Evolution has always been a mover of music, as sounds and
styles merge and separate into new strains of sound. In the 1990’s, punk rock
was pioneering that evolutionary path, relaxing from the heaviness of hardcore
while avoiding the muddy sounds of grunge. Spearheading this synthesis of pop
and punk was the band Lagwagon, who, with their third full length Hoss, solidified a sound that would go
on to inspire countless other bands.
Recently rereleased as part of the box set Putting Music in its Place,[1]
Hoss is considered to be a pivotal
album in the development of Lagwagon, especially by its members. In a 2011
interview with Dying Scene, former Lagwagon guitarist Shawn Dewey stated “Hoss has just always had a special place
for me. It seemed like we finally came into our own, developing our own sound,”[2]
while former bassist Jesse Buglione claims that it was written during “a very
prolific period.”[3] As one spins this record,
it is easy to see these claims are not far from the truth.
Hoss is a record so
full of energy it seems about to burst. Virtually every song is fast and hard
from end to end, and this band tears through them all, never faltering from
their established and signature style of distorted guitars and fast, slash-beat
drums. Their music is true to the label of punk that so many pin on them, so
much so that at times they risk sounding monotonous. However, any redundancy is
easily defeated by the composition of the music. Although the entire album is
in a 4/4 time signature, songs such as “Bombs Away” or “Sick” feature riffs and
progressions are phrased over six measures, providing a 12/8 feel that is fresh
against the onslaught of common time, and creating musical moments for the
listener to latch onto.
Lagwagon further adds variety and excitement to their songs
with a plethora of syncopated riffs and hits, affectations that rely on the percussion
to truly solidify them. Through moments such as these, Hoss acts as a celebration of the musical mastery of the late
Derrick Plourde, who played drums on the album. Having left the band shortly
after the release of the record,[4] Derrick’s last act as a part of
Lagwagon is anything but lackluster. In many places, his drumming seems to be
the main feature of the record, as he makes himself known in every composition.
From the opening insanity of “Rifle” to his triplet syncopations in “Name
Dropping,” Derrick destroys his drum kit over the course of the record, playing
at speeds that would set off a radar gun while effortlessly controlling both
tempo and rhythm. His contribution shows the powerful and interesting benefits
a well-written part can provide for a song, as well as those provided only by
an extremely solid rhythm section.
If the musical writing on the record provides an intricate
foundation, the lyrics act as the detailed nuances that define it as a
masterpiece. Joey Cape proves himself as a dynamic and powerful writer with Hoss, as he tackles many heavy subjects,
but always with a stylized humor and offhandedness. For instance, in “Black
Eyes,” Joey presents a brutally vivid image of a person lacking faith and
attitude, only to have that image pinned upon himself at the very end. Joey’s
ability to switch voices and attitudes is also stressed in the writing of this
record. In “Razor Burn,” Joey humorously details his coping with a break-up by
growing a “beard of shame,” while in “Ride the Snake,” all mirth is abandoned
as he addresses the subject of heroin abuse. The range of both subject matter
and the way each is addressed in the writing makes Hoss a record worth a read as well as a listen.[5]
A phenomenal example of Joey’s writing abilities is the song
“Kids Don’t Like to Share,” the opening track of the album. Laid out over an
elegant and energetic tune, Joey addresses the fickle crowds that he performs
in front of every night. He straightforwardly confronts those fans who think
themselves better than others because of the music they listen to, and challenges
the pompous and pretentious way they elevate their chosen god, only to “dethrone”
the king when he becomes too popular. He compares their idols to fool’s gold “flashing
in the pan,” his surprise and sigust quite evident at the notion of something seeming
so valuable one moment and so worthless the next. With “Kids Don’t like to
Share,” Lagwagon’s attack on “the hipster” is one that remains both solid and
valid over fifteen years later, asserting itself as a fun tune with a relevant message.[6]
Hoss is an unyielding
record, with great songs and great energy in every corner. The only place it
seems to suffer is in the mix, where the two guitars take center stage over the
vocals, and the bass is occasionally left in the mud—an issue that, all things
considered, never approaches being a big deal. Hoss It is a record that acts more like a discussion than a presentation,
encouraging the listener to think, to feel, and to dance, all with an unbridled
enthusiasm for life. With Hoss,
Lagwagon has opened the doors of the punk genre to a new attitude and a new
generation, both of which continue to shape the evolutionary path of music.
Tunes to Check Out:
1) Kids Don't Like to Share
2) Sleep
3) Black Eyes
Tunes to Check Out:
1) Kids Don't Like to Share
2) Sleep
3) Black Eyes
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