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Theirs is one of the most frequently repeated corporate rock stories of the past decade. There’s just something about its underlying themes—an honest-to-goodness “I told you so!” success, the ever-gratifying blind-as-a-bat-ness of major labels, and, lastly, the “good music prevails in the end” morale booster—that seems to bring smiles to the faces of even the most jaded of music fans.
Back in ’95, Mesa, Arizona, four-piece Jimmy Eat World (composed of childhood friends since kindergarten—as if this story can get any damn sweeter) signed with Capitol Records, where they released two albums, including their 1999 sophomore platter—the sprawling, spacey emo landmark Clarity. Despite their college radio hit “Lucky Denver Mint” finding its way onto the soundtrack of the Drew Barrymore film Never Been Kissed and a growing-by-leaps-and-bounds fanbase, the boys found themselves in an all-too-common position: They simply weren’t selling enough albums to suit their label’s taste. The following year, as this story all too commonly goes, they found themselves without a home, their third CD recorded for the label shelved.
Right about now’s the time when most sane bands pack it in and call it a day, either going back to school or continuing their drive down that dead-end street called Shitty Day Job. Not, bless them, Jimmy Eat World. In 2000, the group promoted their own European tour, knocked out a few indie singles, and got back in touch with Clarity (not to mention Blink 182) producer Mark Trombino. Using their own money (D.I.Y., anyone?) they waxed a bouncy, borderline fantastic collection (unfortunately) called Bleed American and suddenly found themselves signed to DreamWorks. A smart, post-9/11 album-title alteration ensued (Bleed American swapped for the less grim Jimmy Eat World), as did three bona-fide smash singles, including “The Middle” and “Sweetness”; tours with Weezer and Tenacious D; and more than one million album sales.
And so, once again, good music prevailed in the end—short, sharp songs stuffed with crunchy guitars, jackhammer rhythms, ridiculously catchy melodies, and more hooks than a tackle box. By the time the dust settled, Jimmy Eat World had done just that.
Needless to say, we had mighty high hopes for the group’s follow-up. Alas, Futures, as said follow-up is titled, ain’t exactly what we were hoping for. Gone is the blistering urgency of songs like “Bleed American” and “The Authority Song,” replaced instead with the expansive sullenness that defined Clarity (consider “Drugs Or Me” and “Night Drive”). Which will, no doubt, come as a pleasant surprise to emo purists but something of a disappointment to music geeks who actually lived to see a power-pop album sell more than 100 copies (congratulations, gents). Still, Futures is far, far from a complete loss; tracks like the first single, “Pain,” kick it out with arena-sized power. Which, come to think of it, leaves us wondering why, given their preternatural knack for straight-up rock ’n’ roll, Jimmy Eat World didn’t bother to kick it out a whole hell of a lot more. If Futures silently fades into the past, we’ll have no doubt why.
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