Customer Reviews

Hitting the Ground

5 star:		(6)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

My initial reactions to this album were mixed and quite varied. As a huge, longtime Violent Femmes fan, I was both overjoyed to hear that Gordon Gano was releasing a solo album and somewhat troubled by the fact that he was doing this apart from the Violent Femmes. Then, when I got my first look at the CD, I was perplexed to find that Gano lends his unique voice to only three of the eleven songs. The whole "I wanted Gano to sing all the songs" thing had a negative effect on my initial impressions of the actual music, as did the fact that I was quite unfamiliar with several of the selected vocalists. In a short amount of time, however, I came to realize just how significant and frankly amazing this album is. These 11 tracks introduce a whole new image of Gano the songwriter and musician, expanding the realms of his musical triumphs to areas I never imagined him setting foot.

Hitting the Ground definitely hits the ground running with PJ Harvey's rendition of the title track. Harvey actually "out-Ganos" Gano on this one, reproducing his trademark yips and vocal stylings to a remarkable degree while playing a mean guitar like nobody's business. Gano's own performance of the song, which closes the album out with a bang, can do no more than equal Harvey's remarkable effort. Gano's delivery of Make It Happen is a song steeped in Violent Femmes mystique; Gano proves that he still has all of the passion and fire of youth with the brash, in-your-face, frenetic, nostalgically idiosyncratic vocals he cuts loose on this frenetic little gem. The third track featuring Gano's voice is It's Money, a short (1:21), upbeat duet with Martha Wainwright. Amazingly enough, his normally forceful delivery maintains a subdued quality that meshes quite well with Wainwright's voice.

The real magic of this album is found in the tracks performed solely by other artists, for it is here that Gano's incredible songwriting ability shines through most brightly. The selected singers bring out the kind of beauty and emotion that Gano's voice would be hard pressed to elicit. Two prime examples of this are Oh Wonder, a song whose quiet beauty is showcased magnificently by Mary Lou Lord, and So It Goes featuring Linda Perry of 4 Non-Blondes, a song that begins slowly and hauntingly and builds in emotional intensity throughout. Merry Christmas Brother (performed by country singer Cynthia Gayneau, who just happens to be Gordon Gano's sister) is an unusual song featuring a strange duality of voices blending together to produce a warm, folk music type of feel. Darlin' Allison, performed by They Might Be Giants, has an oldies, creepy feel to its surprisingly standard delivery, while Don't Pretend features a staccato-type piano accompaniment to John Cale's strangely soothing voice. Of course, this album has its share of Gano-esque rocking tracks, as well. Lou Reed's Catch `Em In the Act is driven by a frenetic type of background sound I would classify as controlled cacophony. Then there is Frank Black, who sings as if he has just downed about 30 cups of strong coffee. His deep, guttural voice and energetic (to say the least) performance is memorable indeed.

I would urge Violent Femmes fans to give this album a chance; it will not only grow on you, it will amaze you. A lot of these songs sound like nothing the Violent Femmes would ever consider trying to perform, yet the spirit and talent of Gordon Gano clearly reveal themselves in the words and music. At a little over 32 minutes in length, Hitting the Ground is a comparatively short album, but what it lacks in quantity it more than makes up for in quality.

I was never a huge violent femmes fan, but always respected Gordon's lyrics and music! This is a great cd with exceptional performances by PJ Harvey, Martha Wainwright, and Linda Perry. I especailly like Linda Perry on "so it goes", she gives it such a warm quality. Check this cd out!

I can't help compare the brilliance of this album to that of the less radio recognized albums the Femmes released in the 80's, particularly 3 and Blind Leading the Naked. On Hitting the Ground, just as in those, Gano has challenged boundaries of staunch rock n' roll fans with a solid exploration of rock n' rolls various formations, both musically and lyrically.

On first listen, it strikes as generally good, with several songs -- Oh Wonder, Don't Pretend, and Darlin' Alison -- clearly taking a leading role on the album. On second listen, however, some of the more difficult-to-listen-tunes really came alive for me, especially Lou Reed's contribution in Cath 'Em in the Act, Frank Black's in Run, and, especially, Cynthia Gayneu in Merry Christmas Brother.

Gano has completely erased any lingering doubts critics may have about his vast brilliance, his passion for music, and his reverence for songwriting as an art form. Having been a dedicated Femmes fan since I first heard "American Music" as a seventh grader, and having grown up consistently referring back to their various musical manifestations for inspiration, Hitting the Ground is, in all honesty, a wonderful gift to Femmes fans after the mediocre (by comparison) Freak Magnet.

In a surprising find that oddly presents all the flavors of casette tapes that once littered the floormats of many a girl friend's Toyota, Gordon Gano's solo songwriting effort is worth a listen... Gano has the good sense to let his songwriting shine in the throats of more accomplished, or at least a better assortment of, some incredibly talented folks. From PJ Harvey, Lou Reed, Frank Black, They Might Be Giants, John Cale and more, Gano proves that while his voice may be a neat trademark of the Femmes, his songwriting can equally shine in the hands of others. In a telling example of his forsight in letting others represent him, the album opens with PJ Harvey singing the title track and closes with Gano singing the same tune (accompanied by PJ's slovely good guitar solo) which while not bad, is a far more entertaining song in the hands of PJ Harvey.

It's worth a grab for the Femmes fan for sure, but more importantly it's worth it for the far of one or more of the accompanying artists. Gano is the Starbuck's crowd's Mike Patton, so follow his screaming as far as his lyrics and check out this unusual solo effort.

I have been fallowing the Violent Femmes for 13 years now, and have seen then in concert that many times. I just recently saw Gano in La preforming this album. Though I am a fan of his singing, I undertand people who don't. The depth of tallent on this record is amazing, and Gano's song writing skill got the recognition they deserver. I have listent to every Violent Femme song writen from their self titled to Freak Magnet, and then back to Something's Wrong. Gordon Gano is a true voice of a generation people would rather forget. He and the Violent Femmes are the greatest unknon band ever. With each album of the Femmes you could see Gano grow as a person and a song writer. His talents and insight extends beyon the angst of adollecence, but to the angest of young adult hood, and as adults. I can only hope that we will be able to more songs, especially Paris Sleep. He is truley a unique and gifted man, I would recomend buyers to get one for themselves and one for another.

Gano's Violent Femmes body of work tends to be angry, horny or sad, though a cheerful song ("I'm Free," for example) will occasionally pop through the clouds of pheremones. This album is a quite a departure from that. Whether it's because of Gano's mood -- or the performers covering his songs -- is debatable, but "Hitting the Ground" catches the pride of Wisconsin in a distinctly up mood.

That doesn't mean this is a homage to Up With People: They Might Be Giants turn "Darlin' Allison" into a wistful, haunting ballad, and Mary Lou Lord's ethereal reading of "Oh Wonder" has an almost religious quality to it. Most of the songs, though, have a seize-the-day message to them, from John Cale's insistent reading of "Don't Pretend" to Gano's nicely done "Make It Happen." The title track, given two pedal-to-the-metal interpretations by Gano and PJ Harvey, deserves to be a fight song, a bar song and a song for any gathering where a group of people are going out to kick something against them.

"Hitting the Ground" would be a perfect album if the lyrics weren't so simplistic. Frank Black's ferocious version of "Run" is neturalized by the 10th grade words he delivers ("I run from the east, I run from the west, I run from the place I feel my best" is just a cut above high school poetry). On some songs, like the charming "Merry Christmas Brother," the simplicity works, but on others, like "Run" and Lynda Perry's "So It Goes," the simple lines call attention to themselves and really say nothing meaningful.

This CD is still worth a look, though, particularly if you're a fan of any of the performers on it. Their various approaches to Gano's songs underline the Violent Femmes frontman's substantial and underappreciated talent.

The prolific artistic ability of violent femmes lead man Gordon gano, plus the all-star vocal lineup? you know you want it.. get it and go stock up on some Femmes while your at it.

Gordan Gano is amazing, and so is this album! It has a great feel to it and a wonderful cast of voice talents!

Let's face it, solo outtings from classic bands are not always welcomed with open arms. I mean, how many Mick Jagger solo albums do you have? It's really hard to step out of the shadow of something like that and be heard on your own merits. But ask any longtime fan and they'll tell you Gordon Gano is much more than "A Blister In The Sun". All I can say is, it's about time.

Not only is HITTING THE GROUND a stellar showcase of Gano's talents, it has an intruiging array of guest artists. But eventhough he's sharing vocal duties with the likes of P.J. Harvey, Frank Black and Lou Reed, this is no tribute record. Despite so many voices, one still rings true.

Musically speaking, he's all over the map from the thrash of "Run" to the bittersweet country of, "Merry Christmas Brother". The title track is vintage Gano, one of those infectious things you only need to hear once before you're belting it out in the shower. The same can be said of "Make It Happen" and "It's Money". Surprizes come with Mary Lou Lord's tenderly ethereal, "Oh Wonder" and the sultry melancholy of "So It Goes" as crooned by chanteuse, Linda Perry. John Cale's sparse, piano renditon of "Don't Pretend" is touching to say the least. VU's other represenative, however pours out the venom on "Catch 'Em In The Act".

Eventhough it coincides with the 25th anniversary reissue of the Femmes' first album, HITTING THE GROUND's been in the works for sometime. Most of these songs were penned seven years ago. Pick up both and you can get the full picture: Then & Now.

If there was ever an album that suffered from the hype, Hitting the Ground is it.
When you've got one of the best current American songwriters, the frontman of the Violent Femmes, writing ten songs to be performed by some of the truly greatest people in Rock music (Lou Reed, John Cale, Frank Black, They Might Be Giants) - your expectations hit the roof.

So ultimately, Hitting the Ground can't help but disappoint. It is a good record - at times, it's even very good. But when you consider the caliber of the talents gathered on it, it should have been a classic, a must have, the best album of 2002. And it isn't.

It doesn't help that the album clocks at about 30 minutes - charged at full price.

Hitting the Ground starts (and finished) with a rendition of the title track, a hard rockin' song, performed by Patti Smith. Hmm, no, I mean, PJ Harvey, who has by now passed the point where she's considered a fan, and enters into the category of 'Patti Smith Doppelganger'. Not a bad thing, mind you - Harvey's singing is powerful, and the song is among the best here.

Mary Lou Lord's subtle "Oh Wonder" is next, and it's pretty good, although I think it is a bit too long and it could've been more energetic. Energetic is, however, the very word for 'Make It Happen', a punky song performed by Gano himself. Unfortunately, the song is really a fairly mundane affair, performed with great enthusiasm but little else.

"don't Pretend" is one of the great disappointments of this CD. Gano gave Cale a pedantic device, and Cale's treatment is lifeless. The song IS catchy in a way, but it never goes anywhere. From a pianist in Cale's level, you could've wished for more.

As Lou Reed received credits for co-authoring "Catch 'Em in the Act", I don't know whether he or Gano should be blamed for the abysmal lyrics. They are really quite awful - "This little doggy is gonna be a Rotweiller" is a pretty typical line. Reed does sound energetic, and seems to enjoy himself more than he has on any record since 'Set the Twilight Reeling', but the dreadful lyrics and the generic Funk-Rock of the tune make this a loser, even if it has its charm.

"So it goes" on the other hand, is a beautiful, beautiful ballad, one that will please both fans of Alternative Rock and Contemporary Pop. Yes, it is that good.

The best track for me, on the album, is "Run". This is not only because Frank Black is one of my favorite singer/songwriters, but also because he so perfectly understands the lightweight lyrics. Hearing Frank scream "Run! Run! Run! Run! run-run-runrunrun ruuuuuuuuuuuuuuuuuuuuuuuuuunnnnnnnnnnn! is hilarious. Frank doesn't take himself or the song too seriously, and created a classic song, one that could prove a concert favourite for both him and Gano.

"Darlin' Alison" is another good track, by kings of weirdness They Might Be Giants. They really add their own spark to Gano's song.

Unfortunately, the run of good tracks end with the irritating ballad "Merry Christmas, Brother" which is a slow, feelgood tune, with nothing to redeem it from the 'All Family' Market.

"It's Money" is a beatlesesque affair, and I guess it's fine for people who are into that kind of thing. I thought it was generic and dull.

Finally, the closing rendition of "Hitting the Ground" is pretty identical to the opening one, except that this time it is Gano singing, not PJ Harvey.

Ultimately, more than half of the album are keepers, and "Run" is a near classic. for an ordinary album, this would've been quite sufficient. Given the talents involved in this project, I can't help but feel disappointed.