Following up on the 1999 list here is an album I couldn’t really fit in but I wanted to mention cause they hailed from my hometown of Columbia, SC. Not too many people know about Insult To Injury and that is a damn shame. The band spawned from the great pop/punk band Self but was more in line with SC hardcore heroes Assfactor 4. I covered the band on SAL over three years ago here but I figured they deserve some more ink and especially since I left them out of my Best of 1999 list. This album came out on vinyl only if I remember correctly (on the defunct Gainesville label, Belladonna to be exact) and is long out of print. Insult To Injury play fast and screamy yet subtly melodic emo/hardcore and their one full-length Self-Titled affair is a gem of an album. I have gone ahead and included the band’s 1998 7″, The Things Kids Say, along with the band’s full-length for downloading purposes below. Enjoy!
Everyone has an album that they hold near and dear to their heart. You find yourself going back to time and time again, yet it never seems to lose that initial spark that you felt when you first listened to it. After giving it much consideration, I have realized that my favorite album is King James Version, the sophomore effort from Seattle’s Harvey Danger. Many reading this article will remember the band for their brief mainstream splash that came from 1998’s “Flagpole Sitta”, a single from their debut album Where Have All The Merrymakers Gone? I remember when this song was so popular, it seemed to be on The Box (does anyone remember that music channel?) every ten minutes. However, subsequent singles failed to garner the response achieved by “Flagpole Sitta” and Harvey Danger have been written off as a one-hit wonder by most.
My history with Harvey Danger started in a similar manner as many other fans – I saw “Flagpole Sitta” more times than I can count and quickly fell in love with the song. Being roughly nine years old, I did not really have any money to buy the album and my interest in music had not yet become serious, which led to me forgetting about Harvey Danger after the song left the air. After a few years went by, I discovered Harvey Danger had released a second album and decided I just had to have a copy. Growing up in a small suburb, my selection of CD outlets were pretty limited and had poor selections. This did not stop me from browsing the CD racks hoping I would finally stumble across a copy, but my search would always end in vain. It was not until a family trip to Orlando that I finally found King James Version, and in the most unlikely of places too (a certain chain store known for smiley face stickers). I purchased the album and eagerly awaited my first listen upon returning to my hotel room.
Upon my first listen, I must be truthful and say my reactions were probably the exact same as the countless other people who were introduced to the band through “Flagpole Sitta” – I though it was terrible. In my defense, my musical tastes were pretty limited at the time. However, as is the case with many great albums, copious amounts of time and subsequent listens began to unveil a record that was both challenging and enjoyable. Harvey Danger went from being a band that played a raw but energetic style of indie rock to a band that was a lot tighter, and they crafted more refined songs and outstanding melodies. Not only that, the band’s lyrics were extremely clever and had allusions sprinkled throughout. I think that the style shift was part of the reason casual fans were driven away, leaving only the die-hard fans.
This is a shame because in my opinion, King James Version is not only the band’s strongest material, it is an outstanding record that would appeal to a wide variety of people who are interested in indie rock. The strongest moment on this record for me and the reason I love this record is the slow building yet intense “Underground”. When I listen to “Underground”, I begin waiting in anticipation of the cathartic ending almost as soon as the first note hits my ears, and when that moment finally hits it gives me goosebumps. That’s what makes an album or song special, its ability to move you emotionally every time in the same manner as the first time you heard it. This is one of the reasons King James Version sits among my favorite albums of all-time as well, because these moments are re-created every time I listen to the album. Not only that, I always notice little details each time I listen that make the album that much more enjoyable. It is also amazing that I can finally understand and love songs on the record that a few years ago I absolutely loathed.
Two years ago, Nelson wrote a blog entry about the album to mark the ten years since the album’s release. Nelson described King James Version as an album “you had to work to love”, and that is a perfect way to describe King James Version and the experience I have had with the record. Nelson also says that he sometimes thinks King James Version will attract a cult following. I do not know if the album will ever garner a large cult following, but I feel it will attract a small dedicated audience consisting of those who are willing to seek out the album or stumble upon it by chance.
Sure, I know most people will not consider King James Version isn’t exactly the greatest album of all-time, but when you take an excellent album and combine it with nostalgic memories, it creates an incredible experience.
Editor’s note – Feel free to share what other bands/albums we should revisit in the comments section.
New feature from a new contributor! Welcome Alan Huck as the newest member of the SAL staff. Alan also plays in the great My Heart To Joy! Revisited allows us to look back on classic albums that have influenced us over the years. Not a bad first entry Alan! Let me know if you think this feature should be called “Looking Back” instead.
Chamberlain originally released Fate’s Got a Driver as Split Lip – the youth crew influenced emo/hardcore band that predated their name change – before re-recording the vocals and releasing it under the new moniker. Despite the band’s later material leaning towards a more country-tinged, pop sound, this album stands as a solid and often overlooked emo gem. In fact, it’s downright perfect. The instrumentation found in Fate’s Got A Driver has much in common with its peers (a list which may extend to bands like Endpoint, Falling Forward, Sense Field, etc.) but the overall production quality stands out among many others under the same umbrella. Of course there is no denying the charm and character of small imperfections, especially within this particular genre, but it is always refreshing to hear something that is performed flawlessly. The intricate guitar melodies are clearly distinguished and the album’s drumming is as solid as you could ask for. Musically, everything is very polished and fitting. Dave Moore’s signature, soulful voice is definitely an added touch as well. Although some might be quick to dismiss the band because of his somewhat unusual vocal style, the desired emotion and honesty are unmistakably there. Opening lines like “I’m running out / like quiet from sunrise” just would not hold together as well without that bellowing power behind it. The lyrics themselves also read nicely, carrying a poetic flow not unlike Moss Icon, especially during the album’s acoustic closer. It’s no wonder this band is noted as an influence on bands like The Get Up Kids, New Found Glory and Taking Back Sunday. Fortunately, Doghouse Records has reissued the album on vinyl (a free digital download code is also conveniently provided) after being long out of print, also including unreleased songs and other rarities with it as an added bonus.
Chamberlain
