Like Bjork, I feel Alanis Morissette is an underated vocalist. Perhaps Dave Coulier has given her a bad wrap, or maybe her appearance in Dogma, but her delivery has a direct line with my emotions.
You can pretty much tell what is going on in her life with each album as she is very deliberate with her thoughts and message. Unfortunately for her there have been many break-ups in her personal life which I end up reaping the benefits as her interpretation of anger and inner anguish is as good as they come.
I initially wanted to omit ‘Jagged Little Pill’ from this week’s album listing with the assumption everyone is pretty familiar with the full track list. You can blame David for talking me out of it with the quote ‘what is Alanis Morissette week without Jagged Little Pill.’ I remember receiving this album as an Easter present in 1996 after hearing 6 of the tracks on the radio and seeing her video’s in MTV’s countdown every week. While a few of the hit tracks come off as a little corny, they brought about a style that was so unique and unheard of that it really intrigued that genre and resulted in a Grammy for best rock album, best rock song, best female vocalist, and album of the year. What I love about the album is how you can feel and relate to the massive amount of anger in ‘All I Really Want’ and ‘You Oughta Know’, along with the resentment in ‘You Learn’ and ‘Mary Jane.’
A few years later I pick up the City of Angels soundtrack for the Goo Goo Doll’s Iris and stumble upon Alanis’ ‘Uninvited’ which is an amazing translation of heartbreak and the feeling of everyone but you getting a taste of happiness. The same year, she released ‘Supposed Former Infatuation Junkie’ which overall had a slower pace, but ‘Thank U’ and ‘That I Would Be Good’ were able to capture everything I loved about ‘Uninvited.’
In 2002, she release ‘Under Rug Swept’, which I chose to omit for this week. I only really like a few of the tracks like ‘Hands Clean’ and ‘A Man’ and wanted to steer away from a 5-album week. However, in 2004 she released ‘So-Called Chaos’ which I did choose for you this week. This was much more solid album and contains a lot of emotion, both positive and negative. I really like every track from top to bottom, so I won’t get into the highlights.
2008’s Flavors of Entanglement is the album I am most excited about presenting this week. Despite letting Guy Sigsworth produce the album, she was still able to create that wet blanket of emotion that overshadowed all of the production. ‘Citizen of the Planet’, ‘Tapes’, ‘Versions of Violence’, and ‘Not As We’ are all tracks that receive heavy consideration for my top 100. The video below for ‘Not as We’ is just as captivating to me as the video we saw for Bjork.
I have typically been throwing out artists that may have flown under everyone’s radar. This week I am switching it up and going with someone who may be over your radar. We’ll see if this sets a trend for future picks.
Proposed listening;
Jagged Little Pill (1995)
Supposed Former Infatuation Junkie (1998)
So Called Chaos (2004)
Flavors of Entanglement (2008)
I am always intrigued by some of the artists I find out that Thomas likes. Just when you think you have him figured out, he will throw a curveball in there just to throw you off. Thomas has liked Alanis for quite some time now, but I really have never given her a chance. Here’s hoping that this can be another artist we can both appreciate.
ReplyDelete“Jagged Little Pill” came out when I was in middle school, and I can remember all my friends being in love with the album. I was in a Beatles stage at that point in my life so the popular music was actually what I was trying to steer clear of. However as I go through this album, I notice that I am quite familiar with most of these songs. “You Oughta Know” is the ultimate female break up song anthem. I love the anger in her voice, and the fact that she is speaking for all women out there on the pain and anguish felt by a broken heart. It is very relatable for me, as it seemed most of the guys I ever dated would quickly start dating someone knew as soon as we would break up. She just found the perfect way to sing about all the anguish we feel as the girl left behind. “Hand in my pocket” is another song easily relatable to everyone. While we may look like we have our lives figured out, it is always a learning process and things change on a daily basis. Her singing style is unique to herself, and I have never seen anyone sing the way she does. Sometimes it almost looks like she is in pain when she is singing. It is unique and quirky though which is exactly who she is. “Forgiven” was horrible, I was feeding Madden when this song came on and he almost immediately started holding his ears and whining. Not one of her best musical performances if I do say so myself. “Head over feet” takes a step in the more positive direction. Instead of bashing that ex-boyfriend, she is now talking about this great guy and how perfect he is. This album is definitely a step by step guide from break up to new relationship. “Mary Jane” is a pretty song and definitely shows a softer/prettier side to Alanis’s voice. “Ironic” is such an iconic song, and because of it’s popularity makes it a song that everyone knows and can sing along with. Overall this album is solid, with only one or two exceptions.
I like the upbeat beginning to the second album with “Front Row.” At first I thought this song was about lusting over a forbidden love, as I dig deeper into the song I start to get a little lost. Even though I’m a little confused behind the meaning of the song, I still think it has a really nice flow to it. “Thank You” is a very familiar song for me. I remember seeing the music video for this song and was pretty surprised to see a naked Alanis Morissette. I really like the message in taking the things that we may have seen as bad things in our life, and turning them into a more positive outlook. “Sympathetic Character” seems like a step in more of a rock/grunge style. While I don’t like the over repetitiousness of the song, I think it offers a look into a more dark/angry side to Alanis’s music. I love the tribal sound to “Can’t Not.” This song is very organic, and I like the blending of so many different sounds. “I was hoping” is another beautiful song. The vocals are stunning, and I like the fast flowing lyrics. “Unsent” is a unique song, I really like that she is singing to five separate ex-lovers and what she would say to them if she saw them today. I think everyone can relate to this song, in having unfinished things they would like to have said to those who impacted our lives. I have to say that Alanis is very original, and when she comes up with an idea for a song she just goes for it. “Heart of the House” is a beautiful tribute she sings about her mother. It seems like she is saying that she took her for granted while she was alive, and now looks back and wonder’s what her mother thought about all the things in her life. This album is a great follow up to “Jagged Little Pill,’ it too is very unique, and shows that Alanis is not just one style of artist.
ReplyDeleteSorry we didn't do this yet guys. We'll have it done today. I had friends in town and then my computer crapped out. I spent most of yesterday trying to figure out how to replace it with limited funds. Again, I apologize, just consider Alanis week active until everyone's posted and I'll start my short week after that. Apologies from me and David.
ReplyDeleteAlanis’s work is very familiar with me, as all of her commercial output was part of the everyday format during my stint at The River. I’ve never explored her catalog any further until this week. Her domination of the pop charts was undeniable in the 90’s; her music has struck a chord with millions of people, so she has to be doing something right.
ReplyDeleteJagged Little Pill is chocked full of nostalgia. Half of the albums tracks were released as singles and were all massive hits. I think the misconception with this album is that it was strictly for the ladies; even with the lyrics of female empowerment and male chauvinism, Alanis exudes a universal appeal that spans every demographic. It is undeniable that this album was conceived in the 90’s; there are elements of grunge, early alternative-rock, and adult-contemporary music throughout. Like Bjork, Alanis can blur genres by simply mesmerizing you with her natural personality behind the mic. Like Dusty Springfield and Patsy Cline before her, she is speaking to her generation but doing it with a voice that will transcend generations after. The highlights for me on Jagged were the non-radio hits, the sincerity in tracks like “Perfect” and “Forgiven” is refreshing and the arrangements in these songs at times reminds me of The Bends-era Radiohead. This album deserves every praise it has received.
“So Called Chaos” starts off with the bizarre “Eight Easy Steps.” Thomas has played this song for me before, and I remember thinking that is was a little too eccentric for me. I think the lyrics are very clever, and the beat of the song is quite catchy, but that is all I really get out of it. “Excuses” is a very relatable song for me. From my over protectiveness, to my own insecurities, it can all be traced back to some form of excuse I have formed about life or myself. The lyrics blend very well with the more upbeat tempo as well. “Knees of my Bees” has a worldly feel to it. I think I am hearing a sitar being used, which always makes for an interesting atmosphere. Alanis’s voice seems to be showing a little more of an aggressive tone so far on this album, which I actually like because it makes her stand out. The title track sounds very familiar; I am thinking this might be one of Thomas’s favorites. It has more of that rock edge that Thomas seems to like. “Everything” must be the track that got the most radio play. I think Alanis’s voice, though subtle, really shines and sounds quite beautiful on this track.
ReplyDeleteSupposed Former Infatuation Junkie takes on a more worldly sound and finds Alanis a bit more vulnerable. “Baba” has Alanis questioning religion and those looking for instant salvation, pretty heady stuff that might have alienated a few fans. “Thank You” is in the vein of “Ironic” in the sense that we should reflect on the little nuances of life and maybe have a lighthearted approach to our everyday living; there is still a religious undertone carried-over into this song. “Are You Still Mad” finds an introspective Alanis spreading the blame over to herself for a failed relationship, something she wouldn’t have acknowledged on Jagged; there is a nice orchestral flourish at the end of this one. Where Jagged was a windows-down unapologetic anthem machine, this collection of music seems more suited for a rainy day. She dabbles in down-tempo on “Can’t Not” to mixed results; I’ll listen to Portishead if I want this. “One” grooves nicely and takes a page out of Suzanne Vega’s book. I think Alanis flourishes in the more understated pieces like “Unsent”, where she effortlessly gushes about past-suitors who helped her to understand herself better. I feel Alanis didn’t have a concrete musical direction with this album; there are hits and misses but her voice comes across much stronger here.
ReplyDeleteAs you mentioned, "Jagged Little Pill" is familiar to most of us, but definitely worth a listen. If anyone else is like me, it's been awhile, and it serves as a great intro to the week to be reminded of her commercial success right off, and how this music was really working for people back then.
ReplyDeleteMy first thought is that her voice is pretty annoying. Funny, I don't remember thinking that back in the day. Maybe because it just worked in the songs of hers that hit the radio. "You Oughta Know" is badass. Stupid Dave Coulier. Of course "Hand in My Pocket" has a solid groove and a catchy chorus. "Right Through You" is a solid effort as well. My favorite track on the album, however, was always "Head Over Feet." The emotion in the song really spoke to me as a youngster, and I think her voice fits this style very well. "Ironic" is of course her best song, I'm convinced - ever - even though I know some people poke fun because some of the situations she sings about are not exactly great examples of irony, just bad luck. None of the non-popular tracks stood out to me on this first effort, perhaps because they completely dwarf everything else. I just think this is one of those examples of where the singles were brilliantly planned out, and possibly the rest of the songs were a much weaker effort.
"Supposed Former Infatuation Junkie" comes out with a refined version of her older sound. I'm not saying better - she just sounds more confident here than before. I actually think this album is much weaker than its predecessor. The guitar on "Baba" almost overpowers - it isn't the type of sound you're used to hearing in female singer-songwriters. I think I get the point - the emotional impact it's supposed to have, but it doesn't exactly appeal to me. "Thank You" is the only track that i was familiar with before this week. Following the pattern of her first album, this is probably the strongest song. Still not as good as "Jagged Little Pill," but still a decent song. I like how toned down it is compared to what I've heard so far on this album. Oddly enough, the next two tracks are terrible. Just terrible. They're confusing and kind of annoying. I welcomed the slower tempo in "That I Would Be Good" after that. With a little more listening, I might be able to get into "UR" and "So Pure." Speaking of emotions, the title of this album screams "anger" and "denial." Seems like Thomas would like the anger part.
ReplyDelete"So-Called Chaos" gets a little more poppy with the intro track, "Eight Easy Steps." The background beat sounds like something Thievery Corporation might be into - it sounds very un-Alanis, but then again it's good to see her trying to evolve and refine her music with the times. From there, nothing really stands out on its own - but what does stand out is that Alanis is way less angry on this album and it works so much better for her. The whole thing sounds like something Y98 could play, some shades of the kind of thing Kelly Clarkson is doing these days. I think I do remember the track "Everything," from previous listens - possibly the radio? It's a pretty solid song, and I think a step up from the previous album. It sounds like she found someone who could deal with her anger and accept her for who she is.
ReplyDeleteHer most recent effort, "Flavors of Entanglement," reverts back to something a little harder and more ethnic, and I'm not sure it works for Alanis. It sounds like pop-electronica in places. I can almost hear "Straitjacket" on the radio or something. This sounds more like the music Thomas seems to like, and suddenly, this week makes more sense. I didn't mind "Moratorium," which at times reminded me of The Postal Service. "Incomplete" is kind of pretty, it's different.
All in all, I like Alanis' earlier work and tend to think there is a reason I didn't realize she was still making music these days - the newer stuff isn't that great. What she was doing straight out of the gate happened to coincide with what was going on in those days. Women singer-songwriters were doing quite well just a few years later with the whole Lilith Fair thing in 1997, which I realize Alanis didn't play.
ReplyDeleteI see what she was doing - trying to change and grow with the times - but in some ways for me Alanis is like a child actor. He or she may try to do something different and veer from his or her roots - but to the masses, Alanis is still "Jagged Little Pill" and that's probably the best way to regard her, in my opinion.
I should probably mention, since my review was fairly negative, that "Jagged Little Pill" was the very first CD I ever owned - I got it for Christmas with my CD player. I loved it then and it will forever hold a special place in my heart, even if I don't think much of her other stuff. (FYI - Puff Daddy and the Family's "No Way Out" was the first one I ever purchased).
ReplyDelete“Eight Easy Steps” is not what I ever expected from Alanis; it comes off as a hastily thrown together radio-single that exudes zero of her personality. I like the beginning of “Excuses” but once again, I get an over-produced chorus that finds me searching for Alanis under a wall of noise. Insecurity is the subject matter in “Doth I Protest Too Much” and this is right in her wheelhouse; when she’s singing about very relatable topics like this, is where she is at her best. It never fails when I hear the sitar, I immediately think of George Harrison; the inclusion of the sitar on “Knees of My Bees” is uncharted territory up until this point, but it helps accentuate the zen state she sings about reaching when she’s around her object of desire. By the time I get to the albums self-titled track, I realize that these noisy choruses are vessels of anger or celebration; I just don’t think it’s being channeled properly. The intimacy of just Alanis’ voice and a piano makes “The Grudge” my favorite song on So Called Chaos. It seems like whenever I had an early morning weekend shift at The River “Everything” was always playing when I stepped into the studio.
ReplyDeleteFlavors of Entanglement is easily the most confusing album I listened to this week. It’s not so much the electronic direction Alanis took, but how this just came off as a collection of tracks and not a cohesive album. I know growth is important for an artist but I really get the feeling that a lot of this experimentation is forced and not organic. The thing I like about Alanis is her introspective and down-to-earth lyrics; the lyrics may still be potent but they get lost in a haze of electronic bombast that doesn’t seem genuine. “Straitjacket” is a prime example of a track that I can’t see an Alanis fan connecting with. “Not As We” is my favorite track of the week, pure beauty and earnestness. “In Praise of the Vulnerable Man” reminded me of a Natasha Bedingfield song, except Alanis’ lyrics are deeper than anything than Natasha would ever conceive. The simple arrangement of “Torch” soars, less is always more with Alanis. “Tapes” is the direction I would have loved to see Alanis build upon with this album, very sweeping and dramatic but not over-done. This album proved that she can still make great music like the kind that captivated millions with Jagged; this underrated singer/songwriter needs to stick to her guns and not be swayed by the current status of pop-radio. This week was a success in giving me the opportunity to study a unique female vocalist that hadn’t received my proper attention.
“Flavors of Entanglement” starts off with a track Thomas has played for me before “Citizen of the Planet.” It is very understandable for me to see why Thomas likes this track so much. The build up that the song delivers is the heaviest that I have heard from Alanis yet. While I am not usually one to promote a heavier sound, I actually think this works well for her. “Straightjacket” has a backdrop best suitable for a Madonna song. I am not sure if Techno is the route she should be taking at this point. It isn’t until “Not as We” that I am back on the Alanis train. This song is stunning and the chorus while awkward sounding, “This time I as I, and not as we,” actually makes perfect sense. I think I actually like the live version of the song better than the album, just because you can see her raw emotion. This is a great song for reflecting after a break up, and is probably my favorite Alanis song. “In Praise of the Vulnerable Man” is a nice song about praising that man in your life, and of course I can definitely connect with this as I can see all those selfless qualities that Thomas has, and how wonderful he is. Well enough with the mushy stuff on to “Moratorium,” which I actually really like as well. This once again has like a worldly/Asian feel to it which I can really get into. “Tapes” is the other standout on the album for me. This might actually be my favorite track yet, I love the lyrics and the beauty of the song. Thomas has played this song before as well, but I was not able to fully appreciate it until this week. This may be my favorite album of the four.
ReplyDeleteI am glad Thomas did this week, I now appreciate Alanis Morissette much more for her artistry because of it.
I'm gonna say right from the beginning that I've never really been able to get into Alanis Morissette's voice. I saw it described as a yodel when reading some stuff about her, and the description isn't too far off. Her vocal hiccups, especially on slow songs, have always bugged me a little bit, but I went into this week with an open mind, having only heard the first two albums prior to this listening session.
ReplyDeleteLike practically everyone else in North America in 1995, I owned 'Jagged Little Pill'. It was practically impossible to get away from at the time whether on the radio or on MTV, and is just one example of many of a nation getting swept up in a particular sound that fits the times in which it's released. Coming off the heels of the riot grrl movement and Liz Phair's 1993 album 'Exile in Guyville', music by empowered, angry women were definitely en vogue at the time. Alanis hit at just the right time with her mix of anger and bitterness. Musically, only a couple of songs on the album still hold up these 15 years later, as much of the production on the album was definitely a sign of the times in which it was released. The first two tracks on the album are two of those that do still work. "All I Really Want" is full of energy, and features some really catchy guitar work throughout the verses of the song....it was really the perfect choice to open up the album. "You Oughta Know" has always been Alanis' most well-liked and well discussed song, and it has those titles for a very good reason. To me this is one of the only times that I'm able to really FEEL the emotions that she's singing about, and honestly I would have trouble ever showing my face in public again if I were Dave Coulier. Very few times has an emotional stab in the back been so well articulated by a 21 or 22 year old artist, and it perfectly explains the way a person of that age group would feel about her being screwed over. "Hand In My Pocket" is the second of the six mammoth singles from the album, and still works well as a pretty solid, up-beat little pop song. "Right Through You" is my favorite of the non-singles on the album, and Alanis again does a pretty good job at conveying the feelings of a hurt young woman, but at the same time a lot of it was taken fairly liberally from Carly Simon's "You're So Vain" (which fits, as the public always wanted to know who that song was about, much like everyone wanted to know the man that was being ripped apart by Alanis.) After the terrible song that is "Forgiven", the radio hits pick up again with "You Learn" and "Head Over Feet". The former is about taking the difficulties that life hands you every day and learning how to make yourself a better person on the other side, while the latter finds Alanis doing a complete reversal from herself earlier in the album, and once again finding what seems to her like a possible true love. "Ironic" was Alanis' biggest hit of all, and was literally EVERYWHERE when it was released. The most ironic thing about the song to me is that although it was her biggest hit, I thought even at the time that it was the worst of her singles....lyrically it's pretty weak, and most of the situations in the song aren't even ironic. The album ends with a couple of songs that I don't even remember from hearing this album many years ago, and the only familiar thing from them is that programmed drum beat which is featured on literally every single song on the album. In the end, this album features one brilliant song and a few others that I'll always be able to go back and listen to, and honestly it was a better listen than I thought it would be 15 years after it's heyday.
'Jagged Little Pill' Album Rating: 61%
'Supposed Former Infatuation Junkie' is similar in certain ways to it's predecessor, but it sees Alanis taking a little more of a wordly view than 'Jagged Little Pill'. "Baba" is sort of like an atheist's theme song, as it takes a pretty mocking tone towards the different faiths in our world, and directly attacks different religious figures that have shown to be unworthy of their praise, such as the blood-thirsty Hindu goddess Kali. "Thank U" was definitely the biggest song off of this album, although it was probably best known for it's video which featured a naked Alanis covered only by her hair while walking through the city streets. Like Justin said, it's similar in tone to "Ironic", but I tend to like this song a little more than that one, as it sees Alanis coming to terms with some faults that she sees in herself, and trying to rectify those things. "That I Would Be Good" is a pretty touching song in which Alanis wonders if she could maintain a sort of happiness in the face of adversity, which is a thought that every one of us has sometimes. "Can't Not" features a fairly annoying vocal from Alanis and a pretty bad attempt at some trip-hop type production, although the dark strings in the low end of the mix are pretty cool at the same time. "One" takes on trip-hop again, this time to a better end....the song is very pretty throughout, and is most likely my favorite song on the album. "Unsent" has a pretty unique lyrical set-up in which Alanis is reciting letters to former lovers, and in the end it's a really interesting way to get over some hangups that she might have with how some of her former relationships may have ended. The guitars on at the beginning of "Joining You" make me think that there's about to be a Collective Soul song starting up, but that quickly disappears and a fairly standard, yet decent Alanis Morissette song kicks in. Overall, while the musical direction of this album might be a little more disjointed than on 'Jagged Little Pill', I think you see Alanis starting to think of herself more as an artist here than just someone with a lot of pent up anger that just needs a place to release it....in all it's a pretty good album, and was much better this time around than it was when I heard it when it first came out.
ReplyDelete'Supposed Former Infatuation Junkie' Album Rating: 57%
I have to say that upon my first listen to 'So-Called Chaos', I was shocked. All of the passion and energy that I had known Alanis Morissette for in the past had been entirely drained away. For the second time this week, I have to make a Liz Phair reference. Liz was the indie/alternative queen in the early 90s, and her albums descended in quality all the way until 2003 when she hit rock bottom, making an album full of pop schlock that hardly seemed as if it could be from the same person that had captivated many only 10 years earlier. While this album doesn't quite reach the lows that Phair's did, it's still very disappointing when comparing it to the music that Alanis had made in the past. Practically every song on this album just has a really generic rock/pop feel to it, and only in several spots throughout the album did I find a part that really stands out to me. Alanis' vocal on "Not All Me" hits a pretty nice note, and the electronic additions are a nice attempt. "This Grudge" is really the only highlight in my opinion that the album has to offer, as it hearkens back to her 'Jagged Little Pill' days, and shows the growing up that she's done in the intervening 14 years since the famous break-up that inspired that album. I had never heard "Everything" before this week, but I can tell why it was apparently the big single off of the album. It still contains a lot of the same production faults as most of the other songs on this album, but it has a sort of tenderness that's missing from most of the other tracks. Alanis is obviously at her best when she shows some emotion, and while it's not up to the standards of the past in that case, she does show her feelings a little better on this song which makes it a little more memorable. In the end, this will probably be an album I won't return to, but it's still good to see the difference in the way Alanis approached music and lyricism into her 30's.
ReplyDelete'So-Called Chaos' Album Rating: 39%
'Flavors of Entanglement' opens up with Alanis taking a worldly approach on "Citizen of the Planet" similar to "Baba" on an earlier album. "Underneath" is a very interesting song, as Alanis puts forth the idea that everything we do in our small every day lives is a microcosm for things that happen in the larger picture of international relations. She believes that if we were to approach problems in our every day lives differently, then it might in turn have a sort of butterfly effect on the problems in the world....the song was very intriguing. "Straitjacket" has a sort of Ladytron electronic feel to it (Ladytron are a female fronted fairly heavy electronic band), and it's definitely different than anything I would have expected from Alanis....and I like it. "Not As We" goes back to the same well that she dipped out of in the 90's, with Alanis attempting to start life anew after an emotional breakup. The images are nice, but the song in all just isn't up to the par of her songs based on similar subjects in the past. I can feel the happiness in Alanis on "Giggling For No Reason" in the way the music is composed, and while it's pretty corny, I still kinda like the song. "Tapes" is where the instrumentation hits it's high point in combination with Alanis former style. The sound on this song is definitely one she should try and emulate again the future....it sounds current, and nothing in her vocal performance sounds forced when trying to match the music. This was unexpectedly one of my favorite songs of the week, and will probably be one that I listen to again in the future. I'm sure this isn't Alanis' final album, but if it were, "Incomplete" would be a good way to go out. Throughout her career, Alanis was searching for completeness....but in this song, she finally realizes that the incompleteness of her life might actually be what makes her who she is. It really signals the growth that Alanis Morissette has made as a human being, and that growth has definitely caused me to respect her more than I ever thought I would. This album has a bit of an inconsistency in sound, but lyrically it sees Alanis reaching some heights that I wouldn't have thought possible before this week. This was an excellent pick overall by Thomas, and in particular I can see why he was excited to introduce us all to this album.
ReplyDelete'Flavors of Entanglement' Album Rating: 55% (Don't let the rating fool you...there were a couple of songs that brought the final score down, but in all I really liked the album)