Written by Janelle Greenwood Tuesday, 25 April 2006 04:09

My mind is on things I can’t control, for the most part. And when your mind is on things you can’t control, you start feeling very helpless, because you are.

 

 

Glen Phillips isn’t a rock star. He doesn’t want to be one, either. Once a frontman for the popular ’90s band Toad the Wet Sprocket, Phillips has grown up, become a husband and father, and begun a solo career that takes him on the road most of the year. Aside from having to be away from his family, he is happy to be out there touring on his own.

Phillips’ sound is more mature, often played acoustic live, and it reflects how he has progressed both in his life and music. His style is as endearing as a conversation between two friends, which is evident in both his studio and live performances.

With two previous studio releases, Abulum and Winter Pays for Summer, as well as a live CD, Live at Largo, under his belt, Phillips embarks on a new journey with his latest collection of songs on his new musical endeavor, Mr. Lemons.

It’s been repeatedly said that Phillips has all but completely abandoned his sound from his Toad days, but that’s not entirely true. Instead, Mr. Lemons and his previous albums reflect a man who has gradually grown up and retired from his career as a top-40 rock artist. Mr. Lemons is a different album than his previous work in that it sounds more organic, now especially as a solo artist, because it was broken down to music’s key elements. His voice, the lyrics, and the music come through clearly.

“It centers on the song and the voice and not all the candy around it,” says Phillips. “Even for songwriting, I was aiming at much more simple songs, totally melodically and even lyrically. I wanted it to be a just a little more clearer, a little less clever, and a little more timeless. Just more emotional, I guess. Less cerebral.”

Perhaps this collection of 11 songs reflects where Phillips is at this moment in his life, a thankful and appreciative man who wants to express these feelings through his thoughts and actions. Consumerism takes a backseat to community in “Thank You.” It’s simply about feeling thankful for everything that we have, even if in only through one or two chords, and it really gets down to what matters.

Gratitude is a centralized theme of Phillips’ life and his musical career. Whether it’s with his family or his life in general, the message is to stop and take a look at one’s surroundings and appreciate them for their worth.

Phillips is even planning on taking his family abroad to Europe this fall to spend quality time with them in an inspirational setting, while also touring some small venues as well. His current goal is to get away and see things from a different perspective while in a less electronically connected environment—another recurring idea on the new album.

“I have too many e-mail addresses; I have too much reachability,” he says. “Reading the political blogs, reading of all this stuff that’s happening. My mind is on things I can’t control, for the most part. And when your mind is on things you can’t control, you start feeling very helpless, because you are. I want an opportunity to refocus on what’s in front of me. I have a feeling that this year traveling around with my family is going to be incredibly good for that.”

Mr. Lemons strips music down to its bare essentials, even making love songs—which Phillips previously felt were in overabundance—sound revived in many ways. Exploring the imperfections that everyone sees in a relationship, Phillips sweetly sings “I’ve seen the worst of you, it’s true/but it’s the smallest part of you, and I still love you” on “I Still Love You.” He even covers “I Want a New Drug,” the old Huey Lewis and the News track, although it sounds almost unrecognizable from its original recording. The cover not at all derivative, and its mellow overtone and swaying beat would feel extremely appropriate coming through the microphone in smoky blues club.

Mr. Lemons indicates a move toward bringing music back to its roots, before albums became a showcase for the musical marvels producers could perform in the studio. Whether it’s a back-to-basic approach or just the truth told over an acoustic guitar, we’re listening.