Boys and Girls in America. The Hold Steady.
2006, Vagrant Records. Producer: John Agnello
ADDED TO MY COLLECTION: ca. 2011.
IN A NUTSHELL –
Driving guitar rock with a 70s feel. Great, wordy lyrics tell stories about young adults, warts and all.
Singer might not be everyone’s cup of tea. Would have been higher on the list if I’d listened to it more
– it got overshadowed in my collection by other albums by this band.
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This record is by my favorite band from the “new life” era that was created for me when my “old life” was suddenly, and coldly, ripped away by the announcement
– and the subsequent associated all-encompassing thoughts, plans, activities, and emotions – that my wife was pregnant.
In the late 90s, my wife and I lived in San Francisco, in a neighborhood that had been named among “the hippest” in the US and Canada by the Utne Reader. Probably NOT because of the fact that we lived there, but who knows? We are extremely hip.
We went to multiple Farmers’ Markets each weekend, ate brunch at Boogaloo’s or Spaghetti Western, or some other equally-funky cafe, spent our evenings going to pottery class (her) or performing improv (me), saw several movies a month, cooked healthy food, hiked in Marin, or rode our bikes to the beach (on a squiggly route that actually avoided all of The City’s hills). We checked our Juno.com email accounts every couple days (preferably at times when we weren’t expecting phone calls, since the dial-up internet tied up the phone) by launching a program that was separate from our Netscape browser, on a computer with 512 MB of memory (that we thought was way more than we’d ever need) that our tech-savvy friend had recently loaded with cool sound clips from Star Trek: The Next Generation.
Cities and towns were finally starting to recycle, decent (not excellent, but at least drinkable) coffee was finally becoming available everywhere, and Greg Louganis had recently come out, and it didn’t seem to alter my parents’ appreciation and admiration for his diving accomplishments. Life, both within our relationship and in the Clinton Blow Job world around us, was bulging with hot, squirming, exhilarating potential. The Dream of the 90s was alive and well.
I was making an effort to stay up-to-date with music and musicians, to find new acts I liked and discover records I’d overlooked. I can remember feeling proud that I had purchased several CDs released in 1997 (including Dig Me Out, OK Computer, and When I was Born for the 7th Time) and it wasn’t even 1998 yet.
Then mid 1998 hit, and a baby was due, and that old life gradually, but surely, ended. Somehow, music – which had always been extremely important in my life – became less so. Well, that’s not exactly right. NEW music became less important to me. I continued listening to the music I knew, and started to buy more CDs from the artists I’d always loved, but I wasn’t keeping up to date on the latest records by the newest bands. Suddenly, finding a decent rocking chair (no, wait … a decent GLIDING rocking chair (with gliding ottoman!!)
god forbid my kid be forced to rock like everyone rocked for millennia before him) became more important than finding a decent rocking band.
but I didn’t become a “fan” of any newer acts, not in the way I’d typically dived into musical acts in the past, the way I did with Yes or Rush or The Beatles or R.E.M. or The Replacements or Elvis Costello. I wasn’t able to invest the time and energy into a band the way I had in my “old life.”
Sometime around 2007, after getting tired of all my whining about not knowing any new artists, my young, hip sister-in-law, Johanna, gave me a bunch of new music to listen to, and among the batch of records was Separation Sunday, by The Hold Steady. I got hooked on it, and have become a fan of the band, almost like back-in-the-day.
There are two things about The Hold Steady that draw me to them: instrumentation and lyrics. And both characteristics are grandly on display on Boys and Girls in America.
The band employs a double guitar attack, with some keyboards thrown in – not loopy, atmospheric, techno keyboards, but recognizable piano and organ sounds. Most of the songs are driving rock, reminiscent of 70s classic rock, but not blues based – they don’t sound like they’re trying to emulate The Allman Brothers, or Grand Funk Railroad. Although the instrumentation is 70s rock, the songs are more pop-punk in structure.
Here’s a video for the first song on the album, “Stuck Between Stations,” which is a great example of what you get with The Hold Steady:
The song has guitars and bass cranked up loud, thumping drums, and nice piano fills, and displays the typical Hold Steady vocal style of cramming lots of words into a small space, and nearly singing, but mostly speaking, in an energetic fashion.
If you watched that, you probably noticed the band’s … well, distinct-looking singer, Craig Finn.
Craig Finn has a voice that probably will divide listeners, some finding it interesting, others dismissing its nasally, speaking-not-singing qualities. I like it, but more than his voice, I love his lyrics. The Hold Steady tend to sing about stupid young people trying to have fun, but oblivious to the fact that maybe their “fun” won’t feel like “fun” the next day. On initial listening, many of their songs seem to be about partying, getting high, being young and indifferent and simply out for a good time. For example, check out “Massive Nights.”
But if you look at the lyrics – and more importantly, listen to how Finn sings them – the good times don’t really sound like they’re all that good. The song describes a drunken, druggy prom date between the singer and a girl, and intersperses the story with reminiscences of all the “massive nights” he and his friends have had (“we had some massive highs/we had some crushing lows/we had some lusty little crushes/we had those all ages hardcore matinee shows”), but ends with an image that – whether a true description of events, or a metaphor for either a sex act or drug use or lost hopes – leaves the listener feeling that maybe those massive nights were massive because they were intended to obscure real problems:
“she had the gun in her mouth/she was shooting up at her dreams/when the chaperone said that we’d been crowned the king and the queen”
But the best part of the song is that it sounds great, and is fun to sing along to! It’s got a bouncy beat, nice harmony background vocals and those 70s guitars. It has a great energy, and even if you’re not some dork who’s into lyrics, there’s a lot to like about the song.
Another track in a lyrically similar vein is “Chillout Tent.”
In this story, which is probably familiar to all fans of live music who were young and dumb once upon a time, two college-age kids, a boy and a girl (the album is named Boys and Girls in America, after all), separately attend an outdoor concert, and after nearly overdosing end up meeting, and finally making out, in the venue’s infirmary, or “Chillout Tent.”
“They started kissing when the nurses took off their IVs/It was kind of sexy but it was kind of creepy.”
The boy and the girl seem indifferent to their near deaths, and instead sing about the “cool girl” and “cute boy” they met, while enthusing that the nurses at the tent “gave us oranges and cigarettes.” The chorus is sung in the first-person, by guest vocalists Elizabeth Elmore (of the band The Reputation) and Dave Pirner (of Soul Asylum), adding to the overall impact of the song, another one in which young people make bad choices but intend to party on, nonetheless.
But wait! Despite the lost dreams, bad decisions and next-morning regrets, the album isn’t a bummer! I over-analyze these things, I know. It’s a rock record, with strong songs, pounding beats, and in-your-face 70s rock guitars. The best part of Boys and Girls in America is that it’s a fun record, and nearly all the songs are sing-along gems – despite saps like me poring over lyrics and putting interpretive turds into this punchbowl of great songs.
“Chips Ahoy” is about a horse race, and the singer’s attempts to get romantic with a woman who seems far more interested in horse racing than romance, despite his attempts to get her high.
“You Can Make Him Like You” is a straight-ahead rocker that sounds to me like a feminist call to arms, mocking the notion that a woman should leave the “difficult” parts of life – like knowing directions home, or intellectual pursuits – to her man.
“First Night” is a piano ballad about missing an ex, featuring characters who appeared in songs from their previous album, Separation Sunday.
There’s a humor to the band (if you watch to the end of the video for “Stuck Between Stations,” you’ll see it), and a desire to have a wild, fun time – even if the wild fun has consequences. I don’t know why songs about youthful bad decisions make such a connection with me. There are many parts of my younger self that I’d like to forget (as I’ve written about before), and even though the lyrics to these songs can make me cringe with self-recognition, I am strangely drawn to them.
The band is frequently compared to Bruce Springsteen. I never really “got” Springsteen, maybe because when I first became really aware of him, his ass was ubiquitous in America, and I decided he was too popular for me to like; or maybe because my first serious girlfriend, M, of New York Cheesecake fame, was a Springsteen nut, and I was too immature to deal with her love for another man. But I know people who love him tend to love his songs for the stories of lost youth, faded glory and ambiguous memories set to a driving beat and hooky melodies. And if that’s the case, then I understand the comparison completely.
The album has a youthful energy, and evokes in me memories of what it was like to be young and free and unencumbered. Maybe that’s why I got so into them after my “old life” was left behind – to help me remember those feelings. And maybe the lyrics’ subtext of the ugly truth behind the memories appeals to me because I know that the “old life” wasn’t really always as wonderful it seems. In fact, I’ve had some “Massive Nights” of a different kind as a dad.
TRACK LISTING (and some lyrics):
Stuck Between Stations (“She was a really cool kisser and she wasn’t all that strict of a Christian/She was a damn good dancer but she wasn’t all that great of a girlfriend”)
Hot Soft Light (“It started recreational/It ended kinda medical/It came on hot and soft and then/It tightened up its tentacles”)
You Can Make Him Like You (“You don’t have to deal with the dealers/Let your boyfriend deal with the dealers/It only gets inconvenient/When you wanna get high alone”)
Citrus (“Lost in fog and love and faithless fear/I’ve had kisses that make Judas seem sincere”)
Southtown Girls (“Southtown girls won’t blow you away/But you know that they’ll stay”)
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