Gregg Alexander is an enigmatic musician with a diverse and storied career. Though he’s won a Grammy as a producer (Best Pop Collaboration with Vocals for the Santana/Michelle Branch hit “The Game of Love”) he will always be remembered for his single artist record with the New Radicals, Maybe You’ve Been Brainwashed Too. This epic album produced the ubiquitous hit “You Get What You Give,” which can still be heard on radio and movie soundtracks. Alexander disbanded the New Radicals just before a follow-up single was to be released, effectively committing them to one-hit wonder status. However, the entire album is a goldmine of great hooks, vocals, songwriting, and production. Every listen reveals new aspects of the multi-layered production and Alexander’s terrific lyrics, which are filled with semisubtle odes to sex and drugs and an anti-corporate stance. Though the capable Jim McGorman played all the parts live, no less than six players laid down the beautiful piano and keyboard parts that underpin the album’s 12 songs.
On the surface, MYBBT appears to be a pop radio record, but as you dig deeper, veins of dark humor, cynicism, and social critique reveal themselves. Greg Phillinganes’ elegant piano chords imbue the ebullient “Mother We Just Can’t Get Enough” with a beautiful sheen, augmented by swirling organ pads. The hit “You Get What You Give” has one of the most memorable hooks on the record and a solid piano foundation laid down by co-writer Richard Knowels. The song structure is expertly written, full of major seventh and sus chords that support the album’s most hopeful lyrical sentiments. The major chords that drive “I Hope I Didn’t Just Give Away the Ending” belie the strange tale that Alexander wraps in a beautiful melody and multi-layered vocals.
Danielle Brisebois and Phil Parlapiano lay down piano and organ respectively on the wistful “Don’t Want to Die Anymore,” one of the more straightforward songs on the record, while the following “Jehovah Made This Whole Joint For You” takes on the insincerity of trendy indie girls. The abandoned second single, “Someday We’ll Know,” is a gorgeous paean to lost love wrapped in acoustic guitar and Paul Gordon’s understated piano. After the odd synth-padded title song, Alexander unveils the hooky gem, “In Need of a Miracle,” whose message of longing is underscored by Mitch Kaplan’s tasteful piano playing. The hooks continue on “Gotta Stay High,” with Gordon’s piano foundation adding to the buoyant mood of the song. The throwaway tune “Technicolor Lover” gives way to the gorgeous “Flowers,” with melodic piano provided by Gordon beneath the classic pop hook and a sly drug reference. Ending with Gordon’s gospel-infused piano chords on “Crying Like a Church on Monday,” the album closes not with a bang, but with a simple piano resolution.
Though the New Radicals may never record again, Alexander’s brilliance as an artist is forever captured in these dozen songs.