Hootie & the Blowfish Albums (7)
What The Critics Say
Hootie & the Blowfish's fifth studio effort is the first to feature extensive co-songwriting credits, as well as a few well-placed guest musicians. Recording Looking for Lucky in Nashville after wrapping up the tour for their 2004 Best Of set, Hootie & the Blowfish were joined by Fairweather Johnson producer Don Gehman as well as engineer Nick Brophy, who contributed some programming and "great noises" to the songs. That doesn't mean Darius Rucker is suddenly singing through a vocoder, or Jim Sonefeld has been replaced by the tinfoil prattle of electronic percussion. No way. Hootie & the Blowfish sound as natural as ever on Looking for Lucky, their ear for melody intact through a slick 12-song set of rootsy pop with insightful nods to country, blues, and gospel. Brophy's work is clear on "Hey Sister Pretty," where a guitar effect broods behind the main vocal and the song is mixed like a single from Train or Better Than Ezra. Rucker still sings in that rousing baritone, and the harmonies and acoustic strum tag it as Hootie. But the band's sound benefits from the slight makeover -- nothing fancy, just a slight tweak toward modernization. Elsewhere on Lucky, additional songwriting from folks like Matraca Berg and the Silos' Walter Salas-Humara brings more depth to the lyrics and arrangements. So "Smile" gives Rucker a chance to sing in a slightly higher register, while "Leaving" is a gently mischievous hybrid of progressive bluegrass and pop with New Grass Revival members Sam Bush and John Cowan guesting on mandolin, fiddle, and vocals. Other Looking for Lucky highlights include John Hobbs' organ on "Get Out of My Mind" adding punch to its already bustling chorus -- "Mind" also finds Rucker drinking alone again -- and the evocative "Killing Stone," the collaboration with Berg, which would fit nicely on a contemporary country album. ~ Johnny Loftus, All Music Guide
'Hootie & the Blowfish'
Release Date 3/4/2003
Tracks 12
Label Atlantic
See Album Tracklist and Review
What The Critics Say
It's been five years since listeners last heard from Hootie & the Blowfish (not counting 2000's odds-and-ends assortment Scattered, Smothered and Covered), and those who might have been expecting a dramatic departure from the radio-friendly guitar rock of the band's previous three regular albums will be either relieved or disappointed, depending on how they felt about it to begin with. But make no mistake: Those who accuse this band of being lightweight and terminally poppy are not only missing the point, they are also giving in to the worst kind of rock & roll snobbery -- the kind that says pop music really ought to be anything other than fun. On the other hand, those who accuse frontman Darius Rucker of sometimes delivering his lightweight, poppy songs with a bombast that is all out of proportion to their substance are actually onto something: Just consider the chesty roar with which he delivers couplets about, for example, minor domestic and emotional discomfort ("You need a little space/And I need mine"). But unlike Bono or Creed's Scott Stapp, Rucker's mistake is not in taking himself or his lyrics too seriously; it's just that that's the way he sings everything, and that big, chesty roar is a big part of what makes him fun to listen to. Mainly, of course, what make him fun to listen to are his songs' irresistible hooks, and this album has those in spades: "Deeper Side," the country-inflected "Little Darlin'" (which cries out to be covered by the Blasters), and a respectful cover version of the Continental Drifters' "Rain Song" are all perfect for singing along with in the car, while "Tears Fall Down" and the power ballad "Innocence" should have even the most jaded power pop snob digging in his jeans for a lighter. They're not trying to save the world, folks -- this is just rock & roll. And most people who say they don't like it are kidding themselves. ~ Rick Anderson, All Music Guide
What The Critics Say
Although Hootie & the Blowfish delivered a fine second album, they had no hope of matching the phenomenal success of their debut, Cracked Rear View, so Fairweather Johnson was perceived as a flop, even though it moved over two million copies. In a way, that perception of failure was the best thing that could have happened to the band. With the spotlight being shone somewhere else (Alanis Morissette, to be exact), Hootie & the Blowfish could return to what they loved best -- playing music and being in a band. Musical Chairs, the group's third album, illustrates what a blessing it was for the group. Despite a couple of production flourishes, such as the occasional horn section and strings, it's no breakthrough or stylistic departure -- it's simply a well-made album, filled with catchy tunes. In other words, it's exactly like their first two records, but the performances are more kinetic and fun than on Fairweather Johnson, and the songs are arguably as consistent as those on Cracked Rear View. That's why Musical Chairs feels a bit like a comeback, but it really shouldn't be viewed that way -- it's just a consolidation of their talents and further proof that Hootie & the Blowfish are a fine mainstream pop/rock band. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Following up a debut as successful as Cracked Rear View would be intimidating for most groups, but it had to be especially daunting for such a direct, straightforward combo as Hootie & the Blowfish. What made Cracked Rear View such a success was its very unpretentiousness; how each song sounded like it was the crowd-pleaser from the local bar band. Hootie & the Blowfish haven't lost that universal appeal on their second album, Fairweather Johnson, but they have been able to add more weight to their music. While the essential formula of Hootie's music hasn't changed -- Darius Rucker still belts out anthemic choruses over interweaving acoustic guitars -- the band is stronger and more muscular, giving their simple, direct melodies powerful support. They also have learned how to shade their music with varying dynamics and subtle arrangements, which also adds depth to the band. And behind the bright, singalong melodies, Rucker has hidden some surprisingly introspective and searching lyrics, tackling everything from racism to heartbreak. Hootie & the Blowfish still have a bit of trouble coming up with a set of consistently engaging songs, but the weakest moments on Fairweather Johnson resonate more than those on Cracked Rear View, while the best moments eclipse those on the debut. It's a surprisingly assured and effective second album. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Hootie & the Blowfish's debut album, Cracked Rear View, was the success story of 1994/1995, selling over 12 million copies. It's a startling, large number, especially for a new band, but in some ways, the success of the record isn't that surprising. Although Hootie & the Blowfish aren't innovative, they deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks. "Hold My Hand" has a singalong chorus that epitomizes the band's good-times vibes. None of the tracks transcend their generic status, but they are strong songs for their genre, with crisp chords and bright melodies. Still, the songs wouldn't be convincing without the emotive vocals of Darius Rucker, whose gruff baritone has more grit than the actual songs. At their core, Hootie & the Blowfish are a bar band, but they managed to convince millions of listeners that they were the local bar band, and that's why Cracked Rear View was a major success. ~ Stephen Thomas Erlewine, All Music Guide
