We will be the first to admit that in terms of Miley Cyrus records, 2008's first true-and-proper non-Hannah Montana album, has more polish.
#The evolution of robin thicke robin thicke rym free#
Feel free to explore the wild recesses of the rest of the catalog, but also know that "Tubthumper" is the sound of a band putting out its best effort at the perfect moment. Sure, you can have a whiskey drink and a vodka drink to enjoy the big hit "Tubthumping," but this record contains a multitude of great, bizarre alt-pop experiments, ranging from the shoulda-been-a-smash that is "Amnesia," the drum-and-synth smoothness of "Drip, Drip, Drip," the drum-and-bass experiment of "The Good Ship Lifestyle" and numerous other electronic numbers that were fitting for the era and still, surprisingly, hold up today for the most part. The British group Chumbawamba has been around since the early '80s, and its political- and musical-aesthetic can only be described as downright anarchistic, switching wildly between styles and genres while putting out albums titled "Pictures of Starving Children Sell Records." The band's albums vary wildly in quality and tone, but on the commercial breakthrough, "Tubthumper," everything fell into place.
(But give some credit to Rucker for going solo, going country, and still finding success on his own.) Every subsequent album was a case of diminishing returns, showing that for all its bluster, Hootie was only a one-album wonder. The only problem with this winning formula? Finding a follow-up. The leader of this movement, however, was a little-known South Carolina band named Hootie & the Blowfish, who exploded onto the scene with "Cracked Rear View." With old-school organs, acoustic guitars, and slick production, Darius Rucker's sturdy-voiced ballads and pop numbers connected California kids to Midwest families, creating a kind of universal midrange sound that ended up making songs like "Hold My Hand," "Only Wanna Be with You" and "Let Her Cry" omnipresent radio staples.
Following the grunge explosion of the early '90s, it was inevitable that there would be some type of counter-programming, and with the likes of Sheryl Crow and Matchbox Twenty leading the charge, radio soon acquiesced to a pleasant, MOR pop-rock sound.
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