Smash Mouth, according to its guitarist Greg Camp, has always been a band that invites ridicule. The group’s hit single from 1999, “All Star,” combines various elements like DJ scratches, glockenspiel, and a white rapper admitting he’s not the smartest. Their fashion sense reflects a funky night at the bowling alley. And perhaps, partly because of its association with the flatulent ogre Shrek, Smash Mouth has remained famous over nearly three decades.
But despite the potential for mockery, Smash Mouth’s music has garnered genuine affection due to its mesmerizing blend of oddness and pleasure. The news of the passing of original front man Steve Harwell at the age of 56 has led me to reflect on whether the band’s 1999 album, “Astro Lounge,” played a role in shaping my career as a music critic. Like many people, I can pinpoint certain songs from my early adolescence that left a lasting impression. “Astro Lounge,” with its catchy and ingeniously crafted songs, still holds a special place in my mind.
Formed in California in the mid-1990s, Smash Mouth’s music embraced a mishmash of influences from ska, hip-hop, surf culture, 1950s nostalgia, and even aliens. Harwell, initially aspiring to be a rapper, was drawn to rock after watching a performance by MC Hammer, whom many considered a joke. Together with Camp, drummer Kevin Coleman, and bassist Paul De Lisle, they chose the name Smash Mouth, derived from a football term symbolizing an all-out assault on victory.
The creative dynamic of Smash Mouth was shaped by the contrast between Harwell and Camp. Harwell possessed an abrasive charisma, his voice containing both gravelly rasp and the cheekiness of a mischievous child. Camp, on the other hand, was a pop-and-punk historian skilled at blending classic and modern elements. Their breakout hit from 1997, “Walkin’ on the Sun,” resurrected the rawness of garage rock and mod cool while questioning the disappearance of the peace-and-love ideals of the 1960s. Alongside songs by Third Eye Blind, Barenaked Ladies, and Chumbawamba, it thrived on pop-rock radio during a golden age of catchy, lyrically intricate tunes with underlying angst and social commentary.
For their follow-up album, “Astro Lounge,” Smash Mouth aimed to deliver surefire hits as requested by their label, Interscope Records. The band managed to fulfill this request without compromising their unique perspective; if anything, their view became sharper and more defined. The album featured eclectic arrangements with chunky riffs, sci-fi sound effects, flamenco guitars, and tight yet dreamy reggae beats (although some attempts at Jamaican accents fell short). Camp’s clever lyrics combined with Harwell’s grumpy voice created the persona of a lovably sleazy slacker poet. The album’s lyrics explored topics such as getting stoned and questioning the president, showcasing a perspective that was both accessible and edgy.
As a child, I was captivated by the sweet yet enigmatic sound of “Astro Lounge.” I would listen to the album repeatedly, trying to decipher its intricacies. The explosive opening track, “Who’s There,” featured a jerky drum pattern reminiscent of the “Be My Baby” rhythm by the Ronettes and a haunting synth, later identified as a theremin. The album’s lyrics about mysterious women and relaxation almost made sense, but they were scattered with unfamiliar words like “tragedian” from the song “Then the Morning Comes.” Even now, I still crave this combination of accessibility and peculiarity in music, inviting me to obsess and fall in love.
The epitome of this combination was the song “All Star,” both simple and complex, with its ever-changing cadences and instrumental tones, while maintaining an infectious energy and extroversion. The lyrics were a bit unwieldy and open to interpretation, with lines like “fed to the rules.” However, the overarching message was clear: believe in yourself while also acknowledging issues like global warming and maximizing pleasure, as expressed in the unapologetic enjoyment of “All Star.”
This message resonated with audiences, leading to the song’s success and its inclusion in the soundtracks of Hollywood films such as “Inspector Gadget” and “Mystery Men.” Later, DreamWorks Animation sought permission to use “All Star” in the opening scene of its hit movie “Shrek.” Despite initially refusing, the band eventually agreed when no other song tested as well with audiences. It became clear that the song’s appeal was undeniable, especially among children, as its producer Eric Valentine revealed in an interview with “Rolling Stone.”
More recently, “All Star” has become a widely used meme. The song has been parodied in the voices of Bill O’Reilly and various “Star Wars” characters, while YouTube user Jon Sudano gained fame by singing the lyrics of “All Star” over other songs, resulting in bizarre yet enjoyable combinations. These memes highlight how deeply the song has permeated our collective consciousness. As Greg Camp expressed, hearing the audience finish the song during live performances still gives him goosebumps.
Following “Astro Lounge,” Smash Mouth achieved further success with cover songs. However, Harwell faced personal tragedies, including the death of his son in 2001, as well as struggles with alcoholism. Despite occasional feelings of disrespect due to the joking about “All Star,” he appreciated the song’s resurgence in the internet era. When people covered the song earnestly, treating it as music rather than mere comedy, he felt a sense of gratitude. He understood the appreciation listeners have for something that defies expectations.
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