BoDeans

Most bands--no matter how long they've been around--get one shot at the big time. Seniority doesn't mean squat in the music business--you're only as good as your last charting single.

Take the BoDeans. The band was named "Best New American Band" by Rolling Stone in 1987, following the release of their second album. Yet they didn't have a hit until 1995--and even then, it was a complete fluke, and turned out to be their first and last brush with the big time.

The beginnings of the BoDeans reach back to 1979, when singers/songwriters/guitarists Sam Llanas and Kurt Neumann started playing together in their hometown of Waukesha, Wisconsin while still in high school. The band later added a drummer and bassist and in 1985, signed to Slash Records, a subsidiary of Warner Bros. and entered the studio with famed producer T-Bone Burnett (Counting Crows, The Wallflowers). The debut, Love & Hope & Sex & Dreams was released in 1986.

Their sophomore effort, 1987's Outside Looking In managed to reach a broader audience. With the Talking Heads' Jerry Harrison (Live, Crash Test Dummies) at the helm, the band broke into the big time, opening for U2 and breaking into the Top 100 best sellers album charts.

Home and Black and White followed in 1989 and 1991 respectively and were met with mixed reviews, but it would be 1993's Go Slow Down that would eventually help break the band to mainstream pop radio--eventually being a key word here. Hooking up once again with producer T-Bone Burnett, the group decided to return to a more acoustic folk-rock sound. The album was released in October of 1993, and, while being critically acclaimed on its initial release, didn't fare much better than their previous works commercially.

The single may have had something to do with it. On an album filled with great pop-rock songs, the band released "Feed the Fire," a standard rock song that has "'90s alternative" written all over it. Pained howls, tremolo-ed backing vocals, a coda repeated to the point of annoyance. It's what I call "Collective Soul rock"--music that sounds like a Seattle band and hits all the right notes a Seattle band might, but ultimately is lacking. It's made by guys who don't get it--which isn't good, since, in my opinion, that type of Seattle rock--with a few exceptions--is pretty damn boring to begin with. "Fire" isn't a bad song, but it sounds more like a filler track than a hit single, and it's far from being the best representation of the album.

But a funny thing happened--two and a half years after the release of Go Slow Down, the producers of the uber-'90s Fox primetime soap Party of Five selected the lead track, "Closer to Free," for the show's theme song.

NOTE : Matthew Fox's awesomely floppy hair.
Why he doesn't sport that on Lost, I will never know.

"Closer to Free" was a driving, jangly pop song in a similar vein to '80s R.E.M. and was indicative of other folk-based college rock that became popular in the post-grunge rock scene (Hootie and the Blowfish, Blues Traveler, etc.). Slash Records released the song as a single--there had never been a follow up to "Feed the Fire"--and thanks in no small part to its weekly presence on the show, the song became a hit on the Billboard Hot 100 (#16), Top 40 Mainstream (#6) and Adult Contemporary Top 40 (#3)--nearly three years after the album's release. Oddly enough, it didn't chart on either the Modern Rock charts or the Mainstream Rock charts, where the band had charted five times before.

To capitalize on the success of "Closer to Free," the BoDeans headed back into the studio and released Blend in 1996, led by the single "Hurt By Love." "Hurt" is a fine ballad, and sounds a bit like a slowed down version of "Closer." With its jangly guitars and emotional vocals, it could easily pass for a Gin Blossoms song. The problem was, the popularity of that brand of catchy college rock was starting to fade (except from colleges, where the BoDeans continue to do a business). Had the record company given the BoDeans the same kind of push even a year earlier, their success might have had a chance to continue. The song was a minor hit on Top 40 (#39) and the AC Top 40 (#33). It is their last charting single to date.

In the late 90s, Neumann and Llanas decided to take a break and make time for solo projects. Their next release wasn't until 2001--a greatest hits compilation called Slash and Burn followed two years later by The Leftovers, a rarities comp. During this time they also found themselves in a three year long court battle over their contract with Warner Bros. Their next album, Resolution, wasn't until 2004--a full eight years after Blend. It was released on the independent label Rounder.

2005 saw the release of a 2-disc live album and DVD, Homebrewed: Live from the Pabst--fittingly, the set on the live disc ends with "Closer to Free."

The band continues on--touring occasionally, usually using an acoustic set up after losing their upteenth drummer (shades of Spinal Tap--lets hope it wasn't spontaneous combustion). They released their latest album, Still, in 2008.

I think it's fitting to end this post with the opening of Party of Five's mercifully short-lived spin-off 1999's Time of Your Life which featured the BoDeans covering The Beatles' "I've Just Seen a Face."


Now if someone could just tell me what the hell a BoDean is, we'd be all set.

FIRST SINGLE ("Closer to Free"): A-
SECOND SINGLE ("Hurt By Love"): C+
Random Single: ("Feed the Fire"): C

Download: BoDeans - "Closer to Free"
Download: BoDeans - "Hurt By Love"
Download: BoDeans - "Feed the Fire"

Visit Bodeans.com and buy BoDeans stuff

One Hit and That's It: Willi One Blood

Note: The "One Hit and That's It" will feature people who, for whatever reason, didn't have a second single--or not one to speak of--and seemed to virtually disappear from the music business. This is the first entry.

As a teenager, my friends and I wiled away our Saturdays at boarding school by taking the bus to the Hamilton Place Mall in Chattanooga, Tennessee. The suburban mall is a melting pot of every social group of teenage society: rednecks, skaters, goths, preps, sluts, indie kids, Anime/Dungeons & Dragons kids, stoners, hippies, etc. My friends and I watched from the food court, munching on warm pretzels and Chik-fil-A, wasting time until the next showing of Blade by fitting everyone who walked by into one of the above groups.

When the ultimate mall rat--the wigger--walked by, decked out in Tommy jeans and red FUBU shirt, his fitted hat turned to the side, tag still attached, with wispy hairs scattered across his upper lip and chin--a sad but earnest nod to a real goatee. We all groaned.

"Wiggers have got to be the worst ever," my friend said.

"Without a doubt," we all agreed. What could beat a wigger?

"Hippies," another friend said. I didn't agree. I had friends who could be considered hippies, they weren't bad, though I knew deep down that hippies at their worst could easily rival even Snow himself.

As if to silence our conversation, walking past the Great Wraps gyro place at that moment was a young man with light brown, shoulder length dreads tucked into a beanie, his skinny frame covered in an XXL tie-dye shirt with the sepia-toned visage of Bob Marley printed on the front, shorts so long they almost touched his Birkenstocks, and a kinky chin beard that reached his chest. He carried a bag from Camelot Music, no doubt stuffed with drug paraphernalia and black light posters.

He was a White Rastafarian. The worst of wiggers mixed with the worst of hippies to create the ultimate cultural insult.

And what goes with White Rastafarians? Reggae music. The problem is, the White Rastafrian's knowledge of reggae extends no further than Bob Marley's greatest hits album Legend.

By 1994, the white guy dreadlocks had made their way into mainstream rock music through Adam Duritz of Counting Crows, but, mercifully, the white guy reggae was still held at bay--until our hero came on the scene with the Dumb & Dumber soundtrack.

The Dumb & Dumber soundtrack is like a time capsule of flash in the pan bands from 1994-95--The Proclaimers, Green Jelly, Pete Droge, Deee-Lite, Butthole Surfers, Deadeye Dick, and, as previously covered, the Crash Test Dummies all appear, some playing hits, some playing covers or b-sides. Quite an amazing collection for anyone who was incredibly impressed with that year's modern rock output.

Then there's our hero, Willi One Blood's (aka William Harbour, Jr.) "Whiney Whiney (What Really Drives Me Crazy)". Mr. One Blood is an artist who came out of nowhere, as if his sole purpose was to have this song appear on this soundtrack and later disappear into a cloud of ganja smoke and incense. The song starts out with the sound of a door closing, some cowboy sounding guy saying "hold it stranger!" and then a cartoon sound effect leads us into Willie making proclamations about a "New dance! It's an old dance come back again!" over a vaguely Middle Eastern Indian melody, he then gives us a cliched "Lord-a-mercy!"--leading one to think he might actually be Dave Chappelle's Rasta character from Half-Baked-- before the song's beat breaks in with a saxophone goofily doubling One Blood's vocal melody. The song then begins to borrow heavily from '60s music, filling up several measures with at least two classics--"The Locomotion" and The Kinks "You Really Got Me," but screwing both up with unnecessary Willieisms. The song even credits Henry Mancini as a songwriter, although I'm admittedly not knowledgeable enough to know which parts are him ripping off that great composer.

Mr. One-Blood might defend his choice of using other songs as sampling, but really, it sounds closer to a reggae version of one of "Weird Al"'s famous polka medleys in which he runs together ten or so popular songs, all played as traditional polka. That's actually the best comparison I can come up with for Mr. One Blood. He's like a reggae White Rasta version of "Weird Al"--and yes, that's as good as it sounds.

But here's the problem--I don't think he's joking. Sure, he means for the song to be fun, but not quite for it to be the joke that it came out sounding like. The song's lyrics (and video) really seem to be calling for people to start doing this new "Whiney Whiney" dance that he's proposing. He desperately wants this thing to catch on, although, strangely, he never gives instructions, except for explaning that a) It's a new dance, and b) it really drives him crazy.

Here, in all its glory, is the video featuring Mr. One Blood, many stereotypical looking Indian people, some scantily clad women doing what I assume is the "Whiney Whiney" dance, and some random clips from Dumb & Dumber (by far the best part):

The song went to #34 on the Top 40 charts, #62 on the Top 100 and #34 on the "Rhythmic Top 40" which is something new to me, but which apparently leans towards rhythmic (key word) R&B, hip-hop and dance based music. The Dumb & Dumber soundtrack peaked at #62.

But that's not quite the end of Willi One Blood--first he appeared as "1st Stansfield Man" in Leon aka The Professional opposite Gary Oldman, Jean Reno and Natalie Portman. Um...I think you'll be able to pick him out.
Caution: ultra violence in this clip

"The fuck you know about music?" -- Willi One Blood, The Professional.

And did you see the way he shot that gun at that little kid? That deserves at least an Independent Spirit Award. One Blood continued his acting career in the box-office smash that turned Jerry O'Connell into a mega-star, MTV Films' Joe's Apartment.

Also, somewhat surprisingly, he did release a second single in 1996 called "It's True," but I'll be damned if I could find any evidence that it actually existed beyond an entry on AllMusic.com. That's right, no second single this week, I have failed you, dear readers! Regardless, the song--if it was even released (and I do have my doubts)--failed to do anything and saw Willie drop off the planet for a good, oh, 14 years.

What was One Blood doing all those years? Did he take the cash from his one hit, skip down to Kingston and blow it all on weed and Wailers bootlegs? Probably. Did he travel to different countries, with nothing but a turntable and microphone (perhaps two turntables?) singing his one song, and trying in earnest to teach his "Whiney Whiney" dance to hundreds of people in war torn, third world countries? Man, I hope so.

However, the picture to the left suggests a Hook-like scenario wherein Willi got amnesia, forgot he was ever a white rasta/hip-hop/reggae singer, and instead married, had children, settled down in Coral Gables and became an accountant or PR rep. Whatever he's been doing, Captain Hook must have captured his kids 'cause he's back in action, crowing his ass off and reggae-rapping like nobody's business.

Like all other has-beens or never-weres, One Blood has a MySpace page that reveals him to be, among other things, 104 years old, female, currently residing in Miami and a self-described "true original." It would also seem from the pictures that he's decided to spit in the face of all women by going and cutting off his lovely dreads--so as to just look like a normal white guy singing reggae.

The songs range from the sub-Sean Paul to sub-Wyclef Jean. Try not to roll your eyes at the sample heavy awfulness of "Best of One Blood" or "Life is Like a Road" (paging Tom Cochrane), both of which sound like they were made using Windows 98 versions of Audacity and Acid Music. Maybe this just isn't my type of music, but the vocals sound more like a parody of reggae than respectful. According to the page, these songs all come from the aforementioned forthcoming album, Blazing, a title which I can only assume is a social commentary on the devastating forest fires California has experienced over the past few ye--what? Oh. He's talking about weed again, isn't he? Damn these White Rastafarians!

I will leave you with a question for today, followed by a quote from Mr. One Blood:

Dumb & Dumber's soundtrack CD was only the second CD I ever owned. I'd also count reggae as one of the two or three genres of music I've never managed to get into. Coincidence? Is Willi One Blood to blame for my reticence to experience Lee "Scratch" Perry or Burning Spear?

"One thing I've learned in my travels is that people have more in common than they want to admit. So we might as well learn to live together. One world, one love, one blood."
--W. One Blood, MySpace page

Download: Willi One Blood - Whiney Whiney (What Really Drives Me Crazy)

Canadian Wonder #2 - Crash Test Dummies

If I had been really thinking ahead in 1993, I would have made a pop culture time capsule, just to represent where America's mind was in that year.

In the capsule would have been a VHS copy of Pauly Shore's Son in Law, a John Stockton Utah Jazz jersey, a couple of R.L. Stine Goosebumps novels, and, without a doubt, a cassette single of the Crash Test Dummies' hit single "Mmm Mmm Mmm Mmm."

What was going on in 1993 that would allow Americans to accept such a bizarre song into their homes and cars? Did the Bills losing their third consecutive Super Bowl open a door to an alternate universe? Did David Koresh seek vengeance on America from beyond the grave by making a Pauly Shore movie a box office smash and giving R.L. Stine an insanely lucrative career as an author? Maybe a gas leak that reached every suburb in the country?

But I digress. Perhaps "Mmm Mmm Mmm Mmm" isn't even the most unusual one-hit wonder of the '90s. Might I remind you that just a year earlier, a Flatwoods, Kentucky redneck with a mullet the size of which no man can measure unleashed "Achy Breaky Heart" on an unsuspecting public? And when there are artists like Green Jelly and Willi One-Blood out there, you can't call it the weirdest--but it's probably in the top 5.

The thing about "Mmm" is that a description of the song can't really do it justice. I'll give it a go though: "Mmm Mmm Mmm Mmm" is a a folky alternative rock ballad that tells three different stories of bizarre hardships suffered by children, sung by a vocalist who vaguely sounds like he's just inhaled sulfer hexafluoride, with each verse followed by a chorus that's entirely hummed (hence the onomatopoeia title). That's as good as I can do and it still doesn't hit on the specific creepiness of the lyrics about girls with birthmark ravaged bodies and boys whose parents belong to a strange, unnamed religious sect that requires them inact seizures from their pews. This being the '90s, the song was of course given the MTV treatment with a strange little video that featured children acting out the incidents in the Dummies' song as one-acts plays (shades of Rushmore), as well as an excessive number of shots featuring vocalist Brad Roberts' making peculiar facial expressions during the chorus (gotta emote somehow when you're humming I guess).

The first single from their second album, God Shuffled His Feet, the song was a worldwide hit, going to #4 on the Hot 100 US chart, #2 in the UK and #1 in Australia. Surprisingly, in their native Canada (they hail from Neil Young's town of Winnipeg, Manitoba), the tune didn't even break into the top ten, falling behind the success of the group's first single, the amusingly earnest "Superman's Song," which hit #4 in Canada and only made it to #56 in the US.

But these are just numbers. For time-tested, scientific proof that this song was a massive hit, we turn to our friend "Weird Al" Yankovic, who turned his mad parodyin' skills on the tune with "Headline News"--a song that replaced Dummies' lyricist and singer's stories about childhood oddities to humorous accounts of Michael Fay's caning in Singapore, the Nancy Kerrigan/Tonya Harding incident and Lorena and John Wayne Bobbit's ordeal, the climax of which was described with one line, where Bobbit awakens to find that "Mr. Happy was missing." Oh, "Weird," what will you do next?

But how to follow up such an unusual hit single? The problem is, you really can't.

After the non-showing that was the group's next single, "Swimming in Your Ocean," a slightly more uptempo and rocking track with a video possibly creepier than their hit single's , the group managed to hit the US charts again with "Afternoons and Coffeespoons," a song based on the freshman English student favorite The Love Song of Alfred J. Prufrock, a poem by T.S. Eliot. If we learned anything from Andrew Lloyd Weber's CATS--a musical adaptation of Old Possum's Book of Practical Cats--it's that T.S. Eliot poems do not translate to popular media. Brad Roberts and the rest of the Dummies were apparently unaware of this fact. But who am I to criticize? CATS ran for approximately 80 years on Broadway, so maybe they were hoping for quantity and longevity instead of quality.

But again, here's an example of a song that's not bad at all. It's a fun, catchy song. Not great, but it's a fine follow up, but likely not what the public was looking for. Unless you count the references to T.S. Eliot or Roberts' vocals, there's nothing all that unusual, and, despite an enjoyably hooky chorus, to audiences today it may come off as a bit generic. Dare I say people might have wanted it a little bit weirder? The music, instrumentation and song itself doesn't sound that far removed from the '90s roots based college rock bands to come later in the decade--Blues Traveler, Hootie and the Blowfish, etc. Except it has that voice, which, granted, sounds far more palpable on this track. Still, I'd wager US audiences just weren't ready to hear that voice outside of any context except "Mmm Mmm Mmm Mmm." "Afternoons and Coffeespoons" peaked at #66 on the Hot 100 charts.

But for me, I never even heard "Afternoons and Coffeespoons" on the radio. The next Dummies single I heard was a cover of XTC's Nonsuch classic, "The Ballad of Peter Pumpkinhead" which was released on the original soundtrack to Dumb & Dumber--a movie which also featured "Mmm Mmm Mmm Mmm," though it wasn't included on the CD. "Pumpkinhead" is a fairly straightforward and unimaginative remake of XTC's hit, except there's something unusual about it. See if you can guess what I'm talking about:

No, not the Jeff Daniels cameo, though that is quite awesome. No, it's not that they omit the second verse from XTC's original (though they do, and huzzah for noticing). Get this: Brad Roberts is only the backup vocalist! He's not singing lead! Yeah! They've got some chick named Ellen Reid singing lead. Who's Ellen Reid? How the hell should I know? Far as I can tell she was a band member who usually sang back up, but they gave her this shot since Roberts, no doubt, couldn't quite reach those Andy Partridge notes very easily.

Now, forgive me, as I'm about to contradict myself. I realize I just said "Afternoons and Coffeespoons" didn't hit because people couldn't get down with Roberts' voice, but in the end, that is their hook. Roberts' voice is the band. You either like it or you don't and there's no in between. If the track were just a one-off for the soundtrack, it'd be one thing; but they released it as a single! Bad move. Makes it look like you're trying to change the band's image and sound by changing what makes the band unique (even if not everyone likes it). Giving some generic chick the mic just makes you into a generic bar band. Sorry, Dummies, but The Second Single is all about tough love. There will be no coddling here.

Though God Shuffled His Feet was the pinnacle of the band's career, the Dummies nevertheless charted with their next album, A Worm's Life, and continued to be successful in Canada up through their fourth album, Give Yourself a Hand, which reportedly found Reid taking on more vocal duties, Roberts trying out a falsetto and the band including "electronic elements" (shudder).

After Hand, they left (or were dropped by) BMG records, and Roberts was nearly fatally injured in a car accident. While recuperating in Nova Scotia, Roberts became friends with some local fisherman/musicians and reportedly wrote and recorded a bunch of songs with these guys. Though intended as a solo album for Roberts, the Dummies agreed to tour behind the album, titled I Don't Care That You Don't Mind, and slapped their name on it. According to AllMusic.com the album has an almost "Southern feel," and they compare it to Chris Isaak. Mmm-hmm (mmm mmm). The next album, 2003's Puss N Boots, also started life as a Roberts solo album, but soon became the Dummies' six album. In 2004 came their eighth studio album, Songs of the Unforgiven.

Though the band is said to be done with touring, and Roberts has moved on to solo material (reportedly promising not to slap the Dummies name on it this time), the band did manage to squeeze out a Best of album in 2007, giving new audiences a chance to hear the magical baritone and folky alt. rock that was the Crash Test Dummies. But why the Dummies get a Best of and the Criterion Collection Encino Man isn't any closer to being a reality, I'll never know.

Download: Crash Test Dummies - Afternoons and Coffeespoons
Download: Crash Test Dummies - Mmm Mmm Mmm Mmm