I just watched a great inteview by Rick Beato of Ed Roland, the lead singer and mastermind of Collective Soul. I enjoyed the interview so much that I decided to re-post an essay I wrote on my old blog some years ago for my on-going “Battle of the Bands” series. Enjoy…!
The 1990s were a strange time. It was the decade between the two George Bushes—after the Gulf War but before 9/11—but it was also the first decade of the Internet and cell phones. The first truly digital special effects began to appear in films like Terminator 2 and Jurassic Park. The Soviet Union had fallen, only to be replaced by a globalized Russian mafia. Genocide was being committed in both Africa and Europe, all televised via the 24/7 global news cycle.
In short, this was the time when technology and social chaos really started to put the zap on our collective brain. And no bands were better at capturing this zeitgeist of psychological disintegration better than these two—Collective Soul and Garbage–although each did so in its own way.
Strangely, my concept of the “The 90s” didn’t really form until almost mid-decade. This was about the time that the amazingly vital Grunge movement began to fade from the scene. In its wake came a more diverse and accessible series of alternative rock bands. At the forefront was a five-man ensemble called Collective Soul, which had its first big hit in 1994 with “Shine.” While not their best song, “Shine” is an ambitious and even inspirational bit of rock that displays the band’s two great strengths: hard-edged, soaring vocals from frontman Ed Roland, and a vicious main riff from lead guitarist Ross Childress.
But the really cool thing about “Shine” was that despite having a very modern alterna-dude vibe it felt extremely retro. As Jon Pareles wrote in the New York Times, “Collective Soul breaks old ground. Its songs are comfortable where Southern-rock overlaps folk-rock, with solidly serviceable riffs in the usual places.”
Collective Soul was not trying to be Nirvana. It was trying to be Lynyrd Skynyrd.
Just one year after Shine, a band from Madison, Wisconsin named Garbage released their first album, Garbage (a.k.a. Garbage I). When I first heard the band, I was struck by lead singer Shirley Manson and her fabulously expressive voice—at times monotonal, at other times growling. This pale goth girl from Scotland had somehow tailored her vocals to exactly fit the manic-depressive zeitgeist of the 90s.
Indeed, I would argue that the band’s premier song, “Stupid Girl,” is the definitive song of the period (yes, even more so than Nirvana’s brilliant “Smells Like Teen Spirit”). In the song’s now-famous lyric, the narrator accuses an unnamed girl of being…well…stupid. In fact, the aspects of her stupidity are those evidenced by practically every person under 40 in modern urban America: vanity, self-absorption, consumerism, nihilism.
And fakery. Especially fakery. “[I] can’t believe you fake it…” as Manson sings portentously to the stupid girl in question. What is she faking? Being human.
Garbage I firmly established Garbage as the pre-eminent art-rock act of the decade, much as Collective Soul had ensconced itself as the pre-eminent hard-rock act. Collective Soul quickly cemented its position with their follow-up album (also eponymously titled), which included some of its greatest hits: “December,” “Where The River Flows,” and “Gel.” “December” went on to become the band’s second biggest hit (after “Shine”) and it remains my favorite, with Roland’s soulful lyrics counterpointed perfectly by Childress’s diamond-edged guitar work. I tell you, the Allman Brothers couldn’t have done better.
The song was so successful, in fact, that it engendered an almost immediate backlash which continues to this day. As far as I can tell, detractors of the song (and of Collective Soul in general) are upset by the fact that it not very Grungy. But wasn’t that the point? Grunge was a great period in American music, obviously. But in the end, it was just Punk’s Second Act. Like Punk, Grunge ran out of gas rather quickly. This is not surprising. Rage can only sustain an artist for so long; at some point, you have to write a song that works on multiple levels, and I think Collective Soul achieved that.
As for Garbage, the band was able to build on its initial success with the album Version 2.0 (which was produced under the delicious working title of Sad Alcoholic Clowns). The album has some good songs—I especially like the trippy and propulsive “Temptation Waits”—but none quite achieved the sublime level of “Stupid Girl.”
Ultimately, both bands were able to sustain themselves through the rest of the decade and beyond. Collective Soul suffered a near-fatal rift when Childress left the band in 2001. Even so, it has fared better than Garbage since the Millennium, producing some really fine albums especially 2004’s Youth. From that album come two of my favorite songs, “Better Now” and “There’s a Way”, which pick me right up whenever I am feeling lazy or down.
And yet, whenever I think of the 1990s, I remember “Stupid Girl,” with its techno-crazed background noises and jangly guitar riffs, all overlaid by Manson’s dirge-like vocals. To this day, “Stupid Girl” warns us like a klaxon just outside the entrance to hell: Don’t fake it…
But not enough has been written about the role of conflict in creativity. Specifically, the role of rivalry, competition, and—yes—jealousy, at its most venomous and sincere. The history of art is, in some ways, a history of rivalries. Picasso and Matisse. Faulkner and Hemingway. The Eagles and Fleetwood Mac. Rivals have a way of inspiring each other, of spurring each other on in ways that “healthier” forms of motivation just can’t reach. The greatest rivalries of all are, perhaps, those that exist within a rock-and-roll band. Would Lennon have been as good without McCartney breathing down his neck? Richards without Jagger? Henley without Frey?
Ash Clifton, Writer 