Hanson Albums (6)
What The Critics Say
Going independent was not only the best choice for Hanson, it was in many ways their only choice: they needed to prove that they could stand on their own as a band, to find their way into adulthood on their own. As they were leaving their adolescence behind, they began to battle the major labels, who thought the band should go in a different direction than the trio itself did, eventually leading them to form their own label, 3CG Records, releasing Underneath in 2004 as their first indie release. It showcased a band with exceptional pop smarts -- the kind of instincts that make for great pop records but don't really have much of an outlet in the 2000s outside of independent releases. Its 2007 follow-up, The Walk, is very much in the same vein, except it reveals the band developing a bit of a middlebrow adult contemporary streak, best heard in the plodding wannabe anthem "Watch Over Me," which is a bit too self-conscious in its good intentions. As always, Hanson shines when they devote themselves to pure pop, and The Walk has several exceptional moments here, including the deliriously good "Running Man," which shivers and shakes like classic '70s soft rock; the sleek, funky "Tearing It Down"; the bubbly, infectious "I've Been Down," propelled by a classic electric piano riff that brings it close to the bastard son of Steve Winwood and Billy Joel; the closing "Something Going Round," which updates "MMMBop" by keeping things lean and muscular. Even "Got a Hold on Me," heard on the bonus track-laden American version, demonstrates where they could go with their ballads, in how it marries a spooky verse evocative of Radiohead (complete with an extraneous cancer reference) to a poppy chorus -- it feels more natural, and is more memorable than much of the muddled middlebrow ballads here. Fortunately, that midtempo murk may loom large in the memory but doesn't really make for too much of the record -- enough to be noticeable, but not enough to make The Walk anything less than another very enjoyable pop album from Hanson. It's just that there's an excellent, tight, concise pop masterpiece buried within this slightly overstuffed but worthy record. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Growing up is hard to do, particularly if you do it in public. Hanson found this out when their second album, 2000's This Time Around, failed to gather much attention, let alone a hit the size of 1997's "Mmm-Bop," even though it was a solid step forward. Faced with lack of success and therefore a lack of support from their label, Hanson opted for the independent route, founding 3CG and releasing their third proper album, Underneath, in the spring of 2004. If This Time Around found the group undergoing growing pains, Underneath is the maturation of Hanson, scaled down and serious, pitched halfway between the adult alternative pop audience and the power poppers who embraced their giddy early singles. Giddy is hardly a word to describe this album, however, since there's an earnest even-handed approach even on the tunes that veer toward effervescent, hooky pop, such as the catchy "Get Up and Go." This deliberate maturity isn't a detriment, since it emphasizes the pop/rock classicism that's always been at the core of their music; after all, one of the charming things about Middle of Nowhere is how it was clear that the trio's tastes were built on Time/Life's oldies collections. Even though Underneath is a little too polished and Pro Tool-ed, that pop sensibility still rings loud and clear throughout the album, and track for track, it's likely their strongest album, even if it lacks glistening highlights along the lines of "Mmm-Bop." Despite this, the brothers are strong pop songwriters -- there's a reason why the likes of Matthew Sweet and Gregg Alexander of the New Radicals collaborate with them on this record (on "Underneath" and "Lost Without Each Other" respectively) -- and what makes Underneath a better album than This Time Around is that the focus remains on the songs, with the melodies and hooks pushed toward the center. There is a bit of a dichotomy here, as the sound of the record is targeted toward adult alternative airwaves and the trio's writing is closer to power pop, but it's a pleasing dichotomy since the two aesthetics wind up complementing each other. Hanson might be a little bit better off if their production wasn't as rigorously crafted as their songs -- they would be a little more exciting, a little more fun if they loosened up a bit -- but that's a minor complaint, since Underneath is a satisfying album that finds the trio confidentially stepping into adulthood. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Hanson delivered their second album in remarkably quick fashion, releasing Snowed In a mere six months after Middle of Nowhere. Granted, Snowed In was a Christmas album, but its speedy conception, recording and release shows how market-savvy Hanson and their management are. For a rushed effort, it's not half bad, containing some real charm and a smart selection of songs, but without hip producers like the Dust Brothers and Danny Saber on board, the record sounds more conventional than before, playing up their classic rock tendencies to the hilt. As a result, Snowed In is entertaining, but it suggests that the group may find themselves running out of ideas a little faster than Middle of Nowhere suggested. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Sounding like a post-alternative version of the Jackson 5 -- complete with effervescent harmonies, sunny melodies, rolling hip-hop beats, and dense, layered productions -- Hanson is positively bubbling energy throughout its surprisingly infectious and melodic debut, Middle of Nowhere. It's hard not to hear the lead single, "MMMBop," or the similary infectious "Where's the Love" and not get caught up in the joy of making music. Although the boys co-wrote nine of the 13 songs with professional writers, and the producers do offer a distinctive stamp, the personalities that shine through are Hanson's -- youthful, exuberant, and positively joyous. A few of the songs may run on a bit too long, and there are a couple of borrowed melodies and silly lyrics, but Middle of Nowhere is a delight. ~ Stephen Thomas Erlewine, All Music Guide
