Distortion is often a good thing and has always been a part of
Five Eight’s unique sound, but when it eclipses everything else, then you’ve got a problem. David Barbe of Chase Park Transduction (by far the coolest name for a studio ever) did the original mix of the Athens, GA band’s third album,
Weirdo, back in 1994. Barbe broke away from 90s conventions, creating an album with a clean sound and a raw feel. The band- vocalist/guitarist Mike Mantione, bassist Dan Horowitz, guitarist Sean Dunn and drummer Patrick Ferguson- was happy with his work and ready to release the album when all hell broke loose. A purposely unnamed individual- referred to only as “the A&R man”- got hold of the recording, had someone else remaster it to add more distortion than the band ever intended, and ruined the band’s original vision. In the debate over which mix sounded best, Sky Records- their label at the time- took the A&R man’s side, and Five Eight was pressured into releasing a much modified version of
Weirdo; one which both they and Barbe feared would sound dated and stuck in the 90s.
With the July 2015 re-release of
Weirdo, the band finally got the mix they wanted all along. You can better hear the individual vocals and instruments on the newly remastered album because there is less distortion and background noise.
The album was re-released by Chicken Ranch Records of Austin, TX and only David Barbe got his hands on it- he produced, remixed and remastered the album. This new and improved version of
Weirdo contains five previously unreleased bonus tracks.
When I found out
Weirdo had been reissued, I was eager to review it. I was quite familiar with the album, having purchased a copy of the original release in 1994. Listening to the remixed and remastered version, I was pleasantly surprised to realize that one of my favorite Five Eight albums was indeed improved for the better. The changes are subtle. These are still the same songs we all know and love; they are just crisper, less drowned in distortion, and indeed more raw and timeless. Here are my own personal highlights from the 2015 reissue of
Weirdo:
I always liked how the intro to
Karaoke begins with what appears to be the sound of rustling paper. Multilayered voice tracks in the verses give the vocal a tinny quality, which remains- yet to a lesser degree- in the remixed version. The new version is fuller and not as busy; there are less vocal tracks piled on top of each other. This song is infinitely fun and danceable. Mike pronounces ‘karaoke’ the proper Japanese way (‘ka-
ro-kay’), which uses three syllables instead of four. This makes the song much easier to sing along to. After all, isn’t that the point of karaoke?
Behead Myself is a beautiful and melancholy song about suicidal urges. Its effectiveness lies in the fact that it doesn’t glamorize suicide, but also doesn’t make it overwhelmingly dark and gloomy. The delivery of its message is refreshingly matter-of-fact, as much so today as it was two decades ago:
“when I hurt / who will change / when it hurts / will you remain / I’m gonna behead myself.” Bass and guitar provide the hook. There is even a bit of a country-influenced twang. I use the term ‘country’ because in 1994 I don’t believe Americana had fully emerged as a musical genre. The song comes to a close with machine gun-like guitar and rapid stop/start repetition, and the ending is abrupt; a piece of chopped-off guitar feedback. There is some nice guitar reverb (toned down on re-issue) at the end with Mike yelling/singing “behead myself” over & over.
What They Did is a ballad about meeting a mentor who gives the singer an honest evaluation of some things he’s been doing wrong in his pursuit of becoming a musician, and the self-discovery and self improvement that results. It’s about letting go of old patterns and bad habits in order to become a better person & musician. It’s about living a genuine life; not trying to emulate the ‘cool kids’ or the latest trends. Patrick Ferguson demonstrates his musical versatility by playing jazz style drums on this song.
What They Did also shows the softer, more melodic side of Mike’s vocals; he hits high notes and shows his inner crooner. “The light comes from any angle” is a wonderful lyric of hope.
Stars is one of my favorite songs on the album; it’s lulling, dreamy and rocking all at once. Once again Mike hits some high notes with his versatile voice. The song gets less lulling and becomes more angsty toward the end, and features some Neil Young style guitar. By the way, Five Eight plays an excellent cover of
The Needle and the Damage Done on their album
The Angriest Man.
Hurt You is a slow and beautiful ballad about a relationship coming to an end. It’s got some truly heartbreaking lyrics: “Well you caught me, I was practicing hurting you / I thought it through at work. It made my day go a little slower / ‘Til I got it right, and left your heart lying there one the floor / I could’ve hurt you, you know I should have, I could have, done it before.”Fellow Athens musician Dave Domizi’s cello playing adds sadness to the song.
Weirdo shows us the angst of being a teenage outsider; trying to be cool but being called “weirdo,” sleepless nights and loneliness. There is a pleasant tension between vocal and guitar at the song’s beginning. This song features a lyric that is both masterful and unforgettable: “Here’s a phone call to you from / the all night diner of my mind.” Sparse instrumentation in the form of a simple guitar riff puts the main focus on Mike’s voice. His final lines are “What I said I thought it was funny / what I did, I tried to be cool / what I showed is my impersonation of you all and I’m the weirdo.” The final firm declaration of “weirdo” at the end of the song has no instrumental accompaniment; it’s just Mike’s voice abruptly ending the song and driving home the finality of his words.
both masterful and unforgettable
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Shouldn’t Be Here is a song of frustration about being in a place where you don’t feel like you belong. It features fast paced rock guitar and speeds up even more towards the end, building up to Mike’s climactic moaning yell of “I quit, I quit, I quit.” The song ends with a final yell of “I quit!” which is more dramatic, raw and effective than on the original recording.
The bonus tracks continue the themes of loneliness, frustration, social anxiety and broken relationships. Of these five songs,
The Only One has the best hook. It really sticks in your head. This song could quite possibly achieve the commercial success that has inexplicably eluded the band for so long.
Lead singer Mike Mantione’s lyrics tackle some tough subject matter: mental illness, social anxiety and suicide, to name a few. Yet he’s not flip or ironic about these things; he doesn’t glamorize them, and at the same time he also manages to craft songs which are neither dire nor depressing. He is matter-of-fact in his delivery of such lyrics as: “and now you know that I want to take my life… I want to behead myself.” Mantione uses these unlikely tools to craft beautiful, melodic and haunting songs that actually make the listener feel good. You may have to hear it to believe it, but it’s absolutely true, as the band’s swarms of loyal fans will not hesitate to tell you.
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