In an age where band’s debut albums are expected to be an instant hit or record companies drop them like a lead weight, it seems inconceivable that, at the beginning of 2013, Brad are celebrating over twenty years together. An on-again, off-again project for Pearl Jam guitarist Stone Gossard, Brad have always received mixed feelings from PJ fans, but those who love the band really do love them. Perhaps more inconceivable is the fact that – despite their 1993 debut ‘Shame’ retaining a special place in the hearts of their fans – it took the band two decades to make their first trip to Europe.
In 1993, as Grunge was beginning to fade a little, Green Apple Quick Step (presumably named after The Byrds song of the same name) released their debut album ‘Wonderful Virus’. It achieved moderate success, but musically its post-grunge approach was a little dull aside from a couple of tracks.
In 1995, they released their second album, ‘Reloaded’, produced by Pearl Jam’s Stone Gossard. Somewhere between the two albums, the bands songwriting moved away from their grungy earlier style and introduced a few more power pop influences. The variety of styles on this second album came as a huge surprise after ‘Wonderful Virus’ and as a result, ‘Reloaded’ became an album which was rarely far from my CD player for the next couple of years. The album finds GAQS stretching out and experimenting; a handful of tracks are fantastic and some of the musical ideas are interesting. Naturally, a couple of tracks miss the mark, but generally speaking, the fact that ‘Reloaded’ is a world away from the safe and formulaic nature of their debut should be applauded.
Things begin slowly with ‘Hotel Wisconsin’, a largely instrumental track. There’s plenty of atmosphere here with the organ sounds and reverbed guitars. It’s a far cry from the GAQS you knew from previously. The rhythmic pattern of the song never shifts far from Ty Willman’s organ, to the point where most of the lead guitar work is very low in the mix. It’s an interesting start to the album, incorporating a lot of moods you’d be unlikely to associate with a Seattle based band (except for maybe Screaming Trees). They change musical stance for the next couple of tracks: ‘Ed #5’ is a slab of fuzzy retro rock, heavy on the pedals and phasers and during the punky-edged ‘No Favors’, bassist Mari Ann Braden takes lead vocals for a track which has more in common with early L7 and Hole than GAQS’s more usual post-grunge and power pop. As a stand-alone track, its attitude and energy work very well, but as part of ‘Reloaded’ it feels very misplaced.
At three songs in, you may be forgiven for thinking this is a little directionless. After all, at this point, you’d be right…but you’ve got to give them credit for trying new things. ‘T.V. Girl’ offers the first truly great moment from ‘Reloaded’, with its mid-paced, guitar driven pop-rock. Ty Willman’s voice is at its strongest and has a passionate quality and once Mari Ann joins the chorus for harmony vocals, you get to hear the real potential behind GAQS, not heard much before now. ‘Alligator’ features another of Willman’s best vocal performances, with its mid-paced broodiness; it’s one of the key tracks for spotting how much the band has matured since their formulaic debut. The percussion-less ‘Underwater’ returns to a more atmospheric style with acoustic guitars accompanied by organ sounds; the song itself tinged with sadness and Willman’s voice being well suited to the more wistful nature of the material. The soft ‘Lazy’ works excellently, once again the call-and-response style vocals between Ty Willman and Mari Ann Braden providing its best feature.
The album’s best known cut ‘Dizzy’ (as featured in the movie The Basketball Diaries) is one of the album’s more positive moments. As far as this style of nineties power pop is concerned, this is a near-perfect example, with its great rhythm guitars and infectious chorus. Mari Ann’s backing vocals add something here – the combination of male and female voices matched with the feel-good nature of the song should have made this a sure fire hit. ‘Tangled’ has an interesting slightly retro edge – the ringing guitars occasionally have an Allman Brothers tone, even if the musical style doesn’t have anything else in common with Southern Rock. Despite the good arrangement, the song isn’t as memorable as it should be.
This album may arrive with a bunch of ideas and influences and seemingly no idea of which direction to go, but it certainly provides more than enough entertainment once it finds its feet. However, the momentum doesn’t last, as it ends in a rather disinterested fashion: ‘Space Cocksucker’ is a woozy funk based instrumental with the focus on rhythm guitar, punctuated by keyboard sounds; this is definitely filler material and ‘Halloween’ is an okay piece of jangle pop (largely based around a simple arrangement played by guitarists Steve Ross and Danny K) which features a good vocal but not much else.
It may feel rather hit and miss, but I love this album. Its relative lack of success – given its more commercial moments – is surprising and, as such, it’s unlikely to ever be thought of as more than a footnote in the Seattle family tree. The band recorded a follow-up three years later entitled ‘New Disaster’, which remains unreleased on a physical format apart from one track, ‘Kid’, appearing on the I Know What You Did Last Summer soundtrack. (However, part of the album can be heard courtesy of a legal stream via MySpace)
After the break-up of GAQS, Ty Willman went on to work with Devilhead (a band featuring Brian Wood of Hater and John McBain of Monster Magnet, Hater and Wellwater Conspiracy). He would also work with MariAnn Braden and Pearl Jam’s Mike McCready in a short-lived project, $10,000 Gold Chain. Steve Ross, meanwhile, joined punk band The Briefs, under the pseudonym Steve E Nix. As of March 2010, Willman made a return playing Green Apple Quick Step songs. He hopes that one day the much sought-after third GAQS album will get a proper release.