![]() The Bosstones just seemed somewhere in the middle, pleasantly and, in retrospect, more and more the wax mold from which were smelted the Less Than Jakes, the Goldfingers, the Mustard Plugs, the Cherry Poppin’ and the Big Bad Voodoo Daddies-asshole punks and poseurs that found some mainstream success in tempering their libidos.īut since it’s so fruitless to trace these late ‘90s alterna-rock singles back to the moment of conception politic, the Bosstones may only get their proper due in “The Impression That I Get.” For a track that glows by the slivers of its finer points, it’s the least beholden to its ilk, all oddly aggrandizing vocal harmonies and guitar piddling mixed to accentuate the blaring trombones instead of just checking with the obvious melody or shrewdly rubbing against it. At a time when trumpets, trombones, and Blink 182 proved to be an engaging formula-when Sublime both fueled and mitigated the tide of reggae-punk threatening to crash down on whatever paradigm of ska the Toasters were riding out on the other coast-bands in a similar light tended toward one of two extremes, either graphically stupid or ignorant, at the utter mercy of poop jokes or straightedge for Jesus. The Mighty Mighty Bosstones "The Impression That I Get" (Mercury/Big Rig 1997)īuilt to set the curve and then fizzle out at the cusp of their commercial viability, the Mighty Mighty Bosstones set aside twelve years of vaguely punchy, agro-frat ska to embrace the very essence of their horn line in 1997’s Let’s Face It. Though, as it turns out, they only wanted to hear it for about five minutes. They just wanted to hear some fuckin’ FILTER, man. ![]() The kids didn’t need them to be “The Band That Plays ‘Hey Man, Nice Shot’” to love them. In fact, they had to strain their sound in order to ever have another hit, Title of Record’s (1999) taffy-tugging reach-around, “Take A Picture.”įilter’s different from a One-Hitter because they didn’t have to be something else to gain success. And this is what differentiates Filter from One-Hit Wonders: they didn’t score a hit by straining their sound in any populist direction their sound was already populist, but of extraordinarily limited appeal. People love that sound…for precisely the amount of time that it takes “Hey Man, Nice Shot” to spin. It’s a perfect distillation of the sound the band started out with, and to which they remained faithful for another five years. Bands become drunk with the success of this abnormality, they concentrate on trying to write the same song again but fool their audience into thinking it’s a different song, and this is largely what comes to determine their overall aesthetic (do I even have to wink in your direction, Fuel? Nickelback? Fiddy?).įor Filter, this process was inverted, since “Hey Man, Nice Shot” sounds exactly like every other Filter song. That is, the hit doesn’t necessarily sound much like the rest of the parent album or the band’s ordinary output. The trademarks of One-Hit Wonders are often obvious singles. ![]() These are shitty bands that, for reasons likely to remain inscrutable for eternity, were able, just once, to piss on the third rail of genuine artistic achievement, and were, by that happy accident, momentarily electrified. I’ve cultivated enough faith in CMG’s loyal readership to know that I don’t have to explain that this is not a“One-Hit Wonders” list. Filter "Hey Man, Nice Shot" (Reprise 1995)įilter’s “Hey Man, Nice Shot” is a lucid argument for the existence of predestination, and as such is scarily emblematic of the spirit of this list’s collection of artists. ![]()
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