Frosting on the Beater opens with a thick wall of distorted guitars and booming drums kicking up a very melodic fuss behind Ken Stringfellow and Jonathan Auer's
creamy-smooth harmonies on the psych-tinged "Dream All Day," and the
track's sweet-and-sour blend immediately announces this is going to be a
very different affair than the Posies' major label debut, Dear 23. With noisy rock dude Don Fleming in the producer's chair, it came as no great surprise that Frosting on the Beater was a much harder sounding album than the introspective Dear 23, but surprisingly enough, Fleming
also knew how to make the most of the band's expert pop songwriting;
with the tempos and guitars turned, the tunes gained a needed physical
impact that brought the melodies and hooks into the forefront, where
they belonged. Just as importantly, the spot-on harmonies that were the
highlight of Dear 23
were still very much in evidence, resting atop the piles of fuzzy
guitar chords like a dollop of hot fudge poured over a big scoop of ice
cream. And prior to this, who knew that Ken Stringfellow and Jonathan Auer could rock out so hard (and so well) on guitars? One could argue that the big guitar attack of Frosting on the Beater was simply the Posies'
way of trying to cash in on the grunge sweepstakes that briefly turned
their hometown of Seattle into the center of the rock universe. But one
listen also reveals that it transformed a smart but overly precious pop
outfit into a hard-charging power pop band that gained a wealth of
strength without giving up any of their smarts in the process -- not a
bad bargain.(allmusic.com)
Power Pop at it's best. An absolute Power Pop classic from the Posies. Nothing more to say about it...or?...no lol. Have fun and
bis bald
Frank
Flac
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