The Smithereens Albums (10)
What The Critics Say
After releasing two albums devoted entirely to Beatles tunes in a year and a half (Meet the Smithereens and B-Sides the Beatles), the Smithereens clearly wanted to prove that they were still a band capable of more than just coasting on the strength of another act's legacy, and with this in mind they've decided to boldly branch out -- and spend an entire album covering the Who. Tommy is, you guessed it, the Smithereens' own rather faithful interpretation of Pete Townshend's rock opera about a deaf, dumb, and blind pinball champion and spiritual leader, though they have tightened it up quite a bit, editing the piece from 24 selections to a lean 13 tunes and zipping through the work in 41 minutes. It's hard not to be baffled by the Smithereens' decision to become a cover band, but they do seem better suited to interpreting the Who than the Beatles; guitarist Jim Babjak may lack Townshend's epic vision and sense of flourish, but he gets the crunchy bash of this music right, and drummer Dennis Diken and bassist Severo Jornacion find a way to pare down the style of the most manic rhythm section in rock history while achieving some approximation of their power and musical sense. Lead vocalist Pat Dinizio's deep, moody tone doesn't match Roger Daltrey's style any more than it did Paul McCartney's or John Lennon's, but at least these songs are better suited to the dark, dramatic feel of Dinizio's instrument, and Babjak and Diken contribute lead vocals on a few tunes that demand something lighter. And while this condensed version of Tommy makes about as much narrative sense as the original (which is to say not much), from a musical standpoint the feel of the album is pretty close to the Who's version, especially the several live recordings of the opera that have appeared in recent years. So the Smithereens do better by the Who on Tommy than they did by the Beatles, but that doesn't change the fact that as long as the Who's Tommy remains readily available (and it's actually easier to find than this disc), this album is little more than an oddity for Smithereens completists and Who fans obsessive enough to want every cover version of their favorite band's work. In short, this gets an A for effort but a C- for practical utility. (the Smithereens do deserve credit for hiring William Stout to do the cover, whose witty cartoon artwork graced the sleeves of several top-notch Who bootlegs.) ~ Mark Deming, All Music Guide
'Christmas with the Smithereens'
Release Date 10/9/2007
Tracks 12
Label Koch
See Album Tracklist and Review
What The Critics Say
After an eight-year lay-off from the recording studio, the Smithereens released two albums in 2007. However, it doesn't bode well for their creative process that the first of those albums was comprised entirely of Beatles covers, and the second was a Christmas disc. However, Christmas with the Smithereens at least features three original tunes (which is three more than Meet the Smithereens!), and as rock & roll Christmas albums go, this is good fun and admirably eclectic. The Smithereens are pretty broad-minded when it comes to what constitutes a Yuletide melody, given the presence of "Christmas," a not especially seasonal tune from the Who's Tommy, and they dig up the Beatles rarity "Christmas Time Is Here Again," as well as cutting a version of "Rockin' Around the Christmas Tree" that's a dead ringer for the Fab Four. Seasonal numbers from the Beach Boys, Chuck Berry, and the Ramones also make the set list, and you get a snappy spoken word rendition of "The Night Before Christmas" as well as some rollicking proto-surf boogie on "Auld Lang Syne." The big surprise here is that Pat DiNizio shares the vocal mic with his bandmates for a change, and if guitarist Jim Babjak and drummer Dennis Diken aren't quite up to DiNizio's standard as a singer, they fit their selections better than DiNizio's often-gloomy tone. Fans waiting for a "real" Smithereens album will apparently have to wait a bit longer, but Christmas with the Smithereens is more thoughtful and intriguing than the average tossed-together holiday offering, and the best moments are a clear reminder of what makes this band worthwhile. ~ Mark Deming, All Music Guide
What The Critics Say
Normally the only thing worse than a tribute album is a tribute to an album. And no one—no one—can improve on a Beatles LP. But this veteran New Jersey trio amazingly pull off this cockamamie idea. The group are clearly worshipping disciples (as we all should be) of the Liverpool legends’ blockbuster breakthrough, Meet the Beatles, Capitol’s January 20, 1964, U.S. version of EMI U.K.’s With the Beatles (with two singles added and five of its six covers subtracted—all five of them later rushed out as part of Capitol’s subsequent Beatlemania cash-in Second Album). But rather than insipidly recreate a wild rock ’n’ roll masterpiece or irreverently recast it as something it isn’t, they crash into a perfect middle ground: They reframe it as if it were recorded by The Raspberries, Big Star, Todd Rundgren, Flamin’ Groovies, or myriad other meaty, American power-popsters who updated a thorough Beatles blueprint in the 1970s. George Harrison’s “Don’t Bother Me” and John Lennon’s underappreciated classic “Not a Second Time” sound particularly fresh and poignant in this context. And much as he did when he sang The Who’s “Behind Blue Eyes” a while back, Pat Dinizio is too smart to oversell the vocals or get carried away by their iconic ubiquity. And his guitars twist the chords into a stinging sharpness. Totally enjoyable and genuinely worthwhile! ~ Jack Rabid, The Big Takeover, All Music Guide
'God Save the Smithereens'
Release Date 10/19/1999
Tracks 13
Label Koch
See Album Tracklist and Review
What The Critics Say
After two decades, the Smithereens were no longer in step with the times and they no longer cared -- they do what they do because they love it, not because it's fashionable. They were at that point with 1994's A Date With the Smithereens, but that record was hurt by a weird undercurrent of bitterness and Pat DiNizio's songwriting slump. Wisely, the group decided to take a break after that album. The extended five-year hiatus recharged the group, if God Save is any indication. Not that the record is a masterpiece, but it is a good journeyman record that plays up their strengths quite nicely. There's a little bit of everything that the Smithereens do on the record -- jangly pop ("She's Got a Way"), doomy rock ("The Last Good Time"), melancholy ballads, crunching riffs, and even a re-working of "Gloomy Sunday," reminiscent of DiNizio's moody solo effort. The Kinks allusion in the title is appropriate, since the Smithereens are also pop traditionalists whose consistency is only appreciated by a selective, discerning audience. Unlike Ray Davies, no one in the band really seems to care about the hits drying up -- there's joy within their songcraft and their performances, they like the act of making music itself. Admittedly, God Save may not be as immediate or memorable as their best albums from the late '80s, but there are no weak moments on the record. Every song is well-crafted and delivered with conviction -- the very things that made the Smithereens a beloved cult band. God Save the Smithereens may not play to the wide audience that loved "A Girl Like You," but that cult will certainly be pleased by this strong comeback. ~ Stephen Thomas Erlewine, All Music Guide
'Date with the Smithereens'
Release Date 1/1/1994
Tracks 12
Label RCA
See Album Tracklist and Review
What The Critics Say
Sometimes it seems like the Smithereens' entire career was mistimed. After the relative success of 11, Pat DiNizio and company returned with their most straightforward and mainstream-ready release yet in Blow Up. Produced by Ed Stasium, the mix is arena ready and clean, and DiNizio co-wrote two of the disc's most accessible songs with songwriters Diane Warren and Julian Lennon. The first single, the string-laden Philly soul of "Too Much Passion" not only cracked the Top 40, but it placed at number 38, one position higher than their previous biggest hit, "A Girl Like You." That's where the success story ends. If there was ever a time for an alternative band to opt for a slicker sound, 1991 wasn't it. Blow Up was released within a week of Nirvana's Nevermind, and that album would quickly change alternative radio formats forever, squeezing out largely pop-oriented bands like the Smithereens. Also, "Too Much Passion" was the most adult contemporary single the Smithereens ever released, which meant a good deal of their new audience came on board expecting more of the same, and found only Warren's "Get a Hold of My Heart" to be similar. Still, the Smithereens never released a bad record, and Blow Up is in fact a quite good one: Much like 11 before it, Blow Up is a collection of catchy, blue-collar power pop distinguished by DiNizio's often moody outlook. ~ Jason Damas, All Music Guide
What The Critics Say
The Smithereens' superb full-length debut Especially for You marries an unapologetically nostalgic affection for the melodic crunch of the British Invasion era with an equally unapologetic helping of postmodern melancholia. In tandem with Don Dixon's moodily atmospheric production, Pat DiNizio's lovelorn lyrics and world-weary vocals reveal the dark underbelly of his otherwise crisply infectious songs, lending standout tracks like "Strangers When We Meet," "Behind the Wall of Sleep," and the minor hit "Blood and Roses," both a unique flavor and an immediate familiarity. ~ Jason Ankeny, All Music Guide
What The Critics Say
The third full-length album from the Smithereens, 11 (a title which presumably referred to Spinal Tap's fabled guitar amps, which could be cranked past 10), was something of a letdown after the solid, tough-pop perfection of their first two albums, Especially for You and Green Thoughts. While their previous sets boasted strong material from front to back, 11 is dotted with filler. And while "A Girl Like You," "Blue Period," and "William Wilson" are all great songs, many of the others sound like by-the-numbers pop tunes cranked out to pad the set to full length. Producer Don Dixon made the most of the dark and mysterious undercurrents of Pat DiNizio's songs and Jim Babjak's guitar, here Ed Stasium gives the band a solid, professional sound that is sadly lacking in personality; there's nothing wrong with the way the album sounds, but there isn't anything terribly engaging about it, either. As a band, the Smithereens still sound rock solid here, but as an album it was sadly indicative of the creative ups and downs that would mark their recording career from this point forward. ~ Mark Deming, All Music Guide
What The Critics Say
The Smithereens' excellent sophomore effort picks up where their debut, Especially for You, left off, with Pat DiNizio delivering another impressive batch of superbly constructed pop gems; tracks like "Only a Memory," "House We Used to Live In," and "Drown in My Own Tears" are immediately ingratiating -- instantly familiar, yet performed with more than enough energy and flair to sound new and exciting. Equally compelling are Green Thoughts' curveballs, like the countryish "Something New," the lovely ballad "Especially for You," and the dark, atmospheric "Deep Black," all of which deliver intriguing variations on the Smithereens' basic power pop formula. Another winner. ~ Jason Ankeny, All Music Guide
What The Critics Say
Short and sweet, this EP captures six songs worth of a live set The Smithereens played for a hometown New York crowd (complete with cries of "Let's Go Mets!"), recorded for an MTV broadcast. Anyone familiar with the band's studio recordings won't find anything terribly surprising in the live arrangements, but this disc certainly preserves the band in top form, with Pat DiNizio's vocals boasting a tougher edge than he displays in the studio and Jim Babjak's guitar gaining some additional on-stage crunch. Along with four of the band's hits, Live features "Beauty and Sadness" a year before their early EP of the same title was reissued, and a solid cover of The Who's "The Seeker." Live is the sort of release that's likely to be appreciated by the group's fans and ignored by anyone else, but it also offers tangible proof why The Smithereens were (and continue to be) a potent live attraction on the East Coast. ~ Mark Deming, All Music Guide
