Goo Goo Dolls
Dizzy Up The Girl
[Warner Bros.]
Rating: 3.2
Back before their current reincarnation as regular- shlubs- from- Buffalo-
turned- heartthrob- balladeers, the Goo Goo Dolls were like the band in
the PG-13 movie that everybody really hoped would make it. Not like
anyone listened to them back then, but their reputation for being the
hardest working band in the biz (not to mention being such goshdarn nice
guys) garnered them the oft- dreaded "critics' darlings" label on more
than one occasion. So it would be a disservice to Pitchfork readers
everywhere to simply state that all existing copies of Dizzy Up The
Girl should be buried under a nice fresh steaming mound of bat guano.
Yeah, I admit it, I admire the Goo Goo Dolls for surviving ten years on a
modicum of ability (and indeed, I sort of expected them to hit it big a
lot sooner), but that doesn't necessarily mean I have to like their
albums.
Trafficking in unabashedly melodic scruffy rock, Goo Goo Dolls have always
been somewhere between the Replacements and Bryan Adams in terms of sound
and commercial appeal. Their singular talent lies in writing absurdly
anthemic, radio- friendly choruses, which is certainly no mean feat.
However, that's the only thing the Goos know how to do, and it
sounds like they know it only too well. Listening to their songs, you
can't help but feel as if they're rushing through verses and bridges just
so they can hit you with The Big Chorus one more time.
So Dizzy Up The Girl is little more than a mismatched procession of
hamhanded hooks, with John "Bon Jovi" Rzeznik putting as much grungy soul
into his vocals as he possibly can. And don't tell me Rzeznik doesn't know
his target market when he sings "What you feel is what you are/ And what
you are is beautiful" and then follows it up with "Do you wanna get
married/ Run away;" he knows damn well that the legions of dewy- eyed
women who bawled at "City of Angels" will buy Dizzy Up The Girl
solely on the strength of "Iris." But said women will undoubtedly be put
off by the dumb guy- rock of "Extra Pale" and "Bullet Proof," as well as
bassist Robby Takac's horrid vocal turns on tracks like "January Friend."
Everyone else that's been wise enough to stay away from the band from the
start would be better off buying the Mats' Pleased To Meet Me or
even an old Soul Asylum album.
-Nick Mirov
"Iris"
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