CONTINUED FROM "I COME FROM THE WATER" POST YESTERDAY...
Six years passed before "Hell Below/Stars Above," the sophomore set from the Toadies was released in 2001. While a wait like that can crush any hopes a band has for mainstream success, the Toadies weren't concerned. They came back strong with a slightly more polished and certainly more mature sounding record than their debut. The climate of the industry had drastically changed in the time during which the Toadies were on hiatus, and their sound was no longer the material of modern rock radio stations. In a time when Korn and Limp Bizkit were ruling the charts, the Toadies were a breathe of fresh air from the nu-metal scene, and "Hell Below/Stars Above," showcased the Toadies back at doing what they do best. The album which is criminally underrated fell far below the publics attention, as it was not even reviewed by Rolling Stone, Spin, or Alternative Press.
Rather than adapt to their current musical surroundings, the Toadies created another unrelenting grunge alternative masterpiece. Not missing a step since "Rubberneck," the album opens with "Plane Crash." As one can gather from the title, the song starts the album off with the intensity to fuel the entire album. The song delivers Rock n Roll at its purest with this energetic bolt of stadium rocking riffs and lyrics. Hot on its heels comes "Push the Hand," another full throttle rocker, that almost achieves a hoe-down southern feel to its grunge. Showing some Led Zeppelin influence this time around, Todd Lewis delivers a great vocal performance on the next track, "Little Sin." While critics often have had problems with the Toadies use of hooks in their songs, "Little Sin," offers a memorable hook with plenty of distorted guitars building all around it. The rhythm section takes control during "Motivational," which served as the first single from the album. I'm not sure it received much to any promotion as I don't ever remember hearing it other than on the album. The song is a very raw pummeling track reminiscent of their debut album. Continuing with the hard hitting shorter songs, "Heel" follows closely behind with much of the same intensity. The build up during this song takes off and holds no prisoners. True aggression combined with a wall of feedback and guitar distortion, brings out the Toadies reckless dark sound, only slightly more calculated and polished this time around. You can't help but feel a sinister dark tone to the song, but it is actually written about training a dog.
"You'll Come Down," is a great track really showcasing the new maturity displayed on this album. A more mellow, creeping song reminiscent of "Away," with wide open guitars, heavy rhythms, and incredible vocal melodies to match. Lewis' vocals, both lyrically and in deliverance are as strong as every, with the culmination of beauty and testosterone filled anger. He shows off this vocal strength on the slow, spaced-out "Pressed Against the Sky." While I am always a sucker for a great build-and-release song, this is a prime example of that technique at its finest. The songs begins with a simple chorus soaked guitar line, dreamscape lyrics, and the lounge mood of the bass and drums. Harmonics are added after the first verse as the intensity very slightly increases, but is still very well rooted in the dreamy atmosphere. Lewis does his great high pitched singing, something of a tribute to one of his favorite singers, Chris Cornell. The song then takes off as it has reached its release. An overall amazing song, filled with great spacey images. The album then shifts right back to the waving darkness the Toadies are known for on "What We Have We Steal." Proving the critics wrong again, the hook of this track is just as catchy and radio friendly as anything the Foo Fighters have released. Todd Lewis' voice is one of the most powerful of the 90s and should be given the credit he deserves as a singer and songwriter.
"Jigsaw Girl," is a fantastic surreal tale, almost a dark themed ballad. With lyrics describing piecing back together the parts of a girl to bring her back into the world, Lewis creates a disturbing, yet magical story of hope. There is a definite strong degree of beauty within the darkness yet again. Screeching guitars and air tight rhythms compliment the swirling sounds of this stand-out track. "Sweetness," is another hard rocking southern tinged track with the usual Toadies swagger to it. With a strong pulsating chorus leading into the deep depths of the bridge and bouncing of the bass line, the song comes back alive like a thousand zombies rising from the ground. The last two tracks of the album are arguably the most interesting ones. The title track, "Hell Below/Stars Above," is a lightning fast punk themed love song with a strange pyschedelic feel to it. And then, without much warning it makes perhaps the greatest shift I've ever heard a song make from the hard charging punk sound to syrupy pop sounding melodies. As original as can be, the sonic change is incredible and leaves you wanting more. The album reaches its finish with, "Doll Skin," a track that reminds me of a mix between their own "Tyler," and something from the "Where is my Mind" era Pixies. A beautifully paranoid tale with hypnotic pounds of the bass and drums, and the glorious hum of distortion fueled harmonies. Lewis proves his gift of songwriting once more with his lyrics. "In the middle of a house, in the middle of nowhere, bodies glide from room to room. I hate these walls, they speak to me," creates the sound and image of a creepy desolate atmosphere for the rest of the song to sprawl through. I highly recommend this song to anyone and everyone.
With that all said and done, the Toadies broke up shortly afterwards. They issued a best-of/live album called "Best of Toadies: Live from Paradise." Recorded at the Paradise Rock Club in Boston, they performed a set of their fan favorites, including the great b-side, Paper Dress, and a cover of the Pixies' "Where is My Mind." The album contained no overdubs, giving the fans a sincere example of what it was like to see the Toadies live and in person.
In 2005 they reunited to play a St. Patrick's Day show in Dallas. The next year they played it again, as well as other shows around Texas. In 2007, they played more shows, released an Instant Live Disc from that years' St. Patrick's Day show, and went on a small tour to close out the year. Announcing "they're back," the Toadies never made it clear whether it was for the small tour of Texas and its neighbors, or back to kick more ass as a band again. I am still not sure of their plans, but you better believe I am hoping for the later. I need the Toadies in my life, and it just isn't right to continue depriving myself of new or live Toadies experiences! I believe the full reunion is on its way, so please please please come back to us!!
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