Matthew Good Albums (9)
'Live at Massey Hall'
Release Date 1/1/2008
Tracks 20
Label Universal
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What The Critics Say
The unvarnished title of Matthew Good's third solo album refers to the circumstances preceding the writing and recording of this 2007 set. In the summer of 2006, following a divorce and a growing period of emotional instability, Good attempted suicide via an overdose of sleeping pills and was subsequently diagnosed with bipolar disorder. All of this severe emotional trauma colors the dark and vulnerable-sounding Hospital Music, but in a way that's encouragingly lacking in self-exploitation. Rather than directly addressing his personal details in the lyrics, most of these 15 songs are oblique character studies like "Girl Wedged Under the Front of the Firebird," a brief interlude for backwards guitars and tortured lyrics with an unexpected resemblance to late-era Radiohead, and the nine-and-a-half-minute multi-part opener, "Champions of Nothing," which sets out the album's themes of betrayal (of self and others) in lyrics as impressionistic as the music. Though occasional lines seem likely to directly address elements of Good's personal life, Hospital Music is not the sort of album that requires all the gossip and back story to truly understand; indeed, the most emotionally direct song on here, "99% of Us Is Failure," is addressed to a grieving friend, and that outward orientation -- also seen on songs like the politically minded "Born Losers" and the comparatively upbeat "I'm a Window" -- keeps Hospital Music from becoming a protracted wallow. Good also includes a pair of unexpectedly brilliant covers, a complete transformation of the Dead Kennedys' "Moon Over Marin" into an unexpectedly lovely acoustic tune and a tender, honest take on Daniel Johnston's wistful "True Love Will Find You in the End," to close the set. Not easy listening by a long shot, Hospital Music repays close listening through its creation of a consistent mood of unease, leavened only slightly by Good's melodic gifts. ~ Stewart Mason, All Music Guide
'White Light Rock & Roll Review'
Release Date 6/8/2004
Tracks 13
Label Universal International
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What The Critics Say
Continuing to mix harder radio-friendly rock with reflective melancholic and melodic ballads, Matthew Good wastes little time getting the fist-pumping polished nuggets out on "Put Out Your Lights." The tune sounds as if it's not quite finished but leads into a meaty and alluring rock-cum-political rant on "Poor Man's Grey." The tune brings to mind fellow Canadian Danko Jones in certain spots, with its simple yet infectious no-nonsense beat. Good returns to his earlier stomping ground on the lovely "We're So Heavy," with ample twists and turns from melancholia to urgency and back, recalling R.E.M.'s "Everybody Hurts." What is also noticeable is Good's turn toward some roots or country leanings on folksy tunes such as "Empty Road" and especially the hidden track at the album's end. The album's lead single is "Alert Status Red," which pokes at America's heightened tension surrounding terrorism. Rarely has something so lyrically deep come off so infectiously, coming complete with handclaps. "In Love With a Bad Idea" doesn't work quite as well, sounding like a quick poppy run-through. A vast improvement is the power pop meets Replacements punk of the tight "North American for Life." Here former Odds drummer Pat Steward shines. Perhaps the best one-two punch on the album begins with "Blue Skies Over Bad Lands," containing all the traits of a solid Good tune -- deliberate, slow-building musicianship leading into a grand and lengthy anthem such as his previous hit, "Apparition." What ensues is his soulful side on the tender, blues-tinged "Been a While Since I Was Your Man." Perhaps the oddest song is "Ex-Pats of the Mountain Symphony Orchestra," which contains all the earmarks of a track by the Who, especially "Won't Get Fooled Again." ~ Jason MacNeil, All Music Guide
'Avalanche'
Release Date 3/4/2003
Tracks 13
Label Universal International
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What The Critics Say
Like vintage U2 jamming with Dishwalla, Matthew Good Band tempers their adult alternative pop sound with a healthy injection of spacy guitar and atmospheric production. The band delivers a respectable batch of songs on Audio of Being, although the hooks are not as memorable as someone might expect from the above comparison. The problem is that even though they have managed to find an effective form of delivering their music, the music still hasn't quite caught up to their ambitions. Tracks like "Tripoli" are atmospheric, well-played songs that are missing that simple hook that it would need to take it to the next level. The songs aren't bad, but they sound much more like bland radio pop than they probably intend to. Occasionally, a Greg Dulli-esque lyrical approach manages to give a song the punch it needs, like on the gorgeous ballad "Advertising on Police Cars." This song also has more of a soulful feel to it, something that also improves the sound on a few other tracks (most notably "The Rat Who Would Be King"). But Audio of Being feels like it's just short of being a great record, and instead is merely a decent release that hopefully points to an absolute barnburner the next time around. ~ Bradley Torreano, All Music Guide
'Beautiful Midnight'
Release Date 1/1/1999
Tracks 14
Label Universal Music Canada
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What The Critics Say
With this bold and distinct album Matthew Good Band have established their calling cards. They include lyrics that openly ravage society's current focus of materialism, dead end spirituality and other immoral but obvious societal ills, a tight hard rocking sound, and pained vocals. This album is not just a showcase to what the band can do well, rock out with the best of them, but also what the band thinks and feels deeply about. In creating their sound they've successfully created their own niche within the crazy universe of music. One of the few bands where the musical description of "alternative" can correctly identify them. Matthew Good have finally married image, substance, and sound into a powerful sonic package. ~ Sammy Younan, All Music Guide
What The Critics Say
Underdogs didn't gain the success of 1999's Beautiful Midnight album for Canada's Matthew Good Band, but it did meet it's intentions. Underdog's proved that the band was one to be reckoned with, adding grinding, staticky guitar riffs to rutted vocals on the rockier pieces and fluent but perceptive lyrics to the ballads. Good struts his song writing prowess on the haunting "Apparitions" and on the appealingly cryptic "Indestructible," which both received ample airplay upon the album's release. On both of these tracks, the band can be heard coming together under the guidance of Matt Good's lyrics-come-first rule of rock music, which in turn elevates the songs above the average radio norm. Astute and penetratingly subtle, the Matthew Good Band have easily improved since The Last of the Ghetto Astronauts album with one of Underdogs' most socially critical tracks entitled "Everything Is Automatic," which stands out amongst the rest of the album, highlighted by the alternative tenaciousness in it's pace and a mature outlet for Good's cynicism in it's lyrics. Best of all, this album carries a wonderful unprocessed, underdeveloped feel throughout its songs despite its minor prominence and achievements of casting some light on the band. It's relevance is doubly-faceted as an entertaining listen as well as the all-important stepping stone which led to the highly accomplished Beautiful Midnight album. ~ Mike DeGagne, All Music Guide
'Last of the Ghetto Astronauts'
Release Date 1/1/1995
Tracks 11
Label A&M
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