Jimmy Eat World - Bleed American [Audio CD]

Jimmy Eat World - Bleed American [Audio CD]

After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime before they had a new record deal, Bleed American features compelling lyrics, driving guitar work, and insanely catchy melodies. Left to their own devices during the recording process, it wouldn't have been surprising if the band had turned out another layered, sprawling album akin to their previous full-length masterwork, Clarity. Perhaps sensing that they wouldn't be able to top their previous work when it came to spacy emo, Bleed American heads in a new direction. There are no 16-minute songs here, just straight-ahead rock & roll, performed with punk energy and alt-rock smarts. The title track sets the tone for the album with its blistering guitar attack and aggressive vocals. "A Praise Chorus" and "The Middle improve upon that formula, maintaining the forceful instrumentation but toying with the lyrical themes. "A Praise Chorus" uses the most basic of rock emotions for lyrical inspiration, "I wanna fall in love tonight," while lifting lyrics from Tommy James' "Crimson and Clover," They Might Be Giants' "Don't Let's Start," and Mötley Crüe's "Kick Start My Heart," among others. When used in a song about the comfort and trappings of nostalgia, this borrowing comes off more like a well-placed tribute than stealing. "The Middle" offers a pep talk about self-acceptance and fitting in, and one of the most memorable guitar riffs this side of Angus Young. Bleed American's quieter moments recall some of the band's signature instrumentation from their previous work. Gentle keyboards, bells, and stirring background vocals from former that dog. member Rachel Haden enhance the understated beauty of ballads like "Hear You Me" and "Cautioneers." Haden's most enjoyable contribution, however, is to the up-tempo rocker "The Authority Song." On the surface a song about a song (John Mellencamp's "Authority Song), it also name drops the Beatles' "What Goes On." The numerous references to other bands and other songs reveal that although Jimmy Eat World is a critically acclaimed and incredibly talented band, the members are really just rock fans themselves. If they maintain this level of quality, however, don't be surprised if the next generation of ambitious rockers start writing songs that pay tribute to Jimmy Eat World. ~ Mark Vanderhoff, All Music Guide « less… more »

  • The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energ... The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the band lacked until now. The best song on the record, the very Disintegration-era Cure-sounding "23," sounds like it was recorded by a different group entirely. Some things have remained the same, however. Jim Adkins' vocals are as intense and heart-tugging as ever, and the band still writes hooks that will have you singing along before the song is half over. "Just Tonight," "Futures," and the AC/DC-sampling "Pain" are all trademark Jimmy Eat World punky pop/rockers with anthemic choruses, while "The World You Love" and "Work" display the sweetly melodic side of the band. There are a couple of stumbles (the decision to replace Petra Haden's charming vocals with Liz Phair's, the generic "Nothingwrong"), but they don't detract from the overall power of the record. Futures will most likely not be the sensation that Bleed American was -- it is too dark and inwardly focused for that -- but it shows a progression of sound and emotion that fans of the band should embrace. [The U.K. release came with a second disc made up of demos of all the songs on Futures, All Music Guide « less… more »

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  • The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energ... The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the band lacked until now. The best song on the record, the very Disintegration-era Cure-sounding "23," sounds like it was recorded by a different group entirely. Some things have remained the same, however. Jim Adkins' vocals are as intense and heart-tugging as ever, and the band still writes hooks that will have you singing along before the song is half over. "Just Tonight," "Futures," and the AC/DC-sampling "Pain" are all trademark Jimmy Eat World punky pop/rockers with anthemic choruses, while "The World You Love" and "Work" display the sweetly melodic side of the band. There are a couple of stumbles (the decision to replace Petra Haden's charming vocals with Liz Phair's, the generic "Nothingwrong"), but they don't detract from the overall power of the record. Futures will most likely not be the sensation that Bleed American was -- it is too dark and inwardly focused for that -- but it shows a progression of sound and emotion that fans of the band should embrace. [Limited quantities of the record came with a second disc made up of demos of all the songs on the album. Less polished and more immediate, the disc makes an interesting companion to the official release and is well worth seeking out.] ~ Tim Sendra, All Music Guide « less… more »

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  • With their third album Clarity being one of the most overlooked masterpieces of 1999, Static Prevails is Jimmy Eat World paying their dues in 1996. It could be the slight over-production (a curse that has always haunted the band),... With their third album Clarity being one of the most overlooked masterpieces of 1999, Static Prevails is Jimmy Eat World paying their dues in 1996. It could be the slight over-production (a curse that has always haunted the band), being on a major label for the first time, or them trying to get a feel for pulling fancy studio tricks (i.e., numerous backing vocals, cellos, and Moog additions). Maybe it's all three, but what Static Prevails essentially lacks is the songwriting maturity that Jimmy Eat World could have perfected; but it's almost as if the studio heads at Capitol wouldn't let them so that there would be more room for radio-friendly pop songs. In the end, nobody won. However, tracks such as "Anderson Mesa," "Call It in the Air," and "Seventeen" don't cross that line of boring alternative rock but remain in that aggressive pop status. Nothing close to classic, but definitely a sign of better things to come. ~ Mike DaRonco, All Music Guide « less… more »

  • By Jimmy Eat World - Interscope Records (2007)

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  • In between getting dropped from Capitol and picked up by DreamWorks, Jimmy Eat World released a collection of early singles (Singles) and this split EP with Australia's Jebediah on the independent label Big Wheel Recreation. Stran... In between getting dropped from Capitol and picked up by DreamWorks, Jimmy Eat World released a collection of early singles (Singles) and this split EP with Australia's Jebediah on the independent label Big Wheel Recreation. Strangely, Jimmy Eat World's "The Most Beautiful Things" opens the collaboration on an alt-rock radio ballad bent. One might think that the band would have taken advantage of the indie breather to try out something less obviously radio-ready. But the songs here do represent a transition between Clarity's spacy rollicking and Bleed American's catchy alt-pop. The second track, "No Sensitivity," jumps back into the fold with classic emo breaks and turns; sadly, however, the melodic bittersweet post-hardcore angst crunch makes way for some pretty soggy lyricism -- "I'm taking my kisses back from you-hoo/I want my kisses back from you." The gag-me mediocre melodrama will no doubt make countless adolescents swoon while decorating their Trapper Keepers, but mature audiences might be more than willing to give the kisses back to avoid the relentless chorus. The band closes its set with a hushed, more expansive version of "Cautioners," which later appears on Bleed American in a more watered down and cleanly produced state. Which brings up one of the more attractive qualities of this recording -- that it might better represent what the band actually sounds like. There's still that guitar-bass-drum crunch going on, but you can pick out the different elements rather than just one polished pile of wholly accessible sound. Jimmy Eat World superfans and completists will no doubt appreciate this, but the fair-weathers might do better sticking to the major-label fare. Jebediah contributes three decent emo-tinged rock songs, the first of which suffers from Kevin Mitchell's too-prominent nasal vocals, which might have been less apparent had the song not held its position immediately after the remarkably pleasant "Cautioners." The song, "Animal," also appears on the band's Of Someday Shambles. Mitchell's vocal style better complements the EP's final song, "Harpoon," a sweeter, more yearning offering. ~ Melissa Giannini, All Music Guide « less… more »

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  • The second release by the Tempe, AZ, quartet Jimmy Eat World is a five-song, self-titled EP issued through the small independent label Fueled by Raman. A pair of songs from the EP later appeared on their 1999 studio release for Ca... The second release by the Tempe, AZ, quartet Jimmy Eat World is a five-song, self-titled EP issued through the small independent label Fueled by Raman. A pair of songs from the EP later appeared on their 1999 studio release for Capitol, Clarity, while three of the tracks appear here exclusively. The band -- Jim Adkins (guitar/vocals), Rick Burch (bass), Zach Lind (drums), and Tom Linton (guitar/vocals) -- has often been classified as emocore, often compared to Seattle's Sunny Day Real Estate. And with the melancholic tunefulness that permeates the EP, it is a fair assessment. The somewhat upbeat opener, "Lucky Denver Mint," combines a drum loop with live drums, while "For Me This Is Heaven," "Your New Aesthetic (Demo)," and the epic six-minute closer, "Roller Queen," are more reflective of the overcast sounds Jimmy Eat World are known primarily for. This self-titled EP will serve as much-welcomed new material for starved fans of Jimmy Eat World. ~ Greg Prato, All Music Guide « less… more »

  • After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime, before they had a new record deal, Bleed American features compelling ... After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime, before they had a new record deal, Bleed American features compelling lyrics, driving guitar work, and insanely catchy melodies. Left to their own devices during the recording process, it wouldn't have been surprising if the band had turned out another layered, sprawling album akin to their previous full-length masterwork, Clarity. Perhaps sensing that they wouldn't be able to top their previous work when it came to spacey emo, Bleed American heads in a new direction. There are no 16-minute songs here, just straight-ahead rock & roll, performed with punk energy and alt-rock smarts. The title track sets the tone for the album with its blistering guitar attack and aggressive vocals. "A Praise Chorus" and "The Middle" improve upon that formula, maintaining the forceful instrumentation but toying with the lyrical themes. "A Praise Chorus" uses the most basic of rock emotions for lyrical inspiration, "I wanna fall in love tonight," while lifting lyrics from Tommy James' "Crimson and Clover," They Might Be Giants' "Don't Let's Start," and Mötley Crüe's "Kick Start My Heart," among others. When used in a song about the comfort and trappings of nostalgia, this borrowing comes off more like a well-placed tribute than stealing. "The Middle" offers a pep talk about self-acceptance and fitting in, and one of the most memorable guitar riffs this side of Angus Young. Bleed American's quieter moments recall some of the band's signature instrumentation from their previous work. Gentle keyboards, bells, and stirring background vocals from former that dog. member Rachel Haden enhance the understated beauty of ballads like "Hear You Me" and "Cautioneers." Haden's most enjoyable contribution, however, is to the up-tempo rocker "The Authority Song." On the surface a song about a song (John Mellencamp's "Authority Song"), it also name drops the Beatles' "What Goes On." The numerous references to other bands and other songs reveal that although Jimmy Eat World is a critically acclaimed and incredibly talented band, the members are really just rock fans themselves. If they maintain this level of quality, however, don't be surprised if the next generation of ambitious rockers start writing songs that pay tribute to Jimmy Eat World. [This Japanese version of the album includes a DVD of bonus material.] ~ Mark Vanderhoff, All Music Guide « less… more »

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  • By Jimmy Eat World - Universal International (2005) - Alternative Pop/Rock, Alternative/Indie Rock, Emo

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  • On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspec... On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspective balladry with power-chord punk rock, elements of chamber pop, and subtle doses of electronica to create a remarkably unique album. The only single to garner radio play, the hard-edged yet poppy "Lucky Denver Mint," was also featured on the soundtrack to the Drew Barrymore film Never Been Kissed, and while the album reached an audience that far surpassed Jimmy Eat World's previous efforts, it was by no means a commercial smash hit. The band's punk influences are evident on "Your New Aesthetic," which decries the commercialization of radio as effectively as any song since Elvis Costello's "Radio, Radio." The other songs are more personal and poignant. Using string ensembles, drum loops, chimes, piano, vibraphones, and tight vocal harmonies to create intricately layered songs, Clarity alternates between hypnotic and hard rock, often in the same song. The snarl of "Blister" and "Crush" are counterbalanced by the understated beauty of "Table for Glasses" and "On a Sunday." However, most of the tracks mix both ends of the emotional spectrum with dramatic effects. The sweeping "Goodbye Sky Harbor," which clocks in at an epic sixteen-minutes-and-eleven seconds, starts off as an up-tempo romp, but evolves into an expansive piece of dream pop that includes vocal loops, several layers of delicate electric guitars, bells, and a drum machine. Heartfelt, yearning vocals from Jim Adkins and Tom Linton tie the songs on Clarity together and set them apart from other post-grunge rock acts. Neither vocalist is afraid to wear his heart on his sleeve, but both pull it off without sounding wimpy or overly forlorn. They are also versatile enough to belt out the more aggressive tunes. Trombino also deserves praise for helping to brilliantly balance excellent songwriting and traditional rock elements with adventurous production and unique instrumentation. [A Japanese version includes bonus tracks.] ~ Mark Vanderhoff, All Music Guide « less… more »

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  • The Most Beautiful Things, Spangle, Softer

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  • The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energ... The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the band lacked until now. The best song on the record, the very Disintegration-era Cure-sounding "23," sounds like it was recorded by a different group entirely. Some things have remained the same, however. Jim Adkins' vocals are as intense and heart-tugging as ever, and the band still writes hooks that will have you singing along before the song is half over. "Just Tonight," "Futures," and the AC/DC-sampling "Pain" are all trademark Jimmy Eat World punky pop/rockers with anthemic choruses, while "The World You Love" and "Work" display the sweetly melodic side of the band. There are a couple of stumbles (the decision to replace Petra Haden's charming vocals with Liz Phair's, the generic "Nothingwrong"), but they don't detract from the overall power of the record. Futures will most likely not be the sensation that Bleed American was -- it is too dark and inwardly focused for that -- but it shows a progression of sound and emotion that fans of the band should embrace. [The German release came with a second disc made up of demos of all the songs on Futures, All Music Guide « less… more »

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  • To buy some time during the two-year gap between their second and third full-length releases (1999's Clarity and 2001's Bleed American), Jimmy Eat World kept their fans satisfied by issuing a compilation of early singles from prev... To buy some time during the two-year gap between their second and third full-length releases (1999's Clarity and 2001's Bleed American), Jimmy Eat World kept their fans satisfied by issuing a compilation of early singles from previous releases, titled simply Singles. Issued on the independent Big Wheel Recreation label, Singles serves as a fine career overview for this Arizona-based emo band, featuring a total of ten tracks, and including such highlights as "Opener," "H Model," and "Christmas Card." Although one of their official albums would be the best place to start discovering Jimmy Eat World (especially the aforementioned Clarity), Singles definitely serves its purpose. ~ Greg Prato, All Music Guide « less… more »

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  • Jimmy Eat World became a favorite among mainstream emo and pop fans alike with the success of their self-titled album in 2001. Big Wheel Recreation had already championed Jimmy Eat World's honesty and earnestness before the band's... Jimmy Eat World became a favorite among mainstream emo and pop fans alike with the success of their self-titled album in 2001. Big Wheel Recreation had already championed Jimmy Eat World's honesty and earnestness before the band's big chart break, having released Singles and a split EP with Jebediah in 2000. Longtime followers of Jimmy Eat World will most likely own those two albums individually. For those who don't, this compilation just made it easier. Singles/Jebediah Split captures a very young and ambitious group in the making. The spark and the fire that made later albums such as Clarity and Jimmy Eat World so brilliant are definitely present, but only a work in progress. Mark Trombino's assistance and influence are also there. If anything, the double-disc set allows fans and newcomers to see the evolution of the band. "Ramina," "Christmas Card," and "H Model" are standout tracks that shouldn't be ignored. ~ MacKenzie Wilson, All Music Guide « less… more »

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  • Released following the success of Jimmy Eat World's self-titled fourth album, Maximum Jimmy Eat World profiles the indie rock group's rise from the small emocore scenes in the mid-'90s to mainstream chart success in 2002. Jimmy Ea... Released following the success of Jimmy Eat World's self-titled fourth album, Maximum Jimmy Eat World profiles the indie rock group's rise from the small emocore scenes in the mid-'90s to mainstream chart success in 2002. Jimmy Eat World's passionate, smart songs struck a chord with the youth of America while not alienating Generation X, for these four friends from Mesa, AZ, are their peers. Fans of the band will already know its story, but for a completist's collection, Maximum Jimmy Eat World is an interesting addition. ~ MacKenzie Wilson, All Music Guide

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  • On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspec... On the heels of their self-titled EP in late 1998, Jimmy Eat World released their breakthrough album Clarity in 1999 and took up the mantle of emo poster boys. Deftly produced by Mark Trombino and the band, Clarity mixes introspective balladry with power-chord punk rock, elements of chamber pop, and subtle doses of electronica to create a remarkably unique album. The only single to garner radio play, the hard-edged yet poppy "Lucky Denver Mint," was also featured on the soundtrack to the Drew Barrymore film Never Been Kissed, and while the album reached an audience that far surpassed Jimmy Eat World's previous efforts, it was by no means a commercial smash hit. The band's punk influences are evident on "Your New Aesthetic," which decries the commercialization of radio as effectively as any song since Elvis Costello's "Radio, Radio." The other songs are more personal and poignant. Using string ensembles, drum loops, chimes, piano, vibraphones, and tight vocal harmonies to create intricately layered songs, Clarity alternates between hypnotic and hard rock, often in the same song. The snarl of "Blister" and "Crush" are counterbalanced by the understated beauty of "Table for Glasses" and "On a Sunday." However, most of the tracks mix both ends of the emotional spectrum with dramatic effects. The sweeping "Goodbye Sky Harbor," which clocks in at an epic sixteen-minutes-and-eleven seconds, starts off as an up-tempo romp, but evolves into an expansive piece of dream pop that includes vocal loops, several layers of delicate electric guitars, bells, and a drum machine. Heartfelt, yearning vocals from Jim Adkins and Tom Linton tie the songs on Clarity together and set them apart from other post-grunge rock acts. Neither vocalist is afraid to wear his heart on his sleeve, but both pull it off without sounding wimpy or overly forlorn. They are also versatile enough to belt out the more aggressive tunes. Trombino also deserves praise for helping to brilliantly balance excellent songwriting and traditional rock elements with adventurous production and unique instrumentation. [Capitol reissued the album in July of 2007 and added two bonus tracks: "Christmas Card" and a studio demo of "Sweetness".] ~ Mark Vanderhoff, All Music Guide « less… more »

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  • Of the five tracks on Jimmy Eat World's 2005 EP Stay on My Side Tonight, three are songs the band worked on during the recording of Futures but decided didn't work on that record. It is hard to see why they were left off, as they ... Of the five tracks on Jimmy Eat World's 2005 EP Stay on My Side Tonight, three are songs the band worked on during the recording of Futures but decided didn't work on that record. It is hard to see why they were left off, as they are as good as -- if not better than -- some of the more pedestrian material that did make the cut. Maybe it is the slightly less polished sound, and maybe it is the fact that they aren't surrounded by 50 minutes of similar-sounding songs, but the three songs have more life and power than one might expect. "Disintegration" is an epic dirge that builds impressively and ends with the chanted vocals that give the EP its name; "Closer" is a hooky, lightweight pop tune that harks back to the mood of Bleed American; and "Over," while slightly less impressive than the other two, is a decent emo ballad. The other two tracks are interesting but not vital. They gamely cover Heatmiser's "Half Right" but can't quite find the magic that Elliott Smith was so effortlessly able to conjure up. The Styrofoam remix of Futures' "Drugs or Me" is OK, with the vocals glitched into near oblivion and the tune bouncing along on a bouncy, broken beat. So there's nothing earthshaking, but fans will want to grab it, and those who were put off by the slick surface of Futures might take some solace in the slightly stripped-down sound -- and hope that Jimmy Eat World continue to shed their studio sheen by the time the next album is recorded. ~ Tim Sendra, All Music Guide « less… more »

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  • After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime, before they had a new record deal, Bleed American features compelling ... After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime, before they had a new record deal, Bleed American features compelling lyrics, driving guitar work, and insanely catchy melodies. Left to their own devices during the recording process, it wouldn't have been surprising if the band had turned out another layered, sprawling album akin to their previous full-length masterwork, Clarity. Perhaps sensing that they wouldn't be able to top their previous work when it came to spacy emo, Bleed American heads in a new direction. There are no 16-minute songs here, just straight-ahead rock & roll, performed with punk energy and alt-rock smarts. The title track sets the tone for the album with its blistering guitar attack and aggressive vocals. "A Praise Chorus" and "The Middle improve upon that formula, maintaining the forceful instrumentation but toying with the lyrical themes. "A Praise Chorus" uses the most basic of rock emotions for lyrical inspiration, "I wanna fall in love tonight," while lifting lyrics from Tommy James' "Crimson and Clover," They Might Be Giants' "Don't Let's Start," and Mötley Crüe's "Kick Start My Heart," among others. When used in a song about the comfort and trappings of nostalgia, this borrowing comes off more like a well-placed tribute than stealing. "The Middle" offers a pep talk about self-acceptance and fitting in, and one of the most memorable guitar riffs this side of Angus Young. Bleed American's quieter moments recall some of the band's signature instrumentation from their previous work. Gentle keyboards, bells, and stirring background vocals from former that dog. member Rachel Haden enhance the understated beauty of ballads like "Hear You Me" and "Cautioneers." Haden's most enjoyable contribution, however, is to the up-tempo rocker "The Authority Song." On the surface a song about a song (John Mellencamp's "Authority Song), it also name drops the Beatles' "What Goes On." The numerous references to other bands and other songs reveal that although Jimmy Eat World is a critically acclaimed and incredibly talented band, the members are really just rock fans themselves. If they maintain this level of quality, however, don't be surprised if the next generation of ambitious rockers start writing songs that pay tribute to Jimmy Eat World. [The 2008 Deluxe reissue of the album lives up to the deluxe tag, featuring an entire disc's worth of b-sides, live tracks, demos and an unreleased version of "Your House". Many of the tracks were released in Japan, the UK, or Germany, it's nice to have them all gathered together in one spot. None of the extras stand out as relevatory or essential, but they do add quite a bit of background to one of the few pop/punk or emo albums likely to stand the test of time.] ~ Mark Vanderhoff & Tim Sendra, All Music Guide « less… more »

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  • With their third album Clarity being one of the most overlooked masterpieces of 1999, Static Prevails is Jimmy Eat World paying their dues in 1996. It could be the slight over-production (a curse that has always haunted the band),... With their third album Clarity being one of the most overlooked masterpieces of 1999, Static Prevails is Jimmy Eat World paying their dues in 1996. It could be the slight over-production (a curse that has always haunted the band), being on a major label for the first time, or them trying to get a feel for pulling fancy studio tricks (i.e., numerous backing vocals, cellos, and Moog additions). Maybe it's all three, but what Static Prevails essentially lacks is the songwriting maturity that Jimmy Eat World could have perfected; but it's almost as if the studio heads at Capitol wouldn't let them so that there would be more room for radio-friendly pop songs. In the end, nobody won. However, tracks such as "Anderson Mesa," "Call It in the Air," and "Seventeen" don't cross that line of boring alternative rock but remain in that aggressive pop status. Nothing close to classic, but definitely a sign of better things to come. [Capitol reissued the album in July of 2007 and added two bonus tracks: "77 Satellites" and "What Would I Say to You Now".] ~ Mike DaRonco, All Music Guide « less… more »

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  • The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energ... The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the band lacked until now. The best song on the record, the very Disintegration-era Cure-sounding "23," seems like it was recorded by a different group entirely. Some things have remained the same, however. Jim Adkins' vocals are as intense and heart-tugging as ever, and the band still writes hooks that will have you singing along before the song is half over. "Just Tonight," "Futures," and the AC/DC-sampling "Pain" are all trademark Jimmy Eat World punky pop/rockers with anthemic choruses, while "The World You Love" and "Work" display the sweetly melodic side of the band. There are a couple of stumbles (the decision to replace Petra Haden's charming vocals with Liz Phair's, the generic "Nothingwrong"), but they don't detract from the overall power of the record. Futures will most likely not be the sensation that Bleed American was -- it is too dark and inwardly focused for that -- but it shows a progression of sound and emotion that fans of the band should embrace. ~ Tim Sendra, All Music Guide « less… more »

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  • Jimmy Eat World were sitting on top of the emo pop world before the release of their last album, Futures. Its dark, inward-looking, and more mature-sounding songs didn't wreck their career, but the record didn't exactly further it... Jimmy Eat World were sitting on top of the emo pop world before the release of their last album, Futures. Its dark, inward-looking, and more mature-sounding songs didn't wreck their career, but the record didn't exactly further it. With Chase This Light, the band returns to the straightforward, hooky, and radio-friendly sound of Bleed American and lightens up some in the lyric department in hopes of recapturing its position in the marketplace. They aren't exactly singing about sunshine and lollipops, mostly love problems and the ills of society, but the cloud of gloom that settled over Futures has lifted. The band is back to following the rough template of Bleed American and the albums that came before it, with a mix of rousing anthems like "Big Casino," "Electable (Give It Up)," and "Feeling Lucky," melancholy rockers with singalong choruses like "Always Be" and "Chase This Light," and sweet ballads like "Carry You" and "Dizzy" (which strangely sounds like an outtake from Def Leppard's Hysteria). Only the moody and dark (with strings) "Gotta Be Somebody's Blues" hints at the mature sound of the last album. Try as they might, Chase This Light isn't as good as Bleed American, Still, it's a pleasant listen and Jim Adkins has a solid knack for writing hooky modern pop songs. ~ Tim Sendra, All Music Guide « less… more »

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