Crash Test Dummies Albums (9)
'Songs of the Unforgiven'
Release Date 10/12/2004
Tracks 17
Label SPV U.S.
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What The Critics Say
After a streak of albums that could be considered less than stellar, the Crash Test Dummies and Brad Roberts return to their roots and find themselves in excellent form. With the Dummies stripped of all the electronic experimentation and quirky, Shel Silverstein-esque lyrics that hindered their past few releases, the haunting, sparse acoustic instrumentation makes a welcome return to the forefront of the songwriting process. This only reinforces and complements Roberts' existentially bereft baritone folk tales to their fullest potential. The sonnets used for lyrics are some of the Crash Test Dummies' darkest and most brooding in their entire catalog, talking tales of murder, sinister deeds, punishment, sin, and death. Songs of the Unforgiven is the record die-hard fans have been patiently waiting for, and it's outstanding. From start to finish, it's a welcome return to the fold, one of the best releases in their catalog yet, and a major turning of the page forward in an otherwise tumultuous career. ~ Rob Theakston, All Music Guide
What The Critics Say
Brad Roberts, the booming voice of Canadian/New York City oddities the Crash Test Dummies, has no interest in following a straight line. After 1994's phenomenally successful God Shuffled His Feet, the band was dropped by BMG for failing to connect with audiences on subsequent records that explored funk, rap, and electronica. This aversion to pigeonholing has won them a devout cult following while alienating those who preferred the quirky folk-rock stylings of their first two releases. Both camps should be pleased with Puss 'n' Boots, a 13-song collection of provocative -- and sometimes sleazy -- blue-eyed soul that proves that there's a fine line between Gordon Lightfoot and Isaac Hayes. Beginning with the breakup lament "It's a Shame," Roberts utilizes his throaty croon over a mostly acoustic slow jam, explaining to a soon to be jilted lover that "When it ends/We won't be friends/You'll hate me and you'll miss me when I'm gone." The slick, sexy "I'm the Man (That You Are Not)" dances around Tina Maddigan's sultry backing vocals and contains what could be the debut of Mellotron in an R&B song. While criminally underused keyboardist and vocalist Ellen Reid contributes the occasional harmony on rockers like "Triple Master Blaster" and "Stupid Same," this is essentially another Roberts solo record -- the arrangements lack the diversity of earlier, more group-oriented records. The smoky rhythms and wah-wah guitar that permeate Puss 'n' Boots reflect Roberts' willingness to experience a place -- he currently resides in Harlem -- and to covet and use those experiences in his writing. However, it's the simple, sparse, and honest "It'll Never Leave You Alone," a winking look at the pros and cons of chemical indulgence, that leaves the listener with the clearest window into this shape-shifting jester's soul. ~ James Christopher Monger, All Music Guide
'I Don't Care That You Don't Mind'
Release Date 4/3/2001
Tracks 14
Label V2
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What The Critics Say
Having survived their brush with fame in the early '90s, the Crash Test Dummies took a step away from the mainstream and found a comfortable and more enduring niche on the outskirts of pop. Their fifth album shows that they have no intention of going away and no particular intention of being famous again. While they have been criticized for trying too hard and forcing themselves to be something they're not, I Don't Care That You Don't Mind provides evidence that what was perceived as strained forethought may have simply been the band trying things out. Continuing in their tradition of playing with different sounds, this album has a decidedly Southern feel. It's an experiment perhaps, but a successful one. The tracks range from cool, masculine ballads laced with steel guitar and reminiscent of Chris Isaak, to satirical drinkin' and shootin' songs. As if not to discriminate, they even throw in a little zydeco. Despite this strange collection of ideas, the album never loses sight of the sum of its parts. Nothing seems out of place. The Crash Test Dummies feel more in control here. Head Dummy Brad Roberts has finally mastered his unnaturally deep voice. He resists the urge to bellow and finds a new tenderness, making his baritone much more a tool than a distraction. His lyrics remain the same -- witty and biting, then suddenly warm. The recording feels even more like his project than previous albums. Female vocalist Ellen Reid plays a noticeably smaller role, only appearing enough to make her presence missed. While the album bears no hits, the haunting "The Day We Never Met" and the more upbeat "Every Morning" stand out as the album's most accessible tracks. For the most part, the songs all weave together to be part of the whole. The result is a pleasant, well-thought-out effort that makes no pretense to be anything else. ~ Brad Kohlenstein, All Music Guide
'God Shuffled His Feet'
Release Date 10/26/1993
Tracks 12
Label Arista
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What The Critics Say
Thanks to Jerry Harrison's remarkably clear and focused production, Crash Test Dummies' second album became a surprise hit. Apart from the relatively concise pop smarts of the singles "Mmm Mmm Mmm Mmm" and "Afternoons and Coffeespoons," God Shuffled His Feet isn't all that different from the band's first album. ~ Stephen Thomas Erlewine, All Music Guide
'The Ghosts That Haunt Me'
Release Date 1/1/1991
Tracks 10
Label Arista
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What The Critics Say
The Ghosts That Haunt Me is a fine debut album by the ever-smug, collegiate, folk-pop humorists,the Crash Test Dummies. The album features the alternative rock hit "Superman's Song." ~ Stephen Thomas Erlewine, All Music Guide
