The Goo Goo Dolls Albums (10)
What The Critics Say
Actually, the title of the Goo Goo Dolls' eighth album can be taken somewhat literally: Let Love In is a welcoming collection of songs that eschews some of the darker currents roiling under the surface of their previous effort, 2002's Gutterflower. Not that Gutterflower sounded bleak -- it was clean and glossy, so much so that it would be easy to listen to it once and assume that there wasn't much there. Such assumptions also come to mind after the first listen for 2006's Let Love In, but unlike its predecessor, there isn't much to dig into here; what you hear upon that first listen is exactly what you get. And this is a record that has very little connection to the ramshackle rock band the Goo Goo Dolls were at the beginning of their career, and there's also only a thin thread connecting this to even their commercial breakthrough of A Boy Named Goo in the alt-rock salad days of 1995. Thanks in no small part to their new producer, Glen Ballard -- who made his name as the man behind Alanis Morissette's Jagged Little Pill and then went on to sand down the rough edges of Aerosmith, Live, and the Dave Matthews Band, and performs the same task here -- this is the sound of a mainstream adult rock band, a band that knows their craft and does little to push the boundaries of that craft. Certainly, they do little to break convention here, either, relying on ballads and midtempo tunes that feel like ballads for the bulk of the record -- and when they do decide to rock (usually on a Robby Takac number), it's almost as if they made a conscious effort to turn the volume down on their amps before they started to play. It's easy listening music for a generation raised on rock, but that's not necessarily a bad thing. Frontman Johnny Rzeznik remains a solid journeyman rocker, as both a writer and singer, and he crafts songs that are likeable and sturdier than those of such peers as Rob Thomas, even if his tunes aren't all that memorable this time around, particularly when they're dressed in an immaculate production like this, where every track is produced so smoothly it all blends together. But even that certain element of repetition makes Let Love In work as pleasant background music -- which may sound like damning with faint praise, particularly since there would have been a time when the Goo Goo Dolls would never have thought of themselves as being merely pleasant, but it just means the album works on its own (albeit limited and modest) terms. ~ Stephen Thomas Erlewine, All Music Guide
'Live in Buffalo: July 4, 2004'
Release Date 11/16/2004
Tracks 22
Label Warner Brothers
See Album Tracklist and Review
What The Critics Say
Live in Buffalo July 4th 2004 is a double-disc set chronicling the Goo Goo Dolls' hometown concert on Independence Day 2004. One disc has the CD audio version of the show, the other the DVD video. About after two-thirds of the show was over, a torrential downpour descended upon Buffalo, and the group played the final third of the concert -- which featured the big hit "Iris," among other Goo Goo anthems -- totally drenched. This is about the most notable thing about the concert, which is otherwise a very professional show, capturing a band running through its repertoire cleanly and efficiently. Even when the rain comes down, the group manages to hold it together and sound like pros; if you're listening to the CD, it doesn't seem like the weather much effected them at all. On the other hand, the DVD illustrates just what a major storm the band weathered, and it makes for some impressive footage. Nevertheless, this is one strictly for the hardcore fans. [The DVD does contain band and engineer commentary for the show, and it's loose, silly, and a little rowdy -- but not too rowdy, since the label has bleeped out any profanity that's uttered during the course of the commentary.] ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Prior to "Name," nobody would ever have picked the Goo Goo Dolls to be stars. Not only were they saddled with a terrible name (there must be worse names in the history of rock, but outside of Dumpy's Rusty Nuts, I can't think of one off the top of my head), they were either seen as lovable ragtag group of ne'er-do-wells (by their fans) or shameless Replacements obsessives (by critics), and both rightly saw the group as simply too modest for the big time. But that modesty paid off, since it was the quality that gave their big hits ("Name" and "Iris") humility. Since they arrived in an era where singles could stay on the charts for a full year, if not more, and stay on the radio for even longer, these two hits gave the impression that the Dolls were bigger stars than they really were, even if they sold many, many copies of A Boy Named Goo and Dizzy Up the Girl. So, Gutterflower, their first album in four years, was treated with the utmost care, crafted and polished on the level of a superstar release -- thereby giving a glossy sheen to a record that, at its core, is another Goo Goo Dolls album. Yes, there may be some darker currents roiling underneath the surface in Johnny Rzeznik's lyrics, but when the production glistens like this, it takes some deliberate, intensive listening on the part of the audience in order to discern it. Ironically, that's the good thing about Gutterflower -- as it shifts from ballads to chugging, layered mid-tempo pop, with Rzeznik's Paul Westerberg being punctuated every few tracks by Robby Takac's Tommy Stinson (these comparisons, for better or worse, still hold up, well over a decade into the band's career), it all goes down easy, smoother than any other mainstream rock album this side of Matchbox 20. It's so expertly produced, so evenhanded in its sound, that even if the songs sound hooky as they're playing, they're hard to remember once the next starts. This, of course, isn't the same thing as the songs not being memorable, since repeated listens do reveal that both Rzeznik and Takac are in good form (they better be after a four-year lay-off), but the record is so slick, songs don't stand out, and the pain that fuels some of Rzeznik's post-divorce lyrics is dampened by the gloss. Now, the gloss is good and results in a very listenable record, but given the sentiment of the album, that's probably not what the Dolls had in mind when they made Gutterflower. Still, it has given them a good, professional rock record, one that sells their sound as if it was as the most commercial imaginable, resulting in one of their most consistent albums. ~ Stephen Thomas Erlewine, All Music Guide
'Dizzy up the Girl'
Release Date 9/22/1998
Tracks 13
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
"Name" changed the game for the Goo Goo Dolls. Prior to that unexpected hit ballad, the Buffalo trio was pretty much content to turn out amiably sloppy rock & roll in the style of the Replacements. Like the latter-day 'Mats, they weren't adverse to cleaning up their sound a little bit, but once they had a hit, they were happy to jump headfirst into the mainstream, cleaning up their rockers until they shone and embracing acoustic power ballads instead of shunning them. In fact, "Iris" -- their contribution to the City of Angels soundtrack and lead single for their sixth album, Dizzy Up the Girl -- is a virtual rewrite of "Name." The funny thing is, where most college rock bands of the Bush era sounded awkward as mainstream rockers, the Goo Goo Dolls actually sound better as a mainstream band, partially because they were hardly underground in the first place. Like a less mannered and conflicted Let Your Dim Light Shine-era Soul Asylum, the trio balances hard rockers with ballads. The difference is, they enjoy the mainstreaming of their music and respond with one of their catchiest sets of songs. There's nothing new on the record apart from their willingness to polish their music so it reaches the widest audience. That will alienate whatever hardcore followers they have left, but that attitude will likely please anyone brought aboard with "Name" and "Iris." ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Produced by Lou Giordano with his trademark full-bodied, immediately accessible, but never washed-out sound, A Boy Named Goo finally got the band across to a wide audience, and deservedly so. Right from the start, the Goo Goo Dolls sound perfectly on the right track after Superstar Car Wash's OK but ultimately go-nowhere feeling -- "Long Way Down" is another stone-cold classic of wounded romanticism wedded to catchy Cheap Trick-tinged punk-pop, Rzeznik's singing the not-so-secret weapon. Hearing him on the descending chorus, matching the just sad enough guitar crunch, makes one realize that there's always hope for full-bodied rock & roll. The eternal Replacements tag now makes less sense than ever -- the Goos have their own enjoyable sound, Rzeznik's a more individual singer than ever, and all three rock out accordingly. Takac similarly has his own sonic improvements, his formerly rasped high register now just a little more controlled but no less affecting, as winners like "Burnin' Up" and "Somethin' Bad" easily demonstrate. Rzeznik-sung highlights are equally everywhere -- the commercial but never stupid "Naked," with a great chorus and immediately radio-friendly music, the equally sharp "Only One," and the mighty fine "Ain't That Unusual." There's no question what the highlight is, though -- however untypical of the rest of the album's mid-range feedback fun, "Name," with its sweet but sad acoustic arrangement, made perfect sense as the Goos' long-delayed radio breakthrough. Rzeznik's empathetic vocal, delivering one of his best lyrics on favored subjects of friendship, loss, and fame, matches unfolky strumming and quiet energy, creating a song that feels like both a farewell to the American Dream and to a long-lost partner. All this without sounding a Bruce Springsteen sermon -- a rare thing indeed. ~ Ned Raggett, All Music Guide
'Superstar Car Wash'
Release Date 1/1/1993
Tracks 14
Label Metal Blade
See Album Tracklist and Review
What The Critics Say
The hard rock rawness of Buffalo's Goo Goo Dolls makes Superstar Car Wash an album that is high on amicable guitar riffs and attractive hooks, with an edge that never goes away. All the choruses are sandwiched perfectly between the crunching throttle of electric guitar and pleasing rock rhythms, changing pace and style just a notch in each of the 14 songs. Heavy but far from pretentious, songs like "Fallin' Down," "Cuz You're Gone," and "We Are the Normal," co-written by Paul Westerberg, combine pleasing elements of rough harmonies with infectious runs of six-string grit. John Rzeznik's vocals resonate with a reckless, punk-soaked ardor that lifts their music above and beyond the norm of power pop. The attitude that surrounds the album makes the Goo Goo Dolls out to be a rough and tumble outfit, outlining all the tunes with a rebellious tone. Quite different from their platinum A Boy Named Goo album, which soun ded smoother and refined, Superstar Carwash has the band sounding loose and freewheeling, making the best of any musical misdirection. Before radio adopted their polished glimmer, they let loose and channeled their playful immaturity throughout the attractive impurity of this album. ~ Mike DeGagne, All Music Guide
What The Critics Say
Jed begins an important transition in the Goo Goo Dolls' career, refining their mixture of aggressive punk energy and melodic power pop hooks. Most importantly, guitarist Johnny Rzeznik occasionally sings lead for the first time in a move that would pave the way for the band's creative and commercial ascent. His contributions on "Up Yours" and the hilarious, acoustic "James Dean" provide some of the album's most memorable moments, while bassist Robby Takac lends his wonderfully raspy voice to revved-up tracks such as "Out of Sight," "Sex Maggot," and "Road to Salinas." Also included are boisterous covers of the Rolling Stones' "Gimme Shelter" and Creedence Clearwater Revival's "Down on the Corner," which marks the group's first collaboration with Buffalo lounge singer The Incredible Lance Diamond. While not the Goo Goo Dolls' best album, Jed hints at the greatness that would come with its follow-up, Hold Me Up. ~ Michael Frey, All Music Guide
What The Critics Say
Before the Goo Goo Dolls evolved into the modern-rock superstars who would record late-'90s radio smashes, such as "Name" and "Slide," they were an energetic trio of drunken nobodies, spewing forth a mixture of relentless thrash and sloppy punk. First Release exhibits a carefree attitude and a sense of humor, but little sign of what was to come. "Livin' in a Hut," "Beat Me," and "I'm Addicted" are undeniably catchy, and the Goos' rowdy covers of "Sunshine of Your Love" and "Don't Fear the Reaper" are entertaining, but none of the material matches the efforts displayed on later releases such as Hold Me Up and Superstar Car Wash. In fact, the uninitiated may be amazed to realize that the same band who recorded a sensitive ballad such as "Iris" would be capable of writing a song entitled "Don't Beat My Ass (With a Baseball Bat)." Stylistic differences aside, this release is unique because it is the group's only album on which bassist Robby Takac handles all lead vocals. Later, as guitarist Johnny Rzeznik grew into his role as the Goo Goo Dolls' visionary, the band's songwriting and musicianship dramatically improved with each release. Still, First Release is an enjoyable introduction to a band with better days ahead. ~ Michael Frey, All Music Guide
What The Critics Say
The Goos' third album was in part seen as their commercial step up, though in fact the real breakthrough didn't come along for a few more years. It's little surprise why there was more of a push for this album, though. If it wasn't as powerfully distinct as Nirvana's Nevermind, Hold Me Up is as much a product of '80s underground punk and indie (and dollops of bands like Cheap Trick) as its more famous counterpart. The Replacements Jr. tag that dogged the Goos in early years still has a connection here, unquestionably. But considering at that point Paul Westerberg was starting down his road toward tasteful irrelevance, Hold Me Up is the perfect stand-in for those who wanted a little more energy with their catchy but emotional rock. If anything, Rzeznik's agreeably ragged and certainly Westerberg-inspired vocals start to really come into their own even more than before, now a great contrast to Takac's amiable brattishness. The latter can have his own impact, though -- check out the opening "Laughing" or "So Outta Line," both hyperactive numbers with heart. There's no question Rzeznik steals the show with the album's lead single -- "There You Are," with a brilliant, descending lead guitar figure and a sprawling, sloppy/tight performance that's pure gold. Throughout the album, all the bandmembers sound just great, peeling off some wonderfully catchy numbers one after another -- "Just the Way You Are," "Hey," the fine instrumental "Kevin's Song," and the acoustic pointer to the future, the concluding, wistful "Two Days in February." In keeping with past guest appearances, the Incredible Lance Diamond takes an amazing lead vocal turn on a wonderful cover of Prince's "I Could Never Take the Place of Your Man," while Rzeznik himself burns down the house on a triumphant rip through the Plimsouls' "A Million Miles Away." ~ Ned Raggett, All Music Guide
