Modern music fans have an amazingly short memory. The reigning mentality is “here today, gone today.” It’s a scary time for bands to be absent from the scene for an extended period of time. The music scene is full of bands who’ve sold millions of records one year, only to be treated like a drunk uncle at a family reunion when they’ve tried to reclaim their glory.
This is a world that the Dallas, TX based Toadies, featuring Todd Lewis (vocals and guitar), Lisa Umbarger (bass), Mark Reznicek (drums) and Clark Vogler (guitar) find themselves returning to. The band’s breakthrough record “Rubberneck” came out in 1995 but it took a year for the single “Possum Kingdom” to find a place on MTV and radio, eventually resulting in over 1 million records sold (Remember that song? With the chorus, “And I promise you/I’ll treat you well/ My sweet angel/So help me Jesus.” Maybe not).
Fast forward to five years later. The band managed to survive a corporate merger that left many other bands without contracts and a personnel change to finally release “Hell Below/Stars Above.”
With 12 songs clocking in at a surprisingly economic 44 minutes, Toadies have delivered a dang good album. If there’s justice in the world, the million or so folks who bought “Rubberneck” will pick up this album, along with some new converts.
“Hell Below/Stars Above” picks up where “Rubberneck” left off, an addictive blend of angular twin guitar attacks, the half-screaming/half-crooning singing style of Lewis, brutally nimble drum work from Reznicek and held together by Umbarger’s frozen oatmeal-solid bass lines. Toadies excel in creating a tornado of sound without sounding overcrowded or too busy trying to impress with tricks or gimmicks.
Lyrically, Lewis tends to focus on very dark, almost Gothic takes on love and relationships, yet there’s still glimmers of optimism that shine through. For example “Peel away/Your skin/Just a little more/You can let me in/Just a little more” from “Sweetness.” If taken literally, it’s kinda creepy, but as a metaphor it’s interesting. Multiple layers and interpretations, a little more substance than “Nookie.”
While the Deep South religious dread that ran through most of “Rubberneck” is absent on “Hell Below/Stars Above,” Lewis continues the idea of role playing through his lyrics, inhabiting the skin of various loners, young and old, and possibly a vampire, similar to “Possum Kingdom.”
The whole record is one highlight after another, but there are a few notables. The stop and start Southern boogie of “Push The Hand” is a heady track that sounds like Lynard Skynard crossed with Helmet. The title track “Hell Below/Stars Above,” a song about a guy in the aftermath of a break-up, shifts from a breakneck punk song – complete with a gang of folk chiming in on the chorus – to an almost rock gospel tune in the second half. Even more surprising is how well it works.
For music fans sick and tired of having rap-rock bands and the likes of Matchbox 20 being championed as “rock,” pick up “Hell Below/Stars Above.” And remember the name Toadies, it may be another few years before a follow-up comes.
