Fresh from their massively successful debut Yourself or Someone Like You, Matchbox 20 could've mailed an album in, rehashing material from their hits. Instead they went in a completely new direction, expanding themselves musically. The result is a poignant album, less pop rock than adult alternative.
The album's major change is the inclusion of brass on certain songs. The horns add a depth to the music lacking on Yourself. The lyrical themes run the gamut from depressing to comical, blending the same old problems with a new batch that comes from being a hugely popular band.
Now, on to the track listing.
1. Angry - The first offering is a plunge into the deep end of the album, both lyrically and musically. It blends the aforementioned horns, vaguely Gregorian chanting, acoustic strumming, vocal distortion, and a short electric guitar solo into a poppy, upbeat song about failed relationships. Personally, I could take it or leave it. As an individual song, it's not that good. As an introduction to the themes of the album, it's perfect.
2. Black and White People - The brass section new to Mathbox 20 makes its lead debut on Black and White people, playing a catchy tune about conformity. Rob decries the "technicolor dreams of black and white people," wondering why everyone just wants to fit in. Black and White People puts to rest the idea of Yourself-style pop hits, letting the listener know that this album is differnt.
3. Crutch - Opening with a crunchy intro, Crutch is a bit of a throwback to prior efforts. Rob illustrates his vocal mastery with scat-like rhythms made familiar by Jason Mraz, and Kyle plays a solo mid-song very reminiscent of Tabitha's Secret. The truly great version of this song is on the EP, done swing style.
4. Last Beautiful Girl - Just when you're adjusting to the new matchbox twenty, they throw a radio-friendly pop song in. Last Beautiful Girl is a fast-paced pop-rocker about a breakup. That doesn't detract at all from the song; it turned out to be one of matchbox's best singles.
5. If You're Gone - If someone has heard only one song from matchbox twenty, it's probably If You're Gone. The first ballad on the album is a tale of a relationship turned sour, where one partner doesn't quite know that its over yet. The song opens with a gentle guitar section, Rob's voice, then the horns come in to complete the ensemble. The result is one of the best unrequited love songs ever written, and hands down the smash hit off of Mad Season.
6. Mad Season - The title track is 180 degrees opposite If You're Gone. The song illustrates the circus that the band member's lives have become, extremely evident from the music video. A catchy hook plays under the verse lyrics, opening up to a full-blown electric solo by the end of the song.
7. Rest Stop - The next track is a return to the depressing, relationship-gone-wrong theme. On Storytellers, Rob explains the story behind the song, lending it an air of credulity. It's about a trip he was taking when he was 17. He was travelling cross country with a girl, when she suddenly stopped and kicked him out of the car at 3am, telling him the relationship wouldn't work. The song illustrates his frustration with her as he walks to the nearest rest stop. The song introduces strings in a leading role for the first time, making for an excellent ballad.
8. The Burn - The Burn is a song about being burnt out on life, not wanting to fulfill any responsibilities. It's a basic alt-rocker, not really a standout.
9. Bent - The album's next offering is a humourous song about Rob's increased stature in relation to the other band members. In the video, they're shown mercilessly beating Rob as he walks along the street. What makes it even funnier is that 'bent' is a synonym for 'gay' in Europe-so there were massive posters of the band up all over Europe to promote the single...all with 'bent' in huge letters above them. A good, guitar driven song.
10. Bed of Lies - The other famous song off the album, Bed of Lies is a slow, apocalyptic sounding breakup song about a lying partner. The song begins acapella, with muted strings and drums entering, giving the song a more massive sound than other tracks.
11. Leave - Another breakup ballad. Kyle plays a heavily blues-influenced guitar, backed by gentle drumming and the ubiquitous horns. The lyrics are different from normal in that Rob fights back: "But if that's how it's gonna leave/straight out from underneath/then we'll see who's sorry now." This song got me through some hard times after a relationship, so I would personally recommend it.
12. Stop - To break up the ballad-fest, the band throws in a fast-paced, catchy tune called Stop. Rob's famous line "you gotta give it up to get off sometimes" repeated ad nauseum makes up the chorus to a catchy diversion from the weight of the rest of the album.
13. You Won't Be Mine - Rob's piano talent appears at last, backed by drums, strings, horns, and artfully placed clips of rain falling. The massive sound of Bed of Lies is ratcheted up a few notches. Rob's lyrics are creepy, almost threatening: "I know soon you will be/Over the lies, you'll be strong/You'll be rich in love and you will carry on/But no - Oh no/No you won't be mine." The song is very well done, my personal favorite on the album.
14. You and I and I - a well-hidden live track, You & I & I requires that you jump through some electronic hoops to add it to the playlist. It's a live recording of a song that matchbox hasn't recorded in studio, basically a concert pop-rocker.
Mad Season is a different direction for Matchbox 20, even so far as taking a new name (matchbox twenty.) While not well received both publically and by critics, Mad Season is a much more mature album than Yourself, and illustrates the potential present in the still young matchbox twenty.
