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Jagged little anniversary

Classic Alanis album gets deluxe treatment

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Alanis Morissette, gay news, Washington Blade
Alanis Morissette, gay news, Washington Blade

‘Jagged Little Pill’ has been re-released in a deluxe edition. (Photo by John Salisbury; courtesy Rhino)

It seems impossible to imagine that two decades have passed since Alanis Morissette made massive waves with one of the ‘90s most pivotal albums, “Jagged Little Pill.”

Potent and intensely emotional but also highly polished and commercial, “Jagged Little Pill” is one of the decade’s cultural landmarks. In celebration of the album’s 20th anniversary, Morissette has teamed with Rhino Records for a new four-CD Collector’s Edition. It includes a newly remastered version of the original album, a disc of demos and outtakes of songs that did not make the record, an entirely acoustic version of the album (which Morissette had previously released in 2005 to mark its 10th anniversary), and a CD capturing Morissette’s first live performance in the U.K. at the Subterranea in London in September 1995, just as “Jagged Little Pill” was really taking off.

Is it worth it to pay the $40 or so to pick up the collector’s edition if you already have your original CD from 1995? For most casual fans, the answer is going to be no. Yeah it’s a nice enough set and the packaging is lovely, but the most essential part of it is the album itself. While the remaster sounds nice, it’s not such a revelation that the original CD pressing should be considered obsolete. Of course, it is indeed a classic album. Morissette took to her blog recently to reflect on “Jagged Little Pill,” and she describes its meteoric impact as only she can: “There was a cultural wave swelling … a readiness, perhaps, for people to hear about the underbelly, the true experience of being a young, sensitive, and brave person in a patriarchal world… This wave was moving through culture with or without me, and I happened to grab my glittery surfboard and rode that wave like a feisty androgyne on the back of a megalodon.”

The first big hit was “You Oughta Know,” an obsessive, confrontational, angst-ridden rocker that took alternative radio by storm and then crossed over to MTV and the Top 40. It remains one of the decade’s most iconic singles, an anthem for those not content to fade away meekly after being wronged. “Right Through You” exists in the same stylistic territory, and the trippy rocker “All I Really Want” opens the album with a bang. Most of “Jagged Little Pill”, though, is engaging, well-polished pop/rock. Singles like “Ironic,” “Hand in My Pocket,” “You Learn” and “Head Over Heels” all became substantial hits, leading “Jagged Little Pill” to 13 weeks at no. 1 on the U.S. album chart and to worldwide sales in excess of 30 million copies. The album holds up very well two decades later, and it’s an enjoyable blast from the past to listen to these great songs again at full volume.

Unfortunately the three discs of bonus material are largely inessential. The collection of demos is at least somewhat interesting, but it’s clear from the beginning there is a reason why these songs did not make the album. Tracks like “Superstar Wonderful Weirdos” and “Death of Cinderella” are really just unfinished sketches, although some of them sound like they might have been quite good had they been fully fleshed out. In their current state, unfortunately, they aren’t compelling enough to inspire repeated listens.

The acoustic disc — which many fans probably already own — is rather sedate and bloodless. One of the things that makes the original “Jagged Little Pill” so great is the manic energy, and that’s missing here. Some songs work better than others. “Perfect” and “Mary Jane” are lovely, but the edgy rockers like “You Oughta Know” and “Right Through You” just sound limp. The live disc, again, will mostly appeal to hard core fans. Despite it’s status as a historic show — Morissette’s first performance in the U.K. — it doesn’t really jump out as the fierce live document that one might expect. The sound quality isn’t particularly great, and Morissette’s vocals are a bit rough at times.

Those who prefer the middle ground can get the two-CD deluxe edition which includes only the remastered main album and the CD of demos. That may be the way to go if you really feel the urge to upgrade your well-worn 20 year-old original. “Jagged Little Pill” is undoubtedly a cornerstone album that is worthy of exploration for a 20th anniversary edition. However, if you have the original CD, you can celebrate its anniversary just fine by revisiting it, preferably at as loud a volume as possible. The new 4-disc collection is a nice collector’s item for the die-hards, but casual fans will probably skip through the bonus material once and then never revisit it again, preferring instead to focus on the stellar original album, and understandably so.

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Music & Concerts

Underdog glorious: a personal remembrance of Jill Sobule

Talented singer, songwriter died in house fire on May 1

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Writer Gregg Shapiro with Jill Sobule in 2000. (Photo courtesy Shapiro)

I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.

Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).

Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.

With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.

Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”

That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.

While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.

Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.

On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.

Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.

In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.

When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.

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Music & Concerts

Tom Goss returns with ‘Bear Friends Furever Tour’

Out singer/songwriter to perform at Red Bear Brewing Co.

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Singer Tom Goss is back. (Photo by Dusti Cunningham)

Singer Tom Goss will bring his “Bear Friends Furever Tour” to D.C. on Sunday, June 8 at 8 p.m. at Red Bear Brewing Co. 

Among the songs he will perform will be “Bear Soup,” the fourth installment in his beloved bear song anthology series. Following fan favorites like “Bears,” “Round in All the Right Places,” and “Nerdy Bear,” this high-energy, bass-thumping banger celebrates body positivity, joyful indulgence, and the vibrant spirit of the bear subculture.

For more details, visit Tom Goss’s website.

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Music & Concerts

Kylie brings ‘Tension’ tour to D.C.

Performance on Tuesday at Capital One Arena

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Kylie Minogue visits D.C. on Tuesday.

Aussie pop icon Kylie Minogue brings her acclaimed “Tension” world tour to D.C. next Tuesday at 7:30 p.m. at the Capital One Arena. Tickets are still available at Ticketmaster.

The show features songs spanning her long career, from 1987 debut single, “The Loco-Motion,” to “Padam, Padam” from her album, “Tension.”

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