Published on Dec 31, 1998
I guess it’s time for one more tale of impulse buying and the
Pierce Archives – this time, a recent example. Every year, I live
for a huge sale that the used record store in my neighborhood
holds. It’s so cool; tapes at five for 93 cents, CDs at 93 cents…
it’s a music junkie’s dream. (It’s also crowded as hell; if you
dare move away from the table you’re at, you won’t get close to it
for a long time.)
This past year, while grabbing through the tape bins, I happened
to grab the debut album from Wilson Phillips… though at the time,
I wasn’t sure why I did. Maybe it was because I thought Mrs. Pierce
would dig it… or maybe it was because I’d give anything a chance
for about 20 cents. (I knew some of Wilson Phillips’ music, though
I could not say that I particularly enjoyed it on glancing
listens.)
So, the tape sat in the Pierce Archives since this past August –
actually a short wait, compared to some of the things I’ve bought
over the years – and finally dusted it off. And, to my surprise, I
discovered there was some substance to this group;
Wilson Phillips is a very enjoyable album.
Sure, you could argue that this teaming of Wendy and Carnie
Wilson (daughters of Beach Boy Brian Wilson) and Chynna Phillips
(daughter of John & Michelle Phillips of The Mamas & The
Papas) is rather lightweight material; I’m sure they would even
admit that their goal was to create light, enjoyable pop music like
their parents did. Thing is, this material has enough catchy edges
and choruses to keep your interest through almost the entire album
(thanks in part, no doubt, to the production hand of Glen
Ballard).
I count five singles from the ten songs that make up
Wilson Phillips, and most of these, even eight years after
their release, are pretty good. “Hold On” is the defining moment
for the album, setting the tone for what was to come as well as
letting the listener know that all they have to do is sit back and
enjoy the ride. Other singles like “Release Me,” “You’re In Love”
and “The Dream Is Still Alive” all continue the happy journey in
popland. I’m sure their poppas were proud.
But some of the songs that didn’t get the radio attention are
the ones that impress me more. “Over And Over” and “Ooh You’re
Gold” easily could have been candidates for radio oversaturation,
and might surprise even the hardest of hearts at how good these
tracks are.
Weaknesses?
Wilson Phillips has only two that I can find. “Eyes Like
Twins” is the only moment I could classify as being pure cornball;
this track just doesn’t succeed for me on many levels. And while
I’m sure it was a good idea at the time, hearing yet another
version of “Reason To Believe” just seems like overkill after
living with Rod Stewart’s versions all these years.
Still, these are small points of contention, and they don’t take
away from the overall excellence of
Wilson Phillips. Sure, this group got critically lambasted
when they were together. Well, here’s one critic who’s willing to
admit that maybe – just maybe – we critics were wrong all along
about Wilson Phillips.