Gutterflower [ENHANCED]

Goo Goo Dolls

Product Details

• Audio CD (April 9, 2002)
• Original Release Date: April 9, 2002
• Number of Discs: 1
• Format: Enhanced
• Label: Warner Bros / Wea
• ASIN: B00005YW3I
• Also Available in: MP3 Download
• Average Customer Review: 4.3 out of 5 stars See all reviews (214 customer reviews)
• Amazon.com Sales Rank: #35,295 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
On the surface, the Goo Goo Dolls' Gutterflower is a seamless continuation of 1998's Dizzy Up the Girl, with sinewy guitars; muscular, anthemic choruses; and Johnny Rzeznik's perfectly articulated rasping vocals. But on closer listening, the Goos' eighth album is made of much sterner stuff. Those quixotic, yearning lyrics of yore have taken on a darker cast, no doubt due to Rzeznik's divorce. As a result, Gutterflower almost has the feel of a concept album about love gone wrong, with Rzeznik providing anxious commentary rife with images of dislocation and agitation. The listener is given barometric readings of the singer's bruised psyche as he attempts to put himself back together again. Luckily, Rzeznik is a clever and facile lyricist with a knack for elevating garden-variety neurosis into a rather compelling soap opera, sketching edgy characters that would feel right at home in David Lynch's world. "Swallow all your bitter pills, that's what makes you beautiful," he advises in "Big Machine," while in "Sympathy" Rzeznik appears to be apologizing to his former wife for his past transgressions, only to lash out with an elegant deftness, chastising her for "all these thoughts you stole from me." While he may have a face like an angel, Rzeznik unleashes a cunning and a fascinating brutish force not seen before, making this a much more interesting album than previous offerings. --Jaan Uhelszki

Product Description
2002 release and follow-up to 98's 'Dizzy Up the Girl'. 13 tracks including 'Here Is Gone', 'Big Machine' & 'What A Scene'. Plus internet key to access exclusive Goo Goo Dolls material.

Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful:

5.0 out of 5 stars Continued greatness, July 2, 2002

By	Brad (CT) - See all my reviews

I don't understand all the "middle of the road" reviews on this album by people who loved "Dizzy Up The Girl". To me, this album is just as fantastic as any of their previous albums that I have heard (i.e., everything from 1993's "Superstar Carwash" forward). How can you go wrong with this stunning collection of songs?

The first three tracks on this album set the stage for the makings of a great modern melodic rock album. "Big Machine" gets the album off to a truly huge, catchy start--great mid-tempo melodic anthem. Then comes "Think About Me", a fantastic, acoustic-driven anthem that may remind melodic rock fans of late-90s Night Ranger. (To the rest of you: yes, there is such a thing as "late '90s Night Ranger".) "Here Is Gone" is the third track and first single--a pretty song that is nonetheless a bit more uptempo than, say, "Iris".

But then...the album changes. Robby Takac, takes over the lead vocals from John Rzeznik for a track and belts out a more modern-sounding, not-so-melodic tune in "You Never Know". A couple of tracks later, Robby again sings on "Up, Up, Up"--again in the more modern, punk direction. In the meantime, John sings on more modern-sounding songs like "What A Scene" and "It's Over" before finally settling in with a true acoustic ballad, the beautiful "Sympathy".

The final four tracks are split between John and Robby on the tracks. "What Do You Need" is a truly modern-sounding effort by John which nicely shows his lower vocal range and has a heavy, distorted electric guitar sound. Robby's "Smash" and "Tucked Away" bring back a little of that punk edge, before Robby's vocals are back for the anthemic, more melodic (once again) "Truth Is A Whisper".

This is truly a variety-filled, enjoyable, mature effort by these guys. Clearly more serious than "Dizzy" but continuing in a mainstream direction. I think it is a very exciting listen in which I can get into any track depending upon my mood. To me, a very creative, musically diverse effort that shouldn't be missed.

13 of 15 people found the following review helpful:

5.0 out of 5 stars The Boys Are Rockin' (Again), April 14, 2002

By	Meg Burger "[e-mail]" (NJ) - See all my reviews

First off--I'm a hardcore Goo Goo Dolls fan. It would be pretty difficult for them to create a piece of music I didn't like. But all bias aside, this is a GOOD album. Anyone who picks it up expecting to hear a second Dizzy Up The Girl will be sadly mistaken. This is better. (Be still, my heart.)

The GGD sound is here, alive and well, but even more polished. The driving rock abounds, and the lyrics are right on. Unlike the past few records, this one lacks a 'ballad', but it is not missed. These songs stick in your head. "Big Machine" is a driving melodious effort with great lyrics. "What A Scene" is a song for the times, and talks about the falacies of being a "pop sensation", while delivering an awesome sound. It is very unique, I cannot think of another one of their songs with a similiar sound. The only 'slow' song might be "Sympathy", a quieter song without drums, that almost borders on a country taste. On "It's Over", John's voice is barely recognizable, very deep and husky in the beginning (very cool), then the song glides into GGD melody...a brilliant song. And since people tend to overlook Robby's music, I have to make sure to say "Listen to his songs, too!" He is a great lyricist, and his songs have more of a punk flair to them, like in the old days.

You will not regret buying this album--you'll be proud that you do. Hardcore fans will appreciate the progress heard on this cd, and others will be introduced to a mature, rockin' sound. Enjoy.

6 of 6 people found the following review helpful:

4.0 out of 5 stars Dizzy up the Goos, August 14, 2002

By	Adam Lavedan "Aydam" - See all my reviews

The modest boys from Buffalo, who never expected to get their feet wet in the glittery sea of rock stardom and, after a desolate eight years of churning out quality tunes and not seeing a glint of credit they finally did. Albeit, following their transition to becoming men, it's pleasing to see that the Goos have also been engulfed in the tide of well-deserved recognition for their toil; massive platinum success compounded with the traditional chorus of some decent critics; who recognise another diamond sparkle amidst the great lump of rock. But sadly among the lot are the sour critics who flirt with braggadocio, seem to have to endure some 'great suffering' that accompanies the burden of writing a review about the Goo Goo Dolls. They seem more intent on flaunting their writing skills whilst denigrating the band than actually inking a fair review. They've touted the Goos as a speed-punk band comprising three guys creating songs, the likes of some involve the yearning to never grow up, as "goofy" and a band that have sold out. Is honesty in sharing your desire to remain youthful goofy? Is maturing over the years and incorporating more diversity selling out?
The band was incepted in 1989 as a speed-punk band, their initial sound was irreverent, reckless, combusting and unpretentious. Then their second album 'Hold Me Up', already exhibited a tweak in their style, calibrating them to a more alternative-pop-rock hybrid. Many believe that 'Slide' or 'Iris' was their first great hit. However their first couple of smashers were 'Name' and 'Naked' which were tantamount in quality and musical gravity. Retreating further back as far as their second album one can still find gems of the Goo's musical ingenuity scattered therein, 'Two Days in February' is a perfect example.
Since 'Hold me Up', to 'A Boy Named Goo', the band really begun to spread their wings and find their terrain, and naturally their most salient releases flanking their musical repertoire, 'Dizzy up the Girl' and of course 'Gutterflower'. In all those tasteful works, Rzeznik demonstrated his endless talent for finding seemingly infinite combinations of devastatingly addictive melodies married to magnificent uplifting lyrical somersaults. And 'Gutterflower' is certainly no exception, in fact the band defy all pessimist's suspicions and whacked out an even more symphonically fine-tuned album, thanks to a chunkier budget, and they were not afraid to try to new things if anything they were enthusiastic. Again Rzeznik's gift, his remarkable knack for juxtaposing sustained sparkling pretty guitar chords, and equally attractive vocal hooks that seem to ingrain themselves in your head. The title alone clearly presents you with a lovely contrasting parallelism of a crude and brash gutter, and the delicate fragile beauty and elegance of a flower.
`Gutterflower' kicks off with an absolute stoater of an opener, it suddenly explodes with 'Big Machine', a punchy, short yet sweetly melodic thunderball that creates a musical centrifuge in your mind. Crunchy guitar riffs, crisp drums, Johnny's recognisably sustained effervescent and resonant vocals harmoniously paralleled over some catchy colossal guitar chords that just blow your socks off. The album's prowess in melodic contagiousness, diversity and musical glow is also derived from other beauties like the soothing mandolin-led 'Sympathy'. Not to mention, the triumphant, voluminous and bouncy 'Think About Me', to slightly darker, more abrasive and up-front tunes like 'What a Scene' and 'It's Over' with its dangerous combination of an alleviating placid intro and a rambunctiously slamming and protesting chorus. Which blend in the other side of the spectrum of the Goo's musical arsenal, like Robby Takac's tumbling, speedy and snappy 'You Never Know' and 'Up, Up, Up' for instance. This adds a flavour of equilibrium to the overall album. One cannot forget of course the new Goo anthem 'Here is Gone' faintly resembling the parading 'All Eyes on Me' from their previous album. A gorgeous incandescent song with those glimmering guitar chords, and an infectious melody that instead of appearing circular and simply gyrating, actually just seems to flow forever like a runaway train of melody that you can neither stop nor get tired of; like most of Rzeznik's trademark choruses.
`Gutterflower' distilled, it's an unbelievable scorcher of a musical sculpture, with songs that will stampede through your mind, you'll soon find yourself singing out loud in the shower, while working and in your car. Bursting with melodic grandiosity, polyphonic exuberance and lyrics that are perfectly equidistant between simplicity and depth, yet providing meaning; giving the album texture. Ricocheting between songs revolving around wrong relationships, apologies, hope of reparation, pleading one's cause and uplifting emotional highs that weave a rich tapestry of beautifully sincere and allaying lament and celebration of acceptance of who you are. In short, `Gutterflower' is a shimmering piece of musical architecture.
If you're any species of Goo Goo Dolls fan, whether having just discovered them from `Dizzy up the Girl' or a hard-core Goo, you owe it to yourself to get your hands on `Gutterflower'.

For anyone with a taste for original, diverse, addictive and tasteful American rock that really forms the benchmark, this latest release is a well-warranted investment. Treat yourself!