TOAD THE WET SPROCKET will perform at L.L. Bean on July 4.
Taking its name from an obscure Monty Python reference, California-based band Toad the West Sprocket made its mark in the 1990s with several hit singles, most notably “Walk On The Ocean,” “Something’s Always Wrong,” and “All I Want,” before disbanding in 1998. For fans, Toad’s music never really went away as the band has performed together several times since its breakup.
Today, Toad the Wet Sprocket is touring in support of its first new album of original music in 16 years, “New Constellation,” and will be performing at L.L. Bean in Freeport July 4th as part of the store’s free concert series. Frontman Glen Phillips spoke with The Times Record about the creative process, his time as a solo artist, what’s changed since the band’s last studio effort, and the struggle to hold onto idealism.
Toad has been touring together for years since the break up. What made you guys want to get back in the studio together?
It was just kind of a slow, natural progression. When we first started playing again, we found that there needed to be some water to pass under the bridge before we dedicated ourselves to a longer project. We broke up for our own reasons, but for good reasons. Initially, when we were playing together again, we would remember why we broke up and would then take longer break. Whether it was just wisdom or distance, we could appreciate what was special about Toad.
What was it like being back creating a new album together after all these years?
None of us have stopped writing or creating, but it was a strange thing to do–getting this band back together. But it’s a good feeling that we didn’t disappoint the people who cared about us. Hopefully the fans will see that (“New Constellation”) is a valid piece of work.
After having such a long solo career, was it difficult to be back in a band setting?
I’m used to being the boss and not sharing so much. In all honesty, to be working in something more democratic was also really good for me. When we first did that band, it was our only outlet. Anything we wanted to say had to fit within our own pallet and our own limitations. It was really cool to come back and write for Toad. I’d been used to writing in this mode where everything was reduced to a single voice and acoustic guitar. It was nice to feel good about writing rock songs, writing for counterpoint vocals, multiple guitar and drums instead of feeling trapped by them.
How would you compare the process of creating “New Constellation” versus Toad’s previous records?
It’s different in that it used to be a mutlitrack recorder at the rehearsal space. We would demo stuff up and I would come back in and work on lyrics. There’s a big difference. If you have a laptop you have a home studio. We could email ideas back and forth much more effectively. We really had the songs worked out, where before we had to hammer out more on the same songs together. It’s a different way of working. Our pallets are a lot broader now.
What can we expect to hear on this tour?
Lots of James Brown (laughs). It’s a good smattering of everything. We definitely understand that playing the singles are important, and we’re proud of them. This tour, two-thirds are catalog songs–favorites of ours and others. There’s a good quarter of new songs. The great thing is, we started this record with a Kickstarter campaign that went out to the most hardcore fans. When we’re playing today, instead of new songs being a sign for a bathroom break, people are singing along to them. It’s just awesome–even cooler than when we were out with a label.
A lot of Toad’s earlier works, such as “Something’s Always Wrong,” contains a lot of pessimism and jadedness. However, toad’s last album, “Coil,” and much of your solo work contains a mature sort of optimism. To what do you attribute that?
When the band started, we were in our 20s. We weren’t all that tested. This was the first thing we tried, and I didn’t expect to make a career out of it. We were shocked to get signed to a label and even more shocked to get dropped. None of us thought this was where were headed.
My father was the first generation of very well educated, hardworking people. He had a PhD in physics. I remember him being fired and then rehired as a consultant just as his benefits matured. It was the start of the over-valuing of CEOs and under-valuing of employees. Seeing those changes, being a very melancholy person, I was wondering how I was going to hold onto my idealism when the world was disappointing me.
Just like everyone–you get older, you lose your first job, you get the (crap) kicked out of you for a few years. Then there’s the realization that, at this age, that happiness is not something given to you. It’s a choice you make.
jswinconeck@timesrecord.com
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