Review Summary: With entrancing harmonies and fantastically written ballads, The Thorns have a warm and inviting sound that stretches even on the hard rock and grunge ballads. This is the epitome of a supergroup release.
Shame on you, Sputnik, tsk tsk tsk. Of the vast digital library that is under the Sputnikmusic realm of online diploracy, thousands and thousands upon thousands of bands and discographical achievements, I have to go along and add one of the most critically acclaimed rock albums of the early two-oughts myself. The second band I search for after I get an account on this marvelous (take away a few users) musical website is not here. I fail to believe that many of you, the supposed musical critics and those who eat, breathe, drink, dream, and defecate all forms of music, to have not heard of this lovely gem from 2002.
Combining three radio rockers from the late 90's, The Thorns consists of Matthew Sweet, Shawn Mullins, and Pete Droge, all of whom had at least one rock radio hit that the average caucasian father would know instantly. Whether it be the "everything's gonna be alright, rockabye" chorus from Shawn Mullins, or the song Matthew Sweet song "Girlfriend" which reached number 7 on the American rock charts in 1991 and was made popular again in the hit video game Guitar Hero 2, or maybe from Pete Droge, who preformed and wrote most of the original material in the Academy award nominated music film Almost Famous, it'd be a titanic stretch to say these three frat rockers haven't crossed the average lenient man's eardrums. Known for their usually laid back and lean soft rock, the three got together to create The Thorns, which is surprisingly heavier in certain aspects. Certain tracks are reminiscent to the soothing and charming acoustic ballads of Shawn Mullins, while others sound like lost Alice In Chains gloom-and-doomers. Surely, I musnt jest, oh no, for I have only began.
Because the Sputnik scrogs appear to be most uncleanness from The Thorns, let me begin. The Thorns was a reverse side project of sorts for its principals, Matthew Sweet, Pete Droge, and Shawn Mullins. All three singer/songwriters had made their names as solo artists, so to suddenly become a band took a bit of work. Even so, the musicians' batch of shared influences -- Beach Boys, Joni Mitchell, Gram Parsons, Simon & Garfunkel -- suggested that the union might work, even if they hadn't worked together before. Summer 2002 found the trio writing up material; by autumn they'd gelled, and started laying it down in an Atlanta studio with longtime producing pal Brendan O'Brien. Sweet (no pun intended) harmonies and an array of guitars were out front, while veteran drummer Jim Keltner held down the rhythm. The self-titled LP appeared from Sony in May 2003, and was immediately heralded as a return to the sunny, harmonious sound of groups like CSN and even Fleetwood Mac. A promotional acoustic tour followed, as did dates with the Jayhawks. A club tour of their own led into late autumn, when The Thorns hooked up with junior-league jangler John Mayer for a few dates of his arena tour. The album they released in 2002 charted highly and got mostly positive reviews, for obvously good reasons.
If ever a group's moniker were wrapped in florid irony, surely it's this bright, buoyant summit meeting of contemporary popmeisters Matthew Sweet, Shawn Mullins, and Pete Droge. Backed by an all-star studio ensemble that includes Jim Keltner, Greg Leisz, Brendan O'Brien, and Roy Bittan, the three nominally insulated musicians don't so much claim the legacy of Crosby, Stills & Nash on the harmonic riches of "Think it Over" and glorious "Now I Know" as find a musical common ground that can't help but echo history in its folk-rooted vocal glories (although it's hard to imagine the baby-boom icons wrapping themselves around the chunky funk of the title track here or the pointed impressionistic allegory of "Dragonfly.") Yet The Thorns forges an ego-sublimating higher ground that's anything but nostalgic. Fans of the three musicians may recognize their various sensibilities at work throughout, but it's a rewarding collaboration that virtually defies deconstruction. Don't be misled by the name, I laugh in plee and cry, this is a beautiful, musically fragrant bouquet, inclusion of both the softer and heavier tracks.
Frank to upset the youngsters, The Thorns release one album and, although they re-released this album as an all-acoustic session without the flang or distortion, the three disbanded in 2004. Please listen to this album, as it is far better than To Pimp A Butterfly or With Buildings As Teeth, and I gave those both 4.5/5's so that lone fact should speak for itself.
Pros:
Lovely production
Striking performances from all three frat rockers
Soothing acoustic ballads
Genius
Cons:
"Brambles" is too short.
