Alanis Morissette Jagged Little Pill CD

Live Recording

Personnel: Alanis Morissette (vocals, harmonica); Glen Ballard (guitar, keyboards, programming); Basil Fung, Joel Shearer, Michael Landau, Dave Navarro (guitar); Benmont Tench, Michael Thompson (organ); Lance Morrison, Flea (bass); Rob Ladd (drums, percussion); Matt Laug (drums); Gota Yashiki.
Engineers include: Christopher Fogel, Glen Ballard.
Recorded at Westlake Studios and Signet Sound, Hollywood, California.
JAGGED LITTLE PILL won the 1996 Grammy Awards for Album Of The Year and Best Rock Album. "You Oughta Know" won the Grammys for Best Rock Song and Best Female Rock Vocal Performance. "You Oughta Know" was also nominated for Song Of The Year, and Alanis Morissette was nominated for Best New Artist.
"Ironic" was nominated for the 1997 Grammy Award for Record Of The Year.
Personnel: Alanis Morissette (vocals, harmonica); Glen Ballard (guitar, keyboards, programming); Dave Navarro, Basil Fung, Joel Shearer, Michael Landau (guitar); Michael Thompson, Benmont Tench (organ); Rob Ladd (drums, percussion); Matt Laug (drums).
Audio Mixers: Chris Fogel; Jimmy Boyelle; Francis Buckley; Glen Ballard.
Recording information: Signet Sound, Hollywood, CA; Westlake studios.
Photographer: John Patrick Salisbury.
It's remarkable that Alanis Morissette's Jagged Little Pill struck a sympathetic chord with millions of listeners, because it's so doggedly, determinedly insular. This, after all, plays like an emotional purging, prompted by a bitter relationship -- and, according to all the lyrical hints, that's likely a record executive who took advantage of a young Alanis. She never disguises her outright rage and disgust, whether it's the vengeful wrath of "You Oughta Know" or asking him "you scan the credits for your name and wonder why it's not there." This is such insider information that it's hard to believe that millions of listeners not just bought it, but embraced it, turning Alanis Morisette into a mid-'90s phenomenon. Perhaps it was the individuality that made it appealing, since its specificity lent it genuineness -- and, even if this is clearly an attempt to embrace the "women in rock" movement in alterna-rock, Morissette's intentions are genuine. Often, it seems like Glen Ballard's pop inclinations fight against Alanis' exorcisms, as her bitter diary entries are given a pop gloss that gives them entry to the pop charts. What's all the more remarkable is that Alanis isn't a particularly good singer, stretching the limits of pitch and credibility with her octave-skipping caterwauling. At its core, this is the work of an ambitious but sophomoric 19-year-old, once burned by love, but still willing to open her heart a second time. All of this adds up to a record that's surprisingly effective, an utterly fascinating exploration of a young woman's psyche. As slick as the music is, the lyrics are unvarnished and Morissette unflinchingly explores emotions so common, most people would be ashamed to articulate them. This doesn't make Jagged Little Pill great, but it does make it a fascinating record, a phenomenon that's intensely personal. ~ Stephen Thomas Erlewine
With exuberant vocal gymnastics, Alanis Morissette offers chilling monologues from an outspoken and aggressive young performer. Her straight-for-the-jugular lyrical stance is given ample room to flex its muscles, and because of that very fact, JAGGED LITTLE PILL is indeed a tricky swallow. Pushed into the public eye by the scathing single "You Oughta Know," Morissette's American debut (she had two Canadian releases as a teen popster) lives up to its title.
Recalling Siouxsie Sioux and Sinead O'Connor, Morissette's vocals coo and writhe, exuding a spectacular confidence of self, and letting her get away with lines like "I recommend biting off more than you can chew." The audio palette of flamenco guitar fills, distortion-drenched power chords and house-ready drum beats allow for Morissette to weave her songs in and out of genres, asRolling Stone (10/31/02, p.136) - Ranked # 31 in Rolling Stone's "Women in Rock: The 50 Essential Albums"
Rolling Stone (5/13/99, p.60) - Included in Rolling Stone's "Essential Recordings of the 90's."
Spin (12/95, p.63) - Ranked #16 on Spin's list of the `20 Best Albums Of '95.'
Q (10/01, p.48) - Ranked #42 in Q's "Best 50 Albums of Q's Lifetime"
Q (12/99, p.84) - Included in Q Magazine's "90 Best Albums Of The 1990s."
Q (2/96, p.66) - Included in Q's 50 Best Albums of 1995.
Q (9/95, p.118) - 4 Stars - Excellent - "...Caught somewhere between Tori Amos and a souped up Liz Phair, just a few bars of the opening `All I Really Want' should be enough to convince that she really is a bit special..."
Melody Maker (9/9/95, p.47) - 7 (out of 10) - "...sufficient a mixture of clean-cut looks and post-teen angst to be pop's very own Winona Ryder. Graphic enough in her lyrics, yet demographic enough in post-grunge sound to be the mainstream Liz Phair....Even more amazingly, she's quite good....if this is illusion, Alanis Morissette is mighty good at using it..."
Village Voice (2/20/96) - Ranked #32 in Village Voice's 1995 Pazz & Jop Critics' Poll.