The Verve Pipe - 85 on 31 (1997)
A promo album is always a tricky, if not a questionable concept for a band, especially since it usually is never the band’s decision. Functioning as true promotional material (like it should), the promo album hams it up to the nth degree, as if the band or artist it’s representing is the only band or artist that matters; of course, due to its promotional nature, the album cannot be legally sold, acting only as a potential catalyst should this release make it to the right eyes and ears. While the advent of internet advertising and distribution has pretty much rendered this promotional tactic obsolete in the 2000s, the promo album seemed fairly prevalent in the 90s. As schlocky as it might be to have something like that represent you, a dedicated promo album is a good sign that you’re doing well in the eyes of your record company, meaning that you are most likely doing well on the charts. And for a very brief period in the mid 1990s, this was the case for The Verve Pipe. With the literal explosion of their song “The Freshmen” (the 90s rock ballad to end all 90s rock ballads) and subsequent platinum performance of the 1996 album Villains, The Verve Pipe were the apparent toast of RCA, confirmed in no small way by their very own promo album, 85 on 31 (1997). And while Verve Pipe fans might have been thinking that Christmas came early in 1997, it’s more like Halloween came early as this album is full of tricks and treats.
At thirteen tracks, 85 on 31 is a surprisingly generous promo collection for a band that at the time had only one major label album to their name; however, with one view at the track listing, a few tricks are apparent, and with one listen there are a few more. Still, this is a promo collection, so it really shouldn’t be a surprise that nine out of the thirteen tracks derive from Villains. To the credit of 85 on 31, none of the big singles from Villains are presented in their single or album formats, but instead are remixes, demos, acoustic versions, and/or live cuts. Included on 85 on 31, interestingly enough, are four of the best album tracks on Villains in their album versions; nice, but what’s the point? Out of the remaining four songs, two are excellent live cuts from the band’s excellent indie release Pop Smear (1993), and two are covers. Throughout this happily dynamic hodgepodge of music there are several gems (or treats if you will) to be found. The live version of “Penny Is Poison” displays the band’s flawless live chops via one of their best songs, while the acoustic arrangement of “Cup of Tea” turns one of their heaviest tunes upside-down, in a good way, and gives an intriguing insight into the band’s more melodic roots and accomplished arranging skills. The real reward here, however, is the studio cover of XTC’s “Blue Beret,” as you would be hard pressed to find it anywhere else. The live versions of the Pop Smear songs “Spoonful of Sugar” and “Victoria” are also fantastic, proving that they are certainly worthy of their major label recognition. Much of the rest of the album is fine, but nothing otherworldly; however, their live cover of The Beatles’ “Strawberry Fields Forever” is probably the worst thing The Verve Pipe has ever done. Clearly they are caught up by the post-grunge movement (the flavor of Villains), but it just doesn’t work when you beat a song like that to the ground with loud and heavy noise. The song is about as enjoyable as an eternal nosebleed and it’s probably the worst Beatles’ cover I’ve heard outside of the blasphemous Across the Universe (2007). Aside from this very unfortunate tragedy, 85 on 31 is pretty solid, even with its non-necessities.
At thirteen tracks, 85 on 31 is a surprisingly generous promo collection for a band that at the time had only one major label album to their name; however, with one view at the track listing, a few tricks are apparent, and with one listen there are a few more. Still, this is a promo collection, so it really shouldn’t be a surprise that nine out of the thirteen tracks derive from Villains. To the credit of 85 on 31, none of the big singles from Villains are presented in their single or album formats, but instead are remixes, demos, acoustic versions, and/or live cuts. Included on 85 on 31, interestingly enough, are four of the best album tracks on Villains in their album versions; nice, but what’s the point? Out of the remaining four songs, two are excellent live cuts from the band’s excellent indie release Pop Smear (1993), and two are covers. Throughout this happily dynamic hodgepodge of music there are several gems (or treats if you will) to be found. The live version of “Penny Is Poison” displays the band’s flawless live chops via one of their best songs, while the acoustic arrangement of “Cup of Tea” turns one of their heaviest tunes upside-down, in a good way, and gives an intriguing insight into the band’s more melodic roots and accomplished arranging skills. The real reward here, however, is the studio cover of XTC’s “Blue Beret,” as you would be hard pressed to find it anywhere else. The live versions of the Pop Smear songs “Spoonful of Sugar” and “Victoria” are also fantastic, proving that they are certainly worthy of their major label recognition. Much of the rest of the album is fine, but nothing otherworldly; however, their live cover of The Beatles’ “Strawberry Fields Forever” is probably the worst thing The Verve Pipe has ever done. Clearly they are caught up by the post-grunge movement (the flavor of Villains), but it just doesn’t work when you beat a song like that to the ground with loud and heavy noise. The song is about as enjoyable as an eternal nosebleed and it’s probably the worst Beatles’ cover I’ve heard outside of the blasphemous Across the Universe (2007). Aside from this very unfortunate tragedy, 85 on 31 is pretty solid, even with its non-necessities.
There’s no doubt that 85 on 31 is essential for true fans of the band, but it’s difficult to recommend this to those on the borderline, as this album will likely confuse them. The thing to keep in mind is that it’s not a b-sides/rarities release, but a promo album that happens to have b-sides and rarities; no one was suppose to buy 85 on 31, they were just meant to listen and pass it on. If anything, 85 on 31 just gives credence to the Villains album (its justification of being a 90s alt rock classic), which was definitely the intention. All in all, it’s obvious that RCA was throwing quite a bit of support toward the band, and it would be suicide to deny. There’s nothing wrong will a little corporate excess for a band that truly deserves some, because all too often the worthy are ignored. Fortunately for The Verve Pipe, with 85 on 31, justice is served.
3/5
"LET ME TAKE YOU DOOOOOWWWWWNNNNNNN!!!!!!!!!!!! / 'CAUSE I'M GOING TOOOOOOO!!!!!!!!!!!!!!!!!!"
McS
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