Guster Albums (5)
'Ganging Up on the Sun'
Release Date 1/1/2006
Tracks 12
Label Reprise
See Album Tracklist and Review
What The Critics Say
Guster has quietly become a very good pop band. And something more. Over the past ten-plus years they've been slowly honing their craft, building their fan base and making records that are unprepossessing but more and more compelling. Ganging Up on the Sun just might be their best yet. It certainly is their richest sounding record: the guitars are perfectly layered; the vocals warm and inviting, with sun-kissed harmonies on nearly every track; the songs filled with bubbling keyboards, twanging banjos, and all kinds of sonic embellishment. The group, who produced much of the album themselves, have taken all kinds of care with the sound of the record. Each track sounds handcrafted and labored over, yet retains a loose and mellow feel. That's not an easy trick to pull off, and they manage it without breaking a sweat. Of course, a lovely sound only gets your foot in the door. To get all the way in, you have to have some memorable and hummable songs, and Ganging Up on the Sun has a boatload of them. There are mellow strum-and-singalongs like the country-flavored "The Captain" and melancholy ballads like "Dear Valentine," along with hard-rocking tunes both cynical and angry ("The Beginning of the End") and just cynical ("The New Underground"). The album even makes room for the epic-length "Ruby Falls," which could teach Coldplay a thing or two about drama and dynamic tension. There is a gravity and depth to this record that may surprise even their devoted fans. Indeed at their best, which is where they operate throughout most of the album, Guster has the same qualities that the best Amer-indie bands do: total commitment emotionally and musically. A song like "C'mon" isn't powered by market considerations, niche marketing, or calculated constructs; it comes from the heart and it'll move you. A couple tracks on the album ("Satellite," "Hang On," "Manifest Destiny") might even break your heart in a sweet way -- in a way that you'll want to hit "repeat" as soon as the album is over. Any fan of low-key, perfectly constructed, hooky, and honest guitar pop would be wise to check out Guster if you haven't already. Check them out now if you wrote them off in the past as being lightweights or just some good-time local band that did well, because you were wrong. Ganging Up on the Sun is the work of a band who matters. ~ Tim Sendra, All Music Guide
What The Critics Say
If there were any justice, Guster's underappreciated masterpiece, Lost and Gone Forever, would have elevated the band to superstar status, and the follow-up, Keep It Together, would have been one of the most hyped releases of 2003. But while the Boston trio has built up one of the most formidable grassroots followings in music through constant touring, powerful live performances, and a level of interaction with its fans that rivals any band in the biz, Keep It Together has the goods to finally make Guster a household name. While their two previous releases flourished through an almost bipolar combination of dark rockers and upbeat pop melodies married to biting lyrics, Keep It Together takes a different path for the most part, focusing on even-keeled love songs. From the album's low-key opener, "Diane," to the sunny shuffle of "Ramona," Guster displays its formerly hidden well-adjusted side. Guest musician Joe Pisapia embellishes the group's already flawless harmonies on the immediately memorable "Careful," and contributes vocals and banjo to the rootsy "Jesus on the Radio," which he also co-wrote. Ben Kweller shows up on the album's official closer, the surprisingly reserved "I Hope Tomorrow Is Like Today." Fans of the band's quirkier moments aren't left behind either, with "Red Oyster Cult" featuring prog rock guitar, ELO harmonies, jingle bells, and a whistled solo worthy of the Scorpions. But there's no arguing that the high point of this album is the impossibly catchy "Amsterdam." Breaking all of Guster's self-made rules (as it does throughout the album) by adding bass and a drum kit to the mix, the band combines a radio-ready yet experimental production style with power chords, layers of vocals, and screaming slide guitar for three and a half minutes of the finest pop/rock you're ever likely to hear. Keep It Together may not feature the emotional dynamics or track-by-track genius of Lost and Gone Forever, but it has something that its predecessor didn't: an unabashed pop anthem that dares you to sit still. Whether the members of Guster do in fact become international rock superstars remains to be seen, but so long as they continue to make great albums like this one, their ever-expanding group of fans should be more than happy. ~ Mark Vanderhoff, All Music Guide
'Lost and Gone Forever'
Release Date 8/2/1999
Tracks 11
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Signing to a major-label doesn't really change Guster's outlook for their third album, Lost & Gone Forever. However, the switch to the big leagues has given the band the opportunity to hire a heavy-hitter producer, Steve Lillywhite, who performs a similar function here that he did with Dave Matthews. Lillywhite doesn't attempt to change Guster's jovial folk-pop, but he helps them focus and gives them a clear, vibrant sonic palette that makes Lost & Gone Forever sound inviting and intimate. That's a blessing, since it highlights their effortless melodic gifts, warm harmonies, and quirky arrangements. And, depending on your view, it may also be a bit of a curse since it highlights the group's cutesy, jokey side, which can be a little irritating. Still, Lost & Gone Forever is not only Guster's best-sounding record, it's among their most consistent, filled with some of their strongest, catchiest tunes. In other words, it's exactly what their major-label debut should have been. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Bursting on to the sonic scene with the driving "Great Escape," Guster's major-label debut quickly mellows into the insightfully deceptive "Demon" and the island chock of "Perfect" before revving back up to the strikingly produced "Airport Song." Though the album has many high points, this first single is the highest. Drifting in like a distant storm, this cryptic offering erupts into a seething and impressively arranged explosion. Combining the trio's competent guitar, bass, and hand percussion with a variety of accents ranging from strings to screams (not to mention a Ping-Pong ball coda), "Airport" is a shut-up-and-crank-it song which grabs the listener by the ears and reveals itself further with each triumphant listening. Fortunately, the album does not give up after this early peak. Though many of the songs are ambiguous in terms of verse-chorus contiguity and overall meaning, the rich and simple vocal and instrumental layering is clear and effective. Combining peppy sways and dances like "Perfect" and "Grin" with wild antic raves such as "Bury Me" and the gentle closer "Rocketship," Goldfly leaves little doubt as to why the band continues to sell out venues in their New England home and beyond. ~ Matthew Robinson, All Music Guide
What The Critics Say
Recorded while the band members were college juniors at Tufts University, Guster's debut album, Parachute, was something of a surprise hit for the Boston-based trio. Hailed as the Best Local Debut Album of 1995 by the Boston Globe, the album features rootsy but unique instrumentation. The songs are dominated by the twin acoustic guitars and excellent vocal harmonies of Ryan Miller and Adam Gardner, while the drum kit-free percussion is handled by Brian Rosenworcel. Ignoring traditional rock drumming, Rosenworcel relies on bongos and other hand percussion instruments to create a unique, full, one-man rhythm section. The songs are augmented by guest musicians who contribute bass, drums, and various strings, but they are mostly relegated to the background. Ranging from exuberant folk-rock to mournful ballads, the song writing is excellent, although, at this stage in their career, Guster is clearly learning how to best utilize their strengths while filling in the gaps in their sound. Producer Mike Denneen does an admirable job, but at times the sound is thin and unimaginative. He succeeds more often than not, adding swelling strings to the heartfelt vocals and strummed guitars title of the title track. Parachute is a remarkably enjoyable independent debut album. The songs are somewhat constrained by the band and producer's inexperience, but Guster proves it's better to struggle a bit with ambitious music than play mediocre material well. ~ Mark Vanderhoff, All Music Guide
