Review: Marvelous 3 – Math and Other Problems

In the years that followed the dissolution of the Marvelous 3, a 1990s one-hit wonder power-pop trio fronted by Butch Walker, Butch would often remark that his band was “15 years too late and five years too early.” After all, Walker and his bandmates—bassist Jayce Fincher and a drummer who was only ever known as “Slug” in the album liner notes (his real name is Doug Mitchell)—didn’t really fit in with the broody nineties crowd. There’s not a single iota of grunge in any of the three records Walker and the rest of the Marvelous 3 ever produced, nor is there anything akin to the boy-band/pop-princess radio fodder that was poised to take over the world as the decade and the millennium ground to a close. Instead, the guys in the Marvelous 3 were disciples of eighties hair metal and trashy pop-rock songs, with a fair amount of classic glam and singer/songwriter mentality thrown in for good measure. Those influences probably meant the band was straight fucked from the moment they signed with Elektra Records, a label that became known for screwing over similarly-minded pop-rock acts (Third Eye Blind and Nada Surf, for example) before they ran out of money and went bust in the face of the Napster revolution. But for a few years at least, the Marvelous 3 got to act like rock stars, and in the process, they produced three of the finest power pop records of the past 20 years. 1997’s Math and Other Problems was the first.

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Review: Butch Walker – Letters

Butch Walker - Letters

When does music stop being just notes and chords and transcend into the physical world as a material life form? It takes unimaginable skill to breathe such life into songs that they take on a living function of their own. Say what you will, but not all music is created to be impossible to decipher: not all guitar parts are written to be the hardest riffs to emulate, not all lyrics are written to conceal hidden agendas and meanings, and not all songs are fashioned to be so enigmatic that they require Harvard level IQs in order to be understood. At what point did this become the level for which we judged music? Where in the evolution of song did we forget about emotion and start judging based upon song titles? Who became king and declared that if the song doesn’t involve an obscure nihilist reference that it is not worthy of our ears? Where is the document that states the rules of music? Because, if inside your head you have such a document by which you judge music: fucking burn it. The first song I ever learned to play on the guitar due to its insane simplicity was “Yesterday” by The Beatles. It is still, in my opinion, one of the greatest songs of all time. Pop music caught a bad wind when “performers” took front stage and “artists” fell to the back. And pop music began a downward ascension amongst some listeners when those who sang the songs were not those who wrote them, when dance numbers became more intricate than the content, and finally, when an image was created and sold before the music.

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