Released:  January 12th, 1999

Recorded:  1999

Genre:  Alternative, Pop Rock

Record Label:  Atlantic

Duration:  40:30

Producer:  David Kahne

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

• Mark McGrath – lead vocals, rhythm guitar, percussion
• 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, mastering, programming
• Ralph Sall – producer (track 11)
• KRS-One – featured performer (track 5)
• John Travis – engineer, mixing
• Steve Gallagher – engineer
• Larry Freemantle – art direction
• F. Scott Schafer – photography [/expand]

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

1. New Direction
2. Every Morning
3. Falls Apart
4. Personal Space Invader
5. Live & Direct
6. Someday
7. Aim for Me
8. Ode to the Lonely Hearted
9. Burning Dog
10. Even Though
11. Abracadabra
12. Glory
13. New Direction [/expand]

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

1. Every Morning – March 2nd, 1999
2. Someday – June 15th, 1999.
3. Falls Apart – December 28th, 1999 [/expand]

Why 14:59 is One of My Favorites

When most people think of Sugar Ray, they think of “Fly.”  For those with a good memory, “Every Morning” may also come to mind, but unfortunately, few of these people have really taken the time to dig into Sugar Ray’s album material.  Floored is a surprisingly awesome album; “Fly” is sort of the odd man out while the remainder of the album is fast, punk-like, and guitar driven.  14:59 isn’t a continuation of the band’s hard rock sound, though I was impressed enough with Floored that I eventually picked it up.  The followup definitely goes for full-on pop rock status, but it’s poppy music done right.

The title alludes to “15 minutes of fame,” suggesting that while the band’s 15 minutes might almost be up, they’ve still got “a second” to go.  Sadly, this would prove to be true in a way.  Their following self-titled album gained some traction with “When It’s Over” and “Answer the Phone,” but never reached the heights of Floored or 14:59.  Further albums continued to roll

The record is full of the “good kind” of pop that doesn’t wear thin, isn’t completely trivial or juvenile, and that possesses an adult sensibility to it.  It won’t blow anyone away, but its charm lies in how “normal” yet completely listenable and unique it is.  An evolution of the shouting and the guitars from Floored would’ve been fun to listen to, though I was instantly enthralled by 14:59 and it remained one of my guilty pleasure for a number years as I spent my time with people who would’ve never let me live it down.

Although “pop rock” really is the best term for this sort of music overall, it’s evident that Sugar Ray spent the 90s absorbing all sorts of music, particularly those from alternative circles.  There’s definitely a slant towards alternative throughout the record, and some songs reflect many of the decade’s different faces of alternative rock.

“New Direction” (the first track) shows off what the band can really do – it’s 47 seconds of reasonably competent death metal.  McGrath growls his way through pounding drums and a barrage of guitars to say things like “talk to your grandmother” and “don’t run with scissors.”  Although a full length track would’ve been out of place, I still like this little snippet and would be interested in hearing just how heavy Sugar Ray could go were they so inclined.

“Every Morning” is fairly standard adult contemporary material.  We’ve all heard it a thousand times; it’s a pleasant enough song, but there are better reasons to keep listening to 14:59.  The fact that it’s largely acoustic without necessarily sounding acoustic is a worthwhile accomplishment.

“Falls Apart” never got near the airplay it deserved in my opinion.  This piece of power pop relies on a wall of guitar fuzz and soaring vocals.  I love the trade off of lyrics during the chorus.  “Personal Space Invader” takes influence from 80’s new wave with interesting results.  “Live & Direct” has a jam band feel to it, touching on funk and reggae rhythms, reminiscent of McGrath’s cousin’s band, Sublime.

“Someday” is laid back and beachy, and one of the best off the album.  It’s been a little played out over the years as well, but I still love the way the guitar, organ, static, and background noises all come together.  There’s a relaxed self-assuredness about it that gives it a certain maturity.  “Aim For Me” goes back to Floored territory for a moment.  Essentially a pop punk song, it’s short, punchy, and loud.  Shouted, layered vocals drive the chorus, “ahhh’s” pop up in the background, and we even have some palm-muting to round it out.  It also includes a pretty cool guitar solo – it’s songs like this that go against what most people think of Sugar Ray.

“Ode the Lonely Hearted” is another beachy song (maybe it’s the organ?), but it also has a Weezer-ish feel to it with its catchy longingness.  Something about the flow of the song and the gentle lead guitar bits make me think of a more conventionally poppy version of Weezer.  “Burning Dogs” is one of the stranger tracks on 14:59.  Like “Personal Space Invader,” it takes some cues from new wave, but also throws in a dash of Devo with a smattering of pure sampler experimentation.

“Even Though” brings us back to the breezy sounds of “Someday.”  The use of backing vocals and the alternating surf rock and jangly guitar passages give it the feel of an older song, like something that may have come out of the 50’s or 60’s.  Simple and melodic, it’s Sugar Ray doing what they do best.  (Well, within the context of 14:59 at least.)  “Abracadabra” is a lively and worthy cover of Steve Miller’s original song.  Sugar Ray captures the awkward of early 80’s pop while spicing it up with modern feel as well.  Like “Stand and Deliver” from the previous album, it proves that these guys really know how to both pay homage to the work of another artist while imparting their own interpretation as well.  Turntable scratching and a plethora of sound effects make for a frenetic and playful take on a rather silly song to begin with.

“Glory” finds its own brand of nu metal with its distorted guitars and churning chorus.  It’s one of the heavier numbers from 14:59, but there’s a choppiness in the verses that give it a weird incomplete feel.  It sounds like they were trying to bring back some of their funk roots and take a cue from nu metal to create something unique, though I’m not 100% convinced of its success.  I can appreciate the effort though.

Finally, we come to the other “New Direction” bookend, a weird electronic instrumental rendition of “Every Morning.”  It sounds like something between a chip tune and a deliberately lo-fi recording.  It doesn’t really serve much of a purpose, though I think the concept might’ve been better served with a unique composition or something to tie it back to the album’s opener.

14:59 may not be an instant classic, nor is it as cohesive as its predecessor, but what it lacks in vision it makes up for with pure catchiness.  There are some tracks who’s inclusion I question (“Live & Direct,” “Burning Dogs”) but most of them are effective pop songs with enough diversity to keep the album interesting from beginning to end.  At only 40 minutes, it’s an easy listen; songs are short and to the point and few of them devolve into endless repetitions of the refrain (a problem encountered in a lot of popular music).  If nothing else, it stands as a testament to thoughtful music that can be enjoyed by virtually anyone, which has sort of been the point of popular music all along.

Written by The Cubist

Other albums from Sugar Ray in this series:

• 1997 – Floored – Issue #23

Back to The Cubist’s 90’s Albums