Bush + Gavin Rossdale + 30 years = The Art of Survival and "The Art of Survival"
Manufacturer's Warning; The following facts are coming from the perspective of me. Which technically makes them opinions, but are facts from my perspective, and should be treated as so.
"There must be something we can eat. Maybe find another lover. Should I fly to Los Angeles? Find my asshole brother." ... Really? That's how my sideways - intriguing - way up - around the bend - frozen - maybe back again - I don’t' know - nah - ahh yesss relationship with this band began? ... "Everything zen, everything zen, I don't think so." That snappy little number back in early 1995? It's October 10th, 2023, and I am delivering a boatload of words about them? Who could have known? Not me, that's for sure. I have to say, I did rock out to the fuzzy semi-metal or semi-grunge track, but for f$%k sake, the combination of nouns, verbs and adjectives constructed inside that massive hit single were a bit perplexing. This was the introduction to the world for the newest British import named Bush. Yes, the band was British, but the music certainly leaned very American within that present time frame. Yes, I am aware, they were accused of trying to fill the Nirvana void. Sorry, but the band wasn't trying to fill the Nirvana void. The radio industry was trying to fill the Nirvana void. Marching forward after the prior statement, let's avoid a personal-bio piece, and focus on the music and anything that caused the music to expose itself like it did.
Bush's first album was a juggernaut that owned the radio throughout North America in '95-'96 with five hit singles, eventually selling almost 7 million records in North America during those two years. The recipe including driving rock, anthem action and a trippy ballad. All of which incorporating a deep British accent and finely distorted guitar delivery with giant riffs. The album tracks lacked some of the bigger hooks, but still provided the proper complimentary ambiance. The hits were undeniable for the airwave behemoth that was alternative radio in addition to all other forms of rock radio. The first time I saw a performance in March of 1995, they seemed rock solid on the small stage of the 9:30 Club in Wash. DC. Three months later, I found them to be a bit stagnant on the big stage at RFK Stadium in Wash. DC for the renowned WHFStival. They were certainly the radio festival darlings that summer but were still working their way up to large stage performances, on a consistent basis. They most likely didn't yet have their feet firmly under themselves performing in those situations. By February of 1996, in the 5K capacity fieldhouse at the college of UMBC (Baltimore), with No Doubt in tow as support, they showed they were now viable on the big stage. Now, after a two-year cycle of massive radio and the road, was this a flash in the pan or not? If you are essentially born by radio, you can quickly die by radio. Or should I say, die by no radio. Anticipation was peaking for new material.
Of course, right after registering one the biggest selling albums in the U.S. the past few years, you should hire Steve Albini to produce your next one. Translation: Let's bring in one of the most non-commercial, sardonic, stubborn, primarily noise-rock producers/engineers in captivity, drop him in the studios of both Abbey Road and Hook End, and have him helm a potential career guiding album... for an artist hoping for, and record label counting on, enough musically marketable appeal. The only argument possibly coming from whomever ... Nirvana worked with him. Nirvana's "In Utero" was literally the ONLY Albini-produced commercial artist/album amongst his 150+ thru the 9 years prior. (Yes, you can make a minor case for PJ Harvey "Rid of Me", but her creative direction wasn't solidified at that juncture). Anyway, that sounds like a reasonable plan to experienced music industry types, right? Personally, I think it was a GREAT IDEA! Ha! My noise-rock library had been expanding, and I had some Steve Albini all up in it. "Razorblade Suitcase" was positive to my ears. (People have argued that Gavin wanted to use Albini only because of the whole Nirvana connection, but he had actually been a fan of his production work going back to the earlier '90s). In my opinion, this direction for the second release served up two preliminary signs about Gavin Rossdale and Bush; 1) They were very conscious of the manner in which they wanted to sonically illustrate a Bush recording ... 2) They showed confidence that any potential pop/rock songwriting would cut across edgy and probable experimental production when needed. Not only is that self-assured, but it shows long-term ambitions. It became customary for me to analyze artists, producers, engineers, mixers and studios in the same way when diving into each finished record and the artists' futures. Enough of my individual blathering. Finally, on the second go-round, Bush brought us "Razorblade Suitcase". These tracks certainly wore that auditory Albini cologne on every instrument, amplifier, cabinet and microphone. It brought the proper noise and raw attack on the macro level. There was just an issue on the micro level. The micro being stronger hooks and melodies in the suitable places, if we needed to compare it to "Sixteen Stone", which 99% of humanity would. I don't believe ""Razorblade Suitcase" was disjointed. On the contrary. It had the make-up of one long album track, chopped up into 13 sections. My friends, that is where a Steve Albini-produced album parks itself upon completion. I imagine the band (let's be honest at this point... Gavin) focused a bit too much on engineering raw moments and dissonance, while leaving other aspects a quarter-step behind. Once again, that took on the personality of the man behind the board. With that said, I could see there was more depth to this band than most initially assumed. Gavin Rossdale, having obviously established himself as the sole songwriter and leader of Bush, was bringing that depth. I suppose he was earnestly trying to find the specific sweet spot between thoughtful songwriting and a perfectly targeted sound and feel. I almost forgot. "Razorblade Suitcase" did go on to sell approximately 2.5 million copies in North America over the course of '96-'97 (presently over 4 million sold). So, the situation was still rightly positive with all business entities surrounding the band, although you could sense (through reduced record sales) that this could be the period when many casual fans lost touch with Bush, being how much more audibly challenging this album was. Especially after the radio-hit sensation of "Sixteen Stone".
Remember when I mentioned that Gavin was attempting to find the specific sweet spot between thoughtful songwriting and a perfectly targeted sound and feel? It was only four sentences ago. Well, he found it and decisively planted a flag in October, 1999 with "The Science of Things". If you think I give a rat's ass that it officially sold half the copies of Razorblade Suitcase, you have another thing coming. Need I remind of the music industry peer-to-peer invaders, Napster and LimeWire, each launched in 1999 and 2000 respectively? Irregardless of those file sharing sales damagers, I felt "The Science of Things" justified my original judgments of Gavin Rossdale coming out of "Razorblade Suitcase". Bush had a substantial future and Mr. Rossdale found it. "The Science of Things" is a remarkable piece of work. They may have returned to the studio with the "Sixteen Stone" production duo of Clive Langer/Alan Winstanley, but this was not the same. To go along with the quality songwriting, this album has such warmth, such space and such impeccable recording nuance. The full package from end to end is cinematic, with many of the tracks sounding like they are physically drawing breath. This time around, even all the presence of dissonance tastefully served the melody and texture of the songs. There was NO QUESTION that the experience Gavin acquired within the Steve Albini studio boot camp showed him the wider scope he could capture and how to do it. All you had to do was pay close attention, and you could discern that Gavin Rossdale was zealously attentive to each aspect of engineering, mixing and mastering. The best way to describe "The Science of Things" is that it expressed an exactness. Note- If anybody unjustifiably alleged that Bush still had to wash off any cliche-level Nirvana residue, the idea just went up in a cloud of smoke. There is the enduring expression ... ART VS. COMMERCE. If you work in any creative field, and you truly have passion for the art, striving for this balance is the goal and the struggle. With "The Science of Things", Bush had reached that balance. They should have been able to then have a well-rounded grasp on their future... but did they?
Little did any individuals outside of the music industry know, but Bush was having legal battles with its record label, Trauma Records, prior to the release of "The Science of Things". After renegotiations occurred, all parties proceeded as normal. With album #4, now they didn't. Say goodbye to Trauma Records and hello to Atlantic Records. One thing the times always do, and that is change. In 2001, this is where we found "Golden State". As much as I lauded the brilliance of Bush's prior album, when I was made aware that Bush would hire Dave Sardy to produce, my primary belief was ... once again, there was a clear persistence to reach a precise outcome for the ears. Sardy was one credible cat who could combine the crystal-clean heavy with the appropriate raw BUT TIGHT approach. Up to that point, after establishing himself in the band Barkmarket, he made his production/mixing bones pushing the boards to bring power without the appearance of artificiality. That innate ability came from his work in post-hardcore. I applauded this combination, and then the end result. When "Golden State' was finished being cooked, its flavor sat between "Sixteen Stone" and "Razorblade Suitcase". You could clearly hear those expected melodies and riffs. The vocals felt organic and powerful. You could feel the space. Yet, the edges were rough and rang out. That would be a negatory on overtly-rounded control and compression. Perfect arrangement between producer and artist in my book.
Now let's get to the beginning ... of the end ... of the disbandment ... of Bush. Fun! Here was the formula. Be on a new major label, who has little history and a limited understanding of your band. Have the lead single be "Speed Kills". After beginning an extensive campaign with weeks of radio promotion, airplay, video play, marketing and maximum distribution in record outlets, slam into September 11th, 2001. Due to immediate corporate censorship of violence-based material, have your single pulled from radio and video pulled from television, across the board. Be forced to remove all evidence of "Golden State" from record and department stores all over North America, in order to replace the name of "Speed Kills" to "People That We Love" on all aspects of CD packaging. Have zero possibility of any effective and crucial touring in the United States for the remainder of 2001, due to the absence of radio/video promotion and CD re-distribution delays. The opening full-push cycle from all entities, always methodically planned, was off kilter by months and never recovered. Plans for the potentially phenomenal second single with "Headful of Ghosts" were even thwarted, due to the fact that the word terrorist pops up multiple times in the recording. Guitarist, Nigel Pulsford (who was on leave for personal reasons due to complications with his wife's pregnancy, and temporarily replaced by Chris Traynor for touring), was eventually given his permanent walking papers, although it was argued that he quit. Obviously, in the minds of the executives at Atlantic Records, the game was over for "Golden State". Sales were considerably down. Time to cut their losses. It also became time for Gavin and the boys to unfortunately call it a day.
EACH OF THE FIRST FOUR BUSH ALBUMS ARE INDIVIDUALLY FIXATED, IN THE BEST WAY POSSIBLE. I WOULD LABEL THEM ALL AS EXCEPTIONAL, AND THAT IS A CONSIDERABLE ACCOMPLISHMENT. RE-VISIT AND GIVE YOUR SKULL A BLAST.
After the day was called, there was a break, and then there was Institute. Grab your last guitarist. Chris Traynor, from your defunct Bush, and drag him across the aisle into this new project. Chris brought the goods into that group and could bring even more into Institute, having ripped his six-string with bands like Orange 9MM, Helmet and a short taste with Rivals Schools. His distinct reputation was able to attract other tasty reputations from the post-hardcore and emo scenes, in the form of musicians and studio gangsters. The band included bassist Cache Tolman (Rival Schools), drummer Josh Freese (stone-cold killer across the planet), touring drummer Charlie Walker and BOOM! ... Page Hamilton from Helmet steering the studio cruise ship. Bringing Page into the fold continued to prove to me that Gavin Rossdale would push for the sound, attitude and personnel required to hit the mark for Institute's "Distort Yourself". This is a pretty fascinating record in one acutely defined sense. It's Bush inside of the persona of a Helmet production, showing us once again that the producer influence is inevitable (which is usually why he or she is sought after in the first place). Being familiar with Page Hamilton's Helmet means you are familiar with the complete staccato nature of the guitars from chord to chord or measure to measure. Sustain was not in the forefront of their programming. The natural guitar activities of Gavin Rossdale's Bush, on the other hand, tended to resonate onward and continue partnering with its surroundings. Other than Gavin's vocal performing its usual glide, the attack of the guitars with the rhythm section on almost every song tended to be in lockstep and psychotically sharp... uhh, like Helmet. This is what made Institute's "Distort Yourself" a bit off the beaten track of Bush. It's a very solid hard rock record. In 2005, they hit the market, they made noise, they toured for a year (and with U2 for a stretch), they left an impression, they were never heard from again and it was all necessary.
Hey Mr. Rossdale, what's next? A solo record you say? Whoa, I wonder where this will musically land. File it under pop/rock, and there would be writing partners in crime, such as Linda Perry, Dave Stewart and Marti Frederiksen, in addition to guest vocalists, Shirley Manson, Katy Perry and Gwen Stefani. They shot for the pop/rock ecosystem and pretty much nailed it, for the most part. The album "Wanderlust" had multiple tracks placed in both movies and television, a single in "Love Remains the Same" serving as one of the most played on radio in 2008 and a gold record (platinum today?) at cycle's end. Expectedly, Gavin Rossdale caught disapproval from some critics regarding vocal over-production, the necessity for several writing partners and general cynicism toward his probe into pop-rockery as a whole. Fair criticisms, unfair criticisms, critics will do what critics do... judge from their experiences, viewpoint and place in this world. As an album in that genre for those listeners, it served well.
After a decade, for the band and the brand called Bush, it was time to pull the car out of the garage. (The car containing only two original members: Gavin and drummer-Robin Goodridge, along with guitarist-Chris Traynor and new bassist-Corey Britz (replacing Dave Parsons)). Gavin Rossdale brought in one of the most experienced drivers on all terrains, the rock solverhimself, Bob Rock. Unfortunately, these guys together solved not a thing while assembling the forgettable "The Sea of Memories" for Gavin's new record label, Zuma Rock Records. It was like the new version of the band had torn their ACL, and they were taking the field for the first time trying to get their legs back. Hopefully they would get there, but it would take several games ... or just an album, per se? With Bob Rock having produced his solo album years prior, this became a slightly edgier extended version. Descriptive opinions that fill up my brain would be: bland, safe, controlled, compressed, paint by numbers, smoothed edges, and forgettable. The songs were satisfactory. The production was satisfactory. The album was satisfactory. Ehh, just fine fine fine. Maybe it was more in the mix and less in the recording, who knows. Still, it's not the Gavin Rossdale and Bush I had gotten to know.
Three years later, batter up! It was time for hard rock/metal production aficionados Nick Raskulinecz and Jay Baumgarner to help pull Gavin Rossdale and Bush out of the musical doldrums. This amalgamation of humans did pull them out in 2014 with "Man on the Run", but didn't lift them up beyond the minimally required boost. It's a pleasantly nice hard rock-ish album with a few randomly presented harder rock-ish numbers amongst the bunch. Under complete disclosure, there's only one track in this collection I would ever dial up... but at least that's one more than "The Sea of Memories". Not monumental but progress, mind you. Note: I did catch a show on this tour. They still brought some beast, so there was hope.
Then we sadly arrive at "Black and White Rainbows" in 2017. Produced by Gavin Rossdale himself, I still require irrefutable proof that he and the band weren't taken hostage by Lady Gaga, Ed Sheeran and the entirety of One Direction. From the songwriting to the production, the album was borderline insufferable. If you needed a manual of how to emasculate a hard rock band, you need to go no further than this inorganic abomination. These last three albums had so much humanity strangled out of them, and "Black and White Rainbows" was the bottom of the abyss. Solo Gavin was purposefully pop, and it's hard to maintain that the solo experience and expectations for commerciality didn't bleed into the return of Bush. At this point, after traveling in the caboose for 4-5 years, I officially jumped off the Bush train.
(Hold music ...... 2017 ...... Hold music ...... Hold music ...... 2018 ...... Hold music ...... Hold music ...... 2019 ...... Hold music ...... May 17th, 2019 - Click! Hello, this is John Wick: Chapter 3 speaking, can I help you?). I don't know, maybe. I just tuned in to watch the movie ... John Wick kicks ass, kills 22 people, foot chase, John Wick kicks more ass, kills 31 people, dialogue, motorcycle chase, dialogue, John Wick kicks even more ass, kills 43 people, dialogue, some kind of chase of some sort, John Wick kicks the most ass, kills 56 people, dialogue, off he goes, with his dog, the end, roll credits.
With the rolling of the credits comes the obligatory rolling of the song. My reaction within 15 seconds of the instrumental intro, containing fat bass/fat guitar/fat groove was ... this sounds like Bush. First four records Bush, not last three records Bush. Then the voice drops in, there we are and off we go. It was "Bullet Holes" and it came large and correct! There is no way this track doesn't marinate in your head for days afterward. Sure, it evokes U2's "Bullet the Blue Sky", but cut it some slack. Was this only a movie time nostalgic drive-by, or was something more in the works LIKE THAT? The answer was the latter, and it would be "The Kingdom". Nonetheless, we were put in time out until July of 2020. Once it was known that Tyler Bates produced not only "Bullet Holes" but the entire album, I was salivating to hear the finished product. His specialty was scoring films (such as the John Wicks), and he was an A-Lister. What he did not do was produce bands. This was until Marilyn Manson in 2015 and 2017, where he not only produced two dynamic albums but toured as Manson's guitarist, as well. Between Tyler and Gavin, "The Kingdom" brought back that semi-signature Bush dynamic, and finally re-upped on the muscle. If you laid credence to this band in the past, as I did, this was sorely missed. Gavin Rossdale's Bush was carrying a virus for a long time, and inside the Tyler Bates universe apparently was the antidote. On top of the rock-tastic album of "The Kingdom", the band went full on tour de-force putting themselves in front the most rock/metal artists and fans across the world, during and after the Covid craze. I mention "the world" once again, because although Bush had toured Europe, Australia and New Zealand several times in the past, they never established themselves at the same level as North America. I felt that starting with the proclamation of "The Kingdom", they began putting a more sizeable stamp in those respective countries, now with an even heavier audience, performing on some of those genres' bigger festivals. The confidence was up and the pedal was down to the floor. I never expected it to happen, but I bought a ticket at the station and hopped aboard the Bush train again. By the way, this version no longer included the drummer, Robin Goodridge. To go all British on you, he was sacked. But how would I have known? I had stopped paying attention.
Gavin Rossdale! That's the guy in the middle of this long-winded ramble. He grinded Bush back to the quality control of 2001. We've digested: "Sixteen Stone", "Razorblade Suitcase", "The Science of Things" and "Golden State" ... Institute's "Distort Yourself" ... the Gavin Rossdale experiment of "Wanderlust" ... those three albums I sort of want to forget ... and "The Kingdom"! What have we learned? No, what had I learned? No, what did I honestly feel about his work and career? My brainpan functions entirely independent from other opinions.
There's no argument that he's talented. You're being disingenuous to state otherwise. Yet, I ... ahem! I'll admit, we... have seen talent quickly come and go all the livelong day. For people to succeed, there are other factors that enter into the fray, both general and specific. On the general side, Gavin Rossdale has uncommon perseverance. Seeing the ride and results during this career stage, it's not debatable. Evidenced by actions and public record, it is obvious that the ultimate control of Gavin's creative domain would be determined by him and him alone. He wrote all the tunes, worked all the producers/studios and ultimately controlled band personnel. On the specific side, well that will be a 100% opinion piece on my end. You may agree with a portion that emerges from my keyboard, and you will probably disagree with the remaining share.
Gavin Rossdale has artistic intelligence. He understands his talents and his limitations. Where to push/pull with experimentation, either organically or with effects. He can develop a micro-view of an individual song section and the macro view of the full album identity, promotion and tour. There must be a very careful and righteous approach he takes with who he chooses to work beside in the studio and where it takes place. I trust that came from his affinity and knowledge of 70s/80s/90s punk, post-punk and hard rock worlds, including many of its players. He seemed to always be hyper-focused on an aural atmosphere for a project, and hunted down the correct people and procedure to attain the ultimate result. Aura was equally as important as the songwriting itself. Even as the personality of each record changed. Here is the most pertinent fun fact that I heard during an interview Gavin had with Howard Stern in 2014, when it came to Gavin's songwriting. He tends to write many of his songs on the bass guitar. THAT. EXPLAINS. EVERYTHING. The arrangements FILL IN or ROUND OUT all the groove and giant space that oozes from the bottom end of a stout bass. That defines the pure sound I search for in Bush. The fact is, other than the 3-album descension from 2011-2017, I genuinely agree with his artistic choices, processes and the conclusions. Call it bias, if you need to.
Did he put himself out there with maximum rock star character for a while? Reasonable, but when you appear on the cover of many entertainment magazines for years, some crowning you as the "hottest" or "sexiest" man alive, there will always be after effects. Plus, what's wrong with having a rock star out there to go along with the everyman? Was he accused from time to time of chasing street credibility, from a recording perspective? Unfairly it was sometimes the case, in my opinion. Maybe the guy was suitably educated on the landscape and a sophisticated music fan. Since the first album was so successful, navigating in the aftermath would receive criticism from some direction no matter what. From my outlook, Gavin wanted each release to glow in a different light, but still showcase his songwriting depth. Using Steve Albini on "Razorblade Suitcase", right after "Sixteen Stone" had sold several million copies, challenged everyone from both an art and commerce standpoint. To me, it displayed that he was playing the long game for both Bush and himself. As I said earlier, that stance takes confidence. For a while, Bush's catalog never regressed to the mean, never really compromised, until that diluted 2011-2017 mini-era. Then it definitely did, while chasing mainstream pop acceptance. Gavin knew his place, lost his place and then with gusto, found that meticulous place again with "The Kingdom".
.... but wait, the story is positively not finished
DATE OF CRIME: October 7th, 2022
NAMES OF ACCUSED: Gavin Rossdale (lead vocal/rhythm guitar), Chris Traynor (lead guitar), Corey Britz (bass guitar/backing vocals), Nik Hughes (drums), Erik Ron (producer)
WEAPON OF CHOICE: The Art of Survival
OFFICIAL CHARGES: ASSAULT WITH PURE EXCELLENCE!!!
- This is one of life’s teaching moments, where kids need to respect their elders.
- After 28 years, it is arguable in my biosphere that this is the best Bush album of all time.
- It is not arguable in my octagon that this was the #1 Rock Album of the year 2022.
- Ditch your mobile device, pull out your pen and notepad ... take notes!
- "The Art of Survival" downright ROARS!
COLUMN - Cliffs Notes version: Bush sold many records ... then they sold even more records and became a high-quality band ... as people assumed Bush regressed and were going away, they were actually getting better ... then they disappeared ... then when they came back and you thought they'd be great, they were worse ... then had to come back again ... and became better than ever. Got it.
"The Art of Survival" is a fitting title.