Earlier this morning I decided that today would be a day of second chances for albums that, for one reason or another, I dismissed without giving a fair shot.

Now I realize that it's hard to believe that I'd be anything other than completely fair in any aspect of my life, but I assure you that it's true. There are no hard and fast rules that dictate what albums I dismiss unfairly. Sometimes it's because they're purchased at the same time as a classic, and are simply outshined. Other times it's because of an off-putting early track. And still other times it's because they don't feature prominently enough on the soundtrack to The OC. But whatever my reasons were, today will be a day of second chances for those records. And lucky for you, I plan on posting my thoughts on each of these records in a potentially recurring feature called The Spoonbender's Second Chance Record Reviews.

Spacehog: The Hogyssey
Spacehog isn't for everyone, but they are for me. I liked their debut well enough, but I thought their sophomore effort, The Chinese Album, was just shy of genius. Seeing them live on that tour was absolutely intoxicating, especially when coupled with about ten Jack and waters and a huge joint. In fact, it was so intoxicating that I vomited into my lap while sitting in the passenger seat of my friend's newish Saturn coupe. And if that's not rock and roll, what is? To me, The Chinese Album is the musical equivalent of running nude through a sun-drenched field at full speed and pooping simultaneously -- impossible freedom and ultimate release.

The Hogyssey, on the other hand, always felt kind of blah to me. More like walking calmly to the bathroom, sitting down on the toilet, and pooping into it. But I couldn't say why, exactly, and so I felt as though it was worth another listen. And listen I did.

Unfortunately, I think my verdict is pretty much the same. Overall, I think it's a pretty good album. There are some real highlights, actually. "Earthquake" is a raucous, free-pooping good time, for example, as are "A Real Waste of Food" and "The Horror." But the record suffers from an identity crisis that I attribute to songwriter Royston Langdon's involvement with Liv Tyler. Musically, the songs are as replete with neo-glam hookiness as Langdon's earlier compositions. But the production is a bit studied, and the lyrics are an absolute mess. Whereas a Spacehog classic like "Mungo City" revels in its nonsensical and vaguely proggy silliness, the songs on "The Hogyssey" are dragged to Earth by sentiment. Sentiment in this kind of music is bad enough, but when the sentiment is wrapped in a pseudo-concept album like The Hogyssey, you've got reason to be concerned.

Analogcabin @ 1:49 PM
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