| | They Might Be Giants Spine CD They Might Be Giants Discography of CDs
 (2 Customer Reviews)
A new THEY MIGHT BE GIANTS release is somewhat akin to an issue of Mad Magazine with a bonus CD; wit, sarcasm, and satire abound, accompanied by all manner of sonic finery. Though Johns Flansburgh and Linnell are best known for the cartoonish, humor-filled aspect of their songs, there's often something deeper lurking below the surface. On THE SPINE, while there's as much quirky cleverness as on previous TMBG albums, there seems to be more of an emotional core to many of the tracks.
There's a palpable sense of disillusionment and dislocation at the heart of "Memo to Human Resources," brought home by a melancholy, Beatles-like structure. The post-New Wave power pop of "Broke in Two" strolls gingerly through the shards of a painful past. The protagonist of "I Can't Hide from My Mind" is engaged in the confusing process of finding his own center. Of course, there's plenty of jubilant absurdism in the grand Giants tradition, as well, but THE SPINE has more to offer those willing to listen closely for it.
They Might Be Giants: John Flansburgh, John Linnell.
Additional personnel: Dan Miller (guitar); Danny Wienkauf (bass instrument); Marty Beller (drums).
Rolling Stone (p.116) - 3 stars out of 5 - "TMBG maintain their characteristic mix of playful absurdism and deeper melancholy in matured, two-minute marvels..."
Q (p.119) - 3 stars out of 5 - "It's packed with sweet, oft-piste songs..."
Uncut (p.97) - 3 stars out of 5 - "Lyrically, the territory they cover is still perversely eclectic..."
Magnet (p.108) - "The two Johns delight in offering a shiny surface replete with singalong hooks and crafty riffs, but their secret weapon has always been their depiction of common human fears and frailties."
CMJ (p.4) - "Hook-laden and rife with their patented clever lyrics, THE SPINE is classic They Might Be Giants: hard not to love, and will have everybody jumping."
Mojo (Publisher) (p.99) - 3 stars out of 5 - "[T]he tunes are agreeable enough, as is their unhinged wit." They Might Be Giants Spine Songs Spine Music Review Average Rating: (4.5 out of 5 stars)   Another good one from TMBG
Kind of similar in musical styles to Mink Car, with mostly '80's & '90's rock styles. It took me a while to get into this one, but I like it a lot. Expiremental Film is about your grad student's first movie and it rocks, and there's a bunch of strange songs about aggression that are pretty great. B-- wants to hit me is like those wild pop songs on Flood, and Au Contraire scolds David Bowie in mock critique. A fun romp through the world of TMBG. Strangely, when you think about it, every song seems to relate in some odd way to the spine. Go figure.
Submitted by Andrew M. (Santa Rosa, CA)
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 lotsa fun stuff
Honestly when mink car was released I was not impressed, (aside from the whole depression of the 9/11 thing going on,). The album didn't have the spark of older TMBG albums. The Spine is different. The incorporation of electronic sounds with the alternative sensibility is much more compelling. The art in the cover is great, too.
Submitted by Flying mole (The Moon)
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In the glut that is the Southern rap scene, it's easy for cream to get lost in the tidal wave of less-than-stellar material. However, Atlanta's Goodie Mob stands behind only fellow Altantans Outkast in the field of Southern-fried hip-hop, with its relaxed-as-that-Countrytime-Lemonade-guy grooves and flows and its perfect balance of intelligent rhymes and party jam know-how. WORLD PARTY finds the foursome at the top of its game with a perfectly even collection of 13 thoroughly original cuts.
Goodie Mob's four members--Cee-Lo, Khujo, T-Mo, and Big Gipp--play off each other sweetly with their varied styles, which range from Busta-stylin' growl to more rapid-fire delivery. The foursome reaches a high on the let-it-all-hang-out "Fie FieDelish," the slamminly infectious disco party jam (think Earth, Wind & Fire branching into rap) "The Dip," and the easygoing title track, which is centered on Lionel Richie's "All Night Long" (one of a few endearingly cheeky references). Also worth noting is the face-off with the multi-platinum TLC on "What It Ain't (Ghetto Enough)," a groovy, almost sensual anthem. The final touch is provided by the hands of Organized Noize whose production touch is felt throughout this solid third effort from Goodie Mob.
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Fronted by songwriter Quinn Fallon, this jaunt through all that is fine about alternative country and roots rock begins with a slow and sparsely instrumented "Trans Am" that evolves into Beach Boys harmonies in its chorus. Not indulging in a lot of twang in roots pop songs such as "Rear View Mirror," the album has a wealth of transient imagery from the open road to leaving a small town for something bigger and better. Stealing a line from R.E.M. during "End of the World," a rockabilly romp, the group has a lot in common with Blue Rodeo in their dichotomy between upbeat and somber songs. Fallon sounds like Elvis Costello during the track, but especially during "Devotion." The musicianship on the song is also worth noting, as Bob Hite's accordion carries the song. Unfortunately, Fallon becomes fascinated with this voice and tone during a forgettable "Goth Girl" and an only slightly better "Rock Star." Lyrically, the tunes are also weaker, with "sooner or later everybody needs somebody to wash their car" a prime example. Thankfully, "Light of Day" returns to a simplistic country affair with some of the record's better performances. One of the sillier but surprisingly good tracks is "Cowboy Song," a song which touches on cross-dressing, rehab, and pornography in a blistering banjo and trumpet performance. It's also a song Primus would be envious of. Simple pop songs such as "Drive-By" are the album's sturdy foundation and the band's shining moments. The worst track is an over-produced "Ten Miles of Bad Road." X-Rated Cowboys try far too hard on the superficial, play-by-numbers song. Equally as odd is the ambient soundtrack feeling of "She's Got a Gun." ~ Jason MacNeil
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