Released:  June 24th, 1997

Recorded:  1996 – 1997

Genre:  Funk Metal, Nu-Metal, Alternative

Record Label:  Atlantic / Lava

Duration:  43:05

Producer:  David Kahne

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Mark McGrath – lead vocals, rhythm guitar
• Rodney Sheppard – lead guitar, backing vocals
• Murphy Karges – bass guitar, guitar, backing vocals
• Stan Frazier – drums, percussion, guitar, programming, backing vocals
• Craig “DJ Homicide” Bullock – turntables, samples, programming, keyboards, backing vocals
• David Kahne – producer, engineer, mixing, additional programming, keyboards
• Stephen Marcussen – mastering
• Doug Trantow – mixing assistant
• James Murray – mixing assistant
• Mark Nixdorf – mixing assistant
• Mike Rew – mixing assistant
• John Ewing, Jr. – assistant engineer
• John Travis – tracking engineer
• Chip Quigley & Lee Heiman – management
• Alison Dyer – photography
• Donald May & Larry Freemantle – art direction
• Rob Eberhardt – album artwork
• Richard Newton – illustration [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″]

1. RPM
2. Breathe
3. Anyone
4. Fly (featuring Super Cat)
5. Speed Home California
6. High Anxiety
7. Tap, Twist, Snap
8. American Pig
9. Sand and Deliver
10. Cash
11. Invisible
12. Right Direction
13. Fly [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

1. Fly – June 17th, 1997
2. RPM – 1998 [/expand]

Why Floored is One of My Favorites

Sugar Ray may seem like a weird entrant on my list of favorites considering the artists I’ve covered so far, but the hit “Fly” really isn’t indicative of the material on the rest of Floored.  Subsequent releases would see them leave their funk and alternative roots behind completely (though I still really enjoyed 14:59 as well), but Floored is an unexpectedly hard and fast album.  (Their debut, Lemonade and Brownies, is pretty damn different too.)  This record isn’t full of profound lyrics and poignant reflections on the nature of life (mostly the whole quasi-broken heart deal), but it is a light and fun album with a good balance of energy and laid back tunes.  It’s also interesting to note that Floored shares producer David Kahne with Sublime’s Sublime, and that McGrath and Bradley Nowell are (were?) first cousins.

There is a surprising amount of diversity and pop sensibility on Floored.  Most of the songs have catchy hooks interwoven with pulsating, rhythmic choruses.  “Funk” was seeping into a lot of West Coast music during the decade, and there are parts of Floored that remind me a lot of Korn’s first album, albeit with much less rage, but ample energy and passion nonetheless.  Hip-hop is a clear influence as well.  Turntable scratching is used often (“RPM,” “American Pig,” “Invisible, “Cash”), and several of the verses are dominated by a slightly “rappish” vocal delivery from McGrath (“Breathe,” “American Pig,” “Right Direction,” and others).  Some familiar alt rock sounds are used in the lead guitar parts of some songs (“Stand and Deliver”), and most of the choruses are hard hitting, churning guitar riffing that would be perfectly at home in any strict nu-metal release.  The “radio friendly” version of “Fly” omits it, but there’s an awesome breakdown with some relatively heavy guitar in the cut featuring Super Cat’s rapping.

McGrath sounds a little out of place when trying to deliver more of the album’s aggressive/hip-hop parts and is much more suited to the actual singing parts (“Fly,” the chorus of “RPM”).  He truly shines with his over-the-top impression of Adam Ant’s British accent in the “Stand and Deliver” cover (an awesome cover that makes me laugh every time).  Other highlights include the melodic portions of “American Pig” and the whole of “Cash.”  He puts on his best, slightly strained “rock voice” for the latter and turns the simple, “Cash! I need some fuckin’ CASH!  I need it kinda FAST!” into one of the strongest tracks on the album.  “Invisible” is another track where he proves that he probably could’ve been a successful nu-metal vocalist had he spent another album honing his approach.

Even for people who may hate “Fly” with a passion, Floored has several surprises.  McGrath’s best British “la diddly qua qua” in “Stand and Deliver” is an amazing indicator of what kind of potential these guys had as an all out nu-metal/alt rock band.  And the admittedly juvenile “Cash” with its simple but universal message is delivered with a frenzy that “Fly” fans and haters alike will never see coming.  “RPM’s” effect of alternating a revving engine with a buzzing guitar is a small slice of brilliance, and the crunchy guitar-driven nature of the album always satisfies no matter how long I go between listens.  “American Pig” is filled with both the album’s heaviest riffing and a great lead guitar lick with a bit of an exotic edge.  Some of the guitar work is at straight up punk rock speed, such as that in “Speed Home California” and “Tap, Twist, and Snap.”

To be honest, this was one of those albums I had when I was a bit younger, before getting into the likes of NIN, Manson, etc.  And like any reasonable pre-teen, I doubt I ever intentionally listened to anything except the 2 included cuts of “Fly.”  I don’t know how it happened, but one day it just kept playing, and I had a total moment of, “what the hell…do I own this…?” and sure ’nuff, there was Floored spinning and spinning while a barrage of guitar thunder swept over me.

This is an album I really try to sell people on…after they’ve quit making fun of me for owning something like “Fly,” that is.  And hey, I like “Fly.”  But “Fly” or not, Floored is pretty spectacular; it’s a shame that it probably never made it into the right hands.  Pop lovers who bought it for “Fly” got a big dose of “what the hell” while the people who it would’ve appealed to at the time probably didn’t want to be caught dead buying the record with “Fly” on it.

Written by The Cubist

Other albums from Sugar Ray in this series:

• 1999 – 14:59 – Issue #87

Back to The Cubist’s 90’s Albums