluttered to fit a basic A-B-A-B rhyme scheme, purely filling
the space of the vocal melody rather than attempting to connect with the
listener. Furthermore, even the wording lacks inventiveness or interest. The
opening lines of “Out There” communicate absolutely nothing: “I know your name/I
know the people out there feel the same/I know you’re gone/I hope you got some
friends to come along.”[2]
Such irrelevance is portrayed by virtually every lyric on the record.
This lack of enthusiasm for writing also seems to have
seeped into the music, albeit on a smaller level. Many of the songs feature
very basic and repetitive structure. While this normally wouldn’t matter, it
becomes very obvious how much repetition is being used when every song is
longer than four minutes. Each song begins to feel like two or three riffs
being repeated into eternity, leaving the listener wondering if the CD is
skipping. The only break to this monotony would be J Mascis’ guitar solos, which
are powerful and yet also obscenely long, and so makes any attempt at
improvisation seem muted.
While the writing of the record is blatantly bad, it is a
secondary concern when confronted with the vocal stylings of J Mascis. J’s
guitar playing on the record is quite phenomenal, and it is obvious that he has
earned his place behind the ax. However, he has absolutely no business behind
the microphone. His singing style is one that features little to no vocal
power, which truly drags the apparent energy of the musicianship down to the
ground. His drawl, while certainly a signature, is sung at barely more than a
whisper in many of the songs, drowning the lyrics in a crackling and whiny pond
of voice. So weak are the vocals that J seems unable to even keep his voice in
key most of the time. Furthermore, he also spends an inappropriate amount of
time singing in a ridiculous falsetto—for instance, the entirety of “Not the
Same”—which adds nothing but confusion to an already embarrassing listen.
Despite being a house with a foundation built in quicksand, Where You Been does offer a few good
tunes. “On the Way,” one of the few shorter songs on the record, features a
fast and thrashing energy bordering on punk, as well as a more effective use of
repetition in the structure. Topped with a catchy chorus and inventive fills on
all instruments, it is a song that is more than listenable, indeed even
recommendable. Another such song is “Start Choppin,” which reached #3 on the
Modern Rock Tracks chart in the U.S. upon its release.[3]
This song features some inventive arrangement along with rocking guitar riffs,
providing a groove that the other songs apparently lack. Indeed, its endearing
melody and feel even invite dancing, showing that apparently Dinosaur Jr. is
capable of some good.
Although a few gems are hidden on the record, as a whole, Where You Been holds very little merit
as a collection of music. Between the flabby writing and the frail vocals, this
record leaves much to be desired, and does not lend itself to multiple listens,
nor a growth of interest in the artist. As this record approaches the twentieth
anniversary of its release, it stands as a testament only to the detrimental
effects poor writing can have on otherwise interesting musical pieces.
No comments:
Post a Comment