Having just started a new job, my life is unexpectedly chaotic. I'll resume writing on Ciao as soon ...
Having just started a new job, my life is unexpectedly chaotic. I'll resume writing on Ciao as soon as possible. http://members.lycos.co.uk/ich schmatze
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Originally signed up as the main profit-maker for Madonna's own record label 'Maverick', Alanis Morissette shot to international fame in the 1990s with some of the most inspiring and awesome songs to graze our land for some time. The soft-rock catchy classics 'Ironic', 'You Oughta Know', '(You Live,) You Learn', and '(One) Hand in My Pocket' were all acclaimed and extremely successful chart-climbers, all of which led to the album 'Jagged Little Pill' becoming the 5th best seller of the 1990s in the UK.
Alanis came back, amid intense pressure for decent music and troubles with her home life, for a second stab at international stardom, over two years after her original album had caused so much of a positive 'she must be a diva/genius to be this good' reaction. The pressure led this album to be weak as a result. The depressing uncharacteristical music with no real emotion led us to believe that she had been driven into something she really didn't want to be doing, something less about music, and more about profit and a need to release an album just to keep from losing her fans. Hence, a lot of disappointed fans lost interest, and she went into hiding after the flop that it was.
'Under Rug Swept' is the welcome new album from the Canadian popstress, released with mixed expectations from her avid fans. Was the first album, after all, a one-off fluke, albeit on the same level as the other greats of our time? Or were we to expect something even better than before having had such a disappointing and long break since any decent material? Luckily, the latter seems to be true, as this release looks set to be a bigger and more beautiful, touching album than even her first.
Whilst most of her songs from her first album were chirpy, amusing anecdotes from her previous relationships, mingled with the traditional I-IV-V chord pattern
and a nice catchy melody or two, this album shows a lot more variety and maturity in her writing; from soft-rock, her more traditional approach, to ballads and more heavy rock, and the result is astonishing. Her middle-of-the-road attitude is something that has made her such a big hit across the world anyway, particularly in her home country, but the successful introduction of new genres to her repetoire of otherwise great, but albeit pop songs is what has made her, in my eyes, such a definite genius of music. As with Madonna, who moves from album to album with such change in music and fashion, adapting to the times, whilst maintaining a revolutionary approach to her work, so has Alanis.
21 Things I Want in a Lover: A weak start to what is otherwise a very good album. Whilst the enthusiasm is there, and the words tell a definite theme (namely, the 21 things she wants in a lover), it sounds as though it's been translated from English to French, possibly Swahili, Norewgian and back again, as the emphasis on the melismaticly placed words don't suit the tune all that often. Hard-rock for Alanis, definitely more Metallica in style than Barenaked Ladies. Well, that could be a little extreme, let's say more Garbage. Not a track worth ignoring, but not one that's really suitable for such a great album.
Narcissus: If I'd ever have to pick one sole track as being the essence of Alanis, this would be it. An unbelievably catchy tune, with fantastic lyrics and a great beat. The verse, chorus and bridge all have excellent melodies that link up really well, and the soft-rock combined with the 'oh-so American' fast lyrics that are impossible to understand on the first listen through is just a combination I could cuddle up with with a big tub of Haagen-Dazs. Hmm. Best track on the album, for sure, and I wouldn't be surprised if this one became a future Number 1.
Hands Clean: The first single taken from the album, and a top 10 hit, but again, not a real reflection of her genius. Whether it's all some marketing genius designed so that she gets the most album and single sales I'm not sure, but the lyrics in particular are weak, even if the song is happy enough to be considered a pop single release. Still, again, not a bad single, and would probably be a number 1 had it not been for very little publicity and the little expectation of fans from her previous album.
Flinch: Another song with the A-B-C (verse, bridge, chorus) rotation so central to some of her songs. Again, they link up well in this, a very slow but catchy and annoyingly memorable tune in each. One of the best tracks on the album, and one that is instantly likeable. Great lyrics and very easy-listening background music style, and although a lengthy 6 minutes, appears to float on by. A very addictive song, definite 'hummer'.
So Unsexy: Another possible future single release in this, a pop/rock combo with each verse starting with a compellingly syncopated tune. Excellent music, and lyrics, with real emotion. However, as with there is an important point to make about this track, in that her self-obsessed nature leads her to be over emotional at times and does tend to hinder the otherwise excellent quality of music, as is found with other tracks on the album at times.
Precious Illusions: Surprise, surprise, yet another single in this one, and I think this time, there may actually be some justice in saying so as this is the next single to be released by her. A hauntingly catchy song with great range of feeling and dynamics to show both sides of her character. Nice build-up as well.
That Particular Time: The problem for ballads with Alanis is, as previously mentioned, her over-abundance of emotions does lead her music to stray a little musically. Such is the problem with this, an otherwise wonderfully unique and addictive song. Nice David-Gray sounding foundation as well, which works well. Possible duet there?
A Man: Hmmm...she does like to complain about her men a lot. Still, the oriental and western combined idea is one that works very well, and the unexpected rock element brings a completely new edge to the album, which is fun. The harmony in the homophonic sections works well as well.
You Owe Me Nothing in Return: Another chirpy song, albeit in the minor but still very addictive, as all her work is. Much more like the old traditional Alanis in style, a nice themed verse and separate chorus, both with very separate ideas. A strange idea for a song, but it's just about held together.
Surrendering: Not the greatest of songs on the album, this very typical and rather mundane soft-rock idea of a song only reaches its heights in the chorus, which has great accompaniment in the form of a very strong beat and a nice guitar and whistle riff that comes around every few bars.
Utopia: A gorgeous accoustic opening leads to what at first appears to be a depressing end to an otherwise generally uplifting album, but the contrast with the chorus, which is the most happy I think I have ever heard anyone ever makes the general mood even higher than the other on the album. The guitar riff, which runs underneath throughout the majority of the chorus is a great and very catchy element.
I may seem to only have an average opinion of this album reading through my opinions of each track, but, strangely, as an album I seem to enjoy the music much more. The overall message and mood of each piece combine to create a very uplifting and pleasant listen, either as a means of relaxation whilst in the bath, whilst trying to get off to sleep, or as background music. The sheer diversity of the music makes it suitable for so many occasions, and for so many different categories of people. Whilst the soft-rock element comes in masses throughout the 11 tracks as the main idea, there are definite elements of pop, heavy rock and indie. This progression through the different genres and the utilisation of so many ideas and great melodies, is, what I think, makes this album even better than 'Jagged Little Pill'.
However, because of the fact that so many people have been put off by some frankly terrible examples of her music recently (namely the second international album and the mediocre 'Hands Clean'), it doesn't appear to be doing as well. The fact that the melismatic phrases seem to be causing her so much difficulty does seem to be a definite bad point, but the album isn't without its commendations, especially since there are no weak tracks on the album whatsoever. Suitable for all, I would say, and a definite recommendation for anyone, but perhaps best suited to fans and teenagers best. Some tracks also contain bad language.
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With all the attention Alanis Morissette's career has garnered, it's startling to think ... more
that on the release of her third studio CD, she has yet to see her 28th birthday. Under Rug Swept finds Morissette in the producer's role, a position in which she s...
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Advantages: Alanis back doing what she does best, writing infectious but powerful songs, Demonstrates a more mature approach both musically and lyrically, 'At That Particular Time', 'Precious Illusions' Disadvantages: 'You Owe me Nothing' edges a bit too close to filler for comfort, It's still recognisably Alanis, so if you hated 'Jagged Little Pill' you'd best steer clear
Advantages: Alanis back doing what she does best, writing infectious but powerful songs, Demonstrates a more mature approach both musically and lyrically, 'At That Particular Time', 'Precious Illusions' Disadvantages: 'You Owe me Nothing' edges a bit too close to filler for comfort, It's still recognisably Alanis, so if you hated 'Jagged Little Pill' you'd best steer clear
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Mar 26th, 2002
(Jun 25th, 2002)
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