The Get Up Kids Guilt Show Vagrant/Heroes & Villains/BMG 2004, 2016 Reissue

The Get Up Kids Guilt Show Vagrant/Heroes & Villains/BMG 2004, 2016 Reissue CAT #VR4397

Man, so much to say about the final Get Up Kids album. First story that I have is that years ago, when I first started thinking I should start a vinyl blog based on local music I realized there were huge holes in my Get Up Kids collection. I had everything on CD at least and some scattered vinyl, but mostly everything I had was on CD. So, I called my friend in the band and asked if he had some stuff laying around and since I'm sure EVERYONE asks him the same, I offered to give up some choice LPs in exchange. He was agreeable and got what was available to him, even a member of the band doesn't have the ultra-rare limited stuff anymore. I got most of my holes filled, but asked, "Dude, where's Guilt Show?" The answer was he didn't have anymore, but gave me a CD copy. What's funny, as I was visiting another time and looking over records, there was multiple copies of this LP mixed into the collection. Basically, I don't think certain members of the band remember this one too fondly. If any of that is true (which it's probably not) I assume most of it would be from the fact they disbanded shortly after it's release.

It is a bit Matt Pryor heavy, the LP seems pretty focused around his type of tracks, introspective Superchunk-esque indie-pop. But, they are strong songs, although the energy could have been higher throughout the whole album. They don't have the teenage heartbreak and angst that early albums had, but, the band was older, full-fledged adults by this point. When you compare it to their 2002 album, On A Wire, it's certainly more of a Get Up Kids album, they ditched the roots rock and went back to their indie-rock roots, but found a lot of room for clever harmonies, clever lyrics, and jangly rhythms. It's not an album to be ashamed of, it's very enjoyable and easier to dance and shake to than On A Wire, was.

The other question is what would have happened if this came out in 2002 instead of On A Wire? It's difficult to say, but following the success of Something to Write Home About, the band was on the verge of something big, all they had to do was make Something to Write Home About Mach II and they may have become MTV indie darlings for a year or two. I don't sense a huge hit single here, but, it may have fit into 2002 better. And, had it been made following Something to Write Home About, it probably would have been a lot snappier. Either way, it would have been better received than On A Wire, fans would have been ready for this LP in 2002.

For what it is now, the first track, 'Man of Conviction' should be considered a Get Up Kid classic, equally as good as their most cherished songs. Next to last song, 'Is There A Way Out' is a deep cut by the group highlighting that these guys had soul and ideas that could have led to something amazing had they kept it together.

Man Of Conviction
Is There a Way Out

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villians/BMG 2000/2016 Reissue

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villains/BMG 2000/2016 Reissue CAT #VR4401

Man, I remember being so excited for this record in 2000. I actually got an advance copy to promote through an indie-promotion company when I was doing "street team" work. The Anniversary was becoming a big deal, locally and nationally. They were touring with the Get Up Kids, the singles they had released up to their debut were frantic emo-pop sing-alongs.

However, when I got the album I remember being completely let down. The album starts out promising with "The Heart is a Lonely Hunter" followed by "All Things Ordinary", but after that, I remember thinking the band had run out of ideas. The Rentals formula was wearing thin and in bursts, it worked for the band, but for an entire album, it gets thin. When the album was officially released, I never bothered updating my promo copy which was just a disc in a plain white envelope with a hype-sticker across the back.

Years later, when nostalgia took over, I regretted never buying it on vinyl. When I started looking for it, I would have been lucky to find a copy for $50. Then, just recently, Vagrant started re-releasing a bunch of their back catalog for the label's 20 year anniversary and this was included. I waited too long apparently to get a standard black copy and settled for this blue colored version...and once again, I was disappointed when I first put it on. Not because I felt I bought a bad album, I can now validate the purchase for two great tracks and some solid filler, I got more money than I did in 2000. But, what I was upset about this time was slightly warped vinyl...WTF. Quality control on recent vinyl pressings leaves a lot to be desired, but that's to be expected when everyone is buying records again.

Either way, the album sounds better today than it did back then. Bonus, the warp doesn't affect playback, so it's cool. I'm picking up on all the moments when the Get Up Kids association rubbed off on these guys, the pick slides, the obvious emo infliction, it's nice. But, mostly it's the nostalgia that gets me.

Designing a Nervous Breakdown

The Get Up Kids/Rocket From the Crypt Split 7" Heroes & Villains/Vagrant 2000

The Get Up Kids/Rocket From the Crypt Split 7" Heroes & Villains/Vagrant 2000 Cat # VR351, HV 009

This band cracked Billboard charts as an independent recording artist from Kansas City.  They toured with big timers like Weezer and Green Day.  But, what I find the coolest, they did a release with Rocket From the Crypt.  To me, Rocket From the Crypt represents the last great Rock N' Roll band.  The last band that you could play loud and piss off your parents with.  They used nicknames, had a horn section, didn't hide behind punk agendas and alternative fashions, they just played fast and loud.  But, they're not from Kansas City, so it's probably best to stop there.

The song featured here, "Up on the Roof", was recorded on the road in Hollywood, CA.  The band utilized their sound guy and local legend, Alex Brahl, to produce the track.  It's a decent track, considering that they were splitting the time with Rocket From the Crypt, you would have thought they would opt for something a bit more up tempo.  But, in 2000, it represents the first steps the Get Up Kids took in trying to get away from themselves and the Emo Pop genre they unintentionally spawned with the release of 'Something to Write Home About'.  Albeit the song is bit sappy, it does feature a more organic sound that would find it's way onto the 'On A Wire' album.  Dewees' keyboards are set on piano rather than synth, they dump all the pick slides and woo-hooing for a subtle groove centered around the Pope brothers.  The lyrics also feel heavier and more adult than previous work.  Decent track, but still, they were following Rocket From the Crypt, the pick slides and woo-hooing probably would have been fine.

Up on the Roof

The Get Up Kids Something To Write Home About Vagrant 1999

The Get Up Kids Something To Write Home About Doghouse/Vagrant/Heroes & Villians 1999 CAT #DOG 066

There's not much I can say about this album that hasn't already been discussed.  It was breakthrough album for the band.  It edged them ever so close to the mainstream by making it to the Billboard charts, putting them on tour with the likes of Weezer and Green Day, and the CD made it into the hands of countless high school students.  As time has gone on, it's proved to be a highly influential album.

Unfortunately, the highly influential part isn't such a good thing.  This album created a blue print for a number of bands.  All of which, became much more successful than the Get Up Kids.  Which is a shame, because Something to Write Home About is a solid album and the band deserves the same success.

To preface the dilemma, the Get Up's teenage aggression was replaced for pop hooks and keyboards on this LP.  It worked to great affect, there's even ballads on the LP - it's nice.  Much of the pop tendencies are owed to the addition of James Dewees on keyboards.  This is odd, because prior to joining the Get Up Kids, James Dewees was playing drums for Coalesce; a legitimate Heavy Metal band.  Regardless of his background, he's somewhat of a musical genius and folks around town were saying he "fixed" the Get Up Kids shortly after joining.  Rumor being that the band had come into a bit of writer's block, Dewees supposedly brought in a keyboard and started finding what was needed to finish the tunes.  There are great songs on the LP.  There are tunes that could be huge radio hits, it didn't happen, but the songs are there nonetheless.

But, man, the aftermath of this album.  Fall Out Boy is quoted as saying, "There would be no Fall Out Boy without the Get Up Kids."  And, sure, maybe people can call Fall Out Boy fun, cute, catchy or whatever.  But, there's a whole list of others,  Motion City Soundtrack, The Academy Is..., Say Anything, Taking Back Sunday, and many others that all suck.  Worst, these teen punk bands came to define the term "Emo" in relation to pop music.  The Get Up Kids seemed to be trying to escape the whiny confines of the underground Emo scene with this album.  They wanted something more than Sunny Day Real Estate fans putting them 2nd best, so they created a pop album.  These other bands, they just took the album as a blue print and wrote crappy pop-punk tunes with a few ballads thrown in so they could get laid on tour.  It's a shame.

A song about how Jim Suptic's girlfriend wouldn't drive 10 minutes to downtown to see him while at KCAI
Action & Action Video

The Get Up Kids Eudora Vagrant/Heroes & Villains 2001

The Get Up Kids Eudora Vagrant/Heroes & Villains 2001 CAT #VR357/HV010

For those not local, the album's namesake is an actual Kansas town that lies between Kansas City and Lawrence, Kansas.  It's where Red House Recording studios is located.  During the peak of the Get Up Kids popularity, the band purchased the local studio and turned it into one of the finest studios in the Midwest.  They saved it, proving once again to all naysayers, they always supported their local community and scene.

Personally, I love the compilation, can't say the same for Eudora the town as it's boring and nothing spectacular.  There is the old tale about how a Shawnee Indian named Pelathe attempted to warn Lawrence, Kansas about the infamous 1863 attack on Lawrence by Quantrill and his Raiders.  The legend goes that Pelathe overheard of the attack in Kansas City, Missouri the day before.  Quantrill was in route to Lawrence, so Pelathe would need to arrive in Lawrence before dawn.  He mounted the fastest horse he could find and began the ride.  Nearing Lawrence, the horse had run hard and by most estimates near 40 miles, the horse was staggering.  Pelathe allowed the horse to catch his breath, but knowing he could save innocent lives, he cut the horse in the leg and emptied gunpowder into the wound in attempts to spur the horse further.  The horse was able to make it a few more miles, but collapsed shortly after.  People from Eudora will tell you that Pelathe's horse died in their town.  Of course, every neighboring town to Lawrence lays the same claim.

So yeah, good story, but back to the comp.  I love these types of rarities collections, all the hard to find 7"s and one off comp appearances are presented and while not a retrospective of a band, you hear what the band actually sounded like.  The band's not so shining moments, the cover songs, and the moments of brilliance.  The proper albums by bands are generally a focused effort to impress you, these types of releases are just a collection of songs detailing a career.

I remember when the original stuff came out.  When Ryan Pope told me they were covering "Beer for Breakfast" by the Replacements I literally yelled at him and asked, "What the hell is wrong with you guys?  That song was a Replacements throw away that just showed up on stupid Best Of comps to make you giggle, why didn't you cover something good?"  The Pixies cover of  "Alec Eiffel" they did and played for days straight.  When they said they were covering a shitty Motley Crue song, I rolled my eyes, but still enjoyed the cover.  Then there's the stuff I missed; the amazingly good Cure cover and the horrible rendition of "Suffragette City" by Bowie.

The band has always been just some guys from the Kansas City area.  They weren't elitists, they were literally just some kids that discovered Fugazi, Superchunk, and Pavement in high school and made a band of it.  This collection showcases that aspect of their career and sound.

Alec Eiffel
Newfound Mass (2000)
Close to Me

The Anniversary Your Majesty Vagrant/Heroes & Villains 2001

 

 The Anniversary Your Majesty Vagrant/Heroes & Villains 2001 CAT # VR359/HV011

I'm torn with this LP.  It's the last Anniversary LP and it was a complete departure from the band's previous output.  Virtually everything leading up to Your Majesty was centered around Adrianne Verhoeven's  (listed on this album as Adrianne Pope because, she was briefly married to Rob Pope of the Get Up Kids) quirky keyboards and vocals.  The songs written by Josh Josh Berwanger and Justin Roelofs were good, but made better by Adrianne's contributions to them.  Maybe they got sick of it, maybe their egos didn't like Adrianne getting all the attention, but after doing a split EP with the band Superdrag that would hint to this, they redefined their sound.

The quirky bubblegum indie rock is gone on Your Majest.  Instead Berwanger and Roelofs became obsessed with groove and classic rock sounds.  Big guitar, funky breaks and sweeping arrangements.  Verhoeven still plays a role, but it's mostly vocal, she adds keyboards but it is building tool rather than a featured instrument.

Admittedly, they show they got the hooks to undertake the new sound.  The first three songs on Your Majesty are huge.  In fact, they are so good, I think they fooled most people into believing this was a great album.  They did the LP in Los Angeles to show they meant business and definitely got a big boy sound out of the sessions.  However, after the first three songs, I tend to find this LP boring.  Songs like 'Husam Husam' and 'Devil on my Side' typify what you find throughout the album.  Grand sweeping ideas that lead to nowhere.  The slick production and over-dubbing make things sound important, but it's just empty and never seems to live up to its ambitions.

I really hate to be Debbie Downer, because again, the first three tracks are incredible.  They lead into each other effortlessly.  The groove on those tunes feel so good and hit you in the face like a Buddy Miles drum break.  It may be that those three songs are impossible to live up.  Maybe, I'm missing the genius behind a song like "The Death of a King" with it's wind sound effects (yeah, sound effects, who the fuck are these guys?) in the background and prog-rock keyboards, but it takes six minutes to get to the absolutely pointless 'Follow the Sun'.  I'd rather just listen to the first three tracks again.

Sweet Marie-1st Song-So good.
Crooked Crown-2nd Song-Feel that groove
Peace, Pain & Regret-3rd Song-Different feel, but solid and great bottom

Get Up Kids/Anniversary Split 7" 1999

The Get Up Kids/The Anniversary split 7"
Central Standard Time B/W Vasic + Bluey
Vagrant Records Heroes & Villains
CAT# VR341/HV002 1999

For a good chunk of time, the Get Up Kids and the Anniversary were freakin' besties around Lawrence. The bands did everything together, toured, put out records together, married one another.  It was kind of weird.  However, both had similar backgrounds,  both bands were primarily made up of suburban kids, ditching college for the life as a rock n' roll band (thus, they could relate to upset parent syndrome).  Difference though, Get Up Kids did things on their own, it took a lot of work to get to the point they were at at the time of this release.  To an outsider, the Anniversary's success seemed to be that of association.  Hang out with the Get Up Kids enough and they'll find you a spot on a tour and their record label.

You can listen to the Anniversary and know that they're talented and a lot of the admiration from the Get Up Kids came from the band's talent.  Their B-side to this 7" Vasic + Bluey is solid.  At this time they were still young and sounded a lot like the Rentals.  Best, they utilized their secret weapon Adrianne Verhoeven a lot.  Her voice cuts over the chorus, her synth drives the song.  She's the middle of the band and the best part of the song.

The Get Up Kids A-side seems a bit of a throw-a-way in all honesty.  A bit over the top with it's emo-ness. The band was/is at it's best when it's all angry teenager emo and not so f'n adult about stuff.  Keyboards add nice little touch, but the energy just isn't there on this track.  Seems obvious, one member wrote the song, the rest just didn't feel the same way about the song, so it ended up on this 7". No pick slides, mid-tempo, no excitement, blah.

Central Standard Time