Smash Mouth
Smash Mouth
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When I first heard Smash Mouth back in 1997, I would have bet money “Walking On the Sun” would be their first and last hit. To me they epitomized the novelty act disposability of much of the stuff getting airplay at the time. Four years and a couple of insidiously catchy singles later, the band is still around doing what they do best, combining ‘60s Farfisa organ-tinged garage rock with a modern power pop sensibility and a non-stop beach party atmosphere. They even landed a couple of songs on the Shrek soundtrack virtually ensuring their relevance to an entire new generation.

The San Jose band’s third, self-titled album is more eclectic than the other two with a couple of interesting experimental detours. “Holiday In My Head” gets things off to a good start with a touch of acoustic guitar supplementing guitarist/main songwriter Greg Camp’s crunchy but melodic power chords and Steve Harwell’s familiar gruff but good natured vocals. “The line is thin between fun and sin / And we’re all clockin’ in for the day / And our only care is what to wear… I’m just looking for paradise in my living room,” he sings.

If “Your Man” seems to be building to a climax that never really happens, at least it’s a chiming, effortlessly catchy journey. “Pacific Coast Party,” penned by bassist Paul DeLisle, sports a string arrangement and seems to be an amalgam of old school ‘70s disco and the band’s traditional updated ‘60s sound. Harwell used to be a rapper in a band called F.O.S. and it shows on “She Turns Me On” which sounds like a bastard stepchild to “All Star,” the band’s monster hit from 1999’s Astro Lounge.

A good sense of humor is in evidence on “Sister Psychic,” which pays homage to TV clairvoyant Miss Cleo. “Could you help me find my keys or better yet life’s meaning?” Harwell asks.

Things never get too heavy in Smash Mouth’s world but the acoustic-flavored “Out of Sight” is what passes for a heartfelt ballad on this record with Harwell toning down the skate punk irony just a touch. “Paintings of dogs playing pool / Smokin’ cigarettes, they drink ‘til they drool / Well we ain’t so dumb, just numb / And tomorrow’s another year,” he sings.

“Shoes ‘N’ Hats” is a sort of slacker anthem and may contain a credo for the band. “I’m holdin’ on to my old man’s sneakers / Just goin’ deaf to my hi-fi records / And hangin’ round at the pawn shop / Waitin’ for nothin’ to change,” Harwell sings. Or how about this line from “Force Field”: “There’s the riff, here’s the hook / Where’s the myth?”

Perhaps the record’s biggest departure, the horn section-soaked, Broadway showtune-like “Disenchanted” is, despite its title, still a good time: “Disenchanted in this land of a thousand chances / You only get just one and it’s gone.” “Hold You High” is the record’s most drum programming heavy track and “The In Set” has one of the record’s best grooves to go with that cool ‘60s organ sound.

“Keep It Down” effectively plays with your expectations for the Smash Mouth sound with its drum machine and blips and bloops. Just when you think it’s going to explode into a hooky chorus, it doesn’t. It finally does get noisier when you least expect it.

The record also reprises the band’s cover of the Neil Diamond/Monkees chestnut “I’m A Believer,” which figured prominently on the Shrek soundtrack. They do a great job making the song their own. And while I could point out the irony of Smash Mouth covering a song made famous by the original pre-fab novelty act, I no longer think it’s a safe bet that these guys won’t be around in another four years cranking out their entertaining ear candy.

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