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May 03, 2023 Web Exclusive By Lee Campbell

Released just shy of 30 years ago, Grant Lee Buffalo’s Mighty Joe Moon was one of the soundtracks to my formative years. It was 1994 and I was 19. That year also saw the release of what are now considered classics, including The Downward Spiral by Nine Inch Nails, Superunknown by Soundgarden, and Definitely Maybe by Oasis. The grunge movement was still in the ascendancy yet had lost one of the trailblazers, Kurt Cobain, in April.

Originally released in the early fall of 1994, Mighty Joe Moon wasn’t easily pigeon-holed in terms of genre. Grant Lee Buffalo brilliantly straddles southern rock, Americana, alternative, and grunge. The band only ever released four albums over a very fruitful five year period. The trio consisted of lead singer and guitarist Grant Lee Phillips, drummer Joey Peters, and bass player Paul Kimble, who also produced the album.

The concoction of sounds is perfectly framed in the album’s spectacular opener, “Lone Star Song.” From the first guitar riff, it is a blistering salve. The harmonica and guitar feedback on the bridge is particularly incisive. The LP flips regularly between dark and light but there is no doubt that this particular song’s energy contains a more sinister, angst-ridden texture.

“Sing Along” is in the same melancholy vein with echoes of R.E.M.’s Out of Time. R.E.M.‘s Michael Stipe had actually declared Mighty Joe Moon’s 1993 predecessor Fuzzy as the “best of the year, hands down.” Grant Lee Phillips and his band toured with some of the biggest acts of the time during this spell, including the aforementioned R.E.M., The Smashing Pumpkins, and Sugar. This was testament to the admiration from Grant Lee Buffalo’s peers at the time.

This 30-year anniversary re-release does not offer any extra material, aside from being in gatefold, clear vinyl 180g format. Both Fuzzy and Mighty Joe Moon have been given this subtle adaption in presentation.

The banjo is central to the brief dedication of the Native American leader in “Last Days of Tecumseh,” whereas “Happiness” feels like a tip of the hat to Cobain’s “Something in the Way.” “Honey Don’t Think” is a heart on the sleeve love song: “It’s the luck of the draw how you ended up with me/Don’t think you’ll ever figure me out.”

The bright and hopeful “It’s the Life” has a Dylan-esque rhythm on the acoustic guitar. This is in stark contrast with the likes of the politicized “Demon Called Deception.” This track feels completely tortured in the best possible way. Phillips sings honestly, “Deception made me as I am.”

Greg Adamson features on cello on the delightful “Mockingbirds.” The sweet sadness of “Lady Godiva and Me” is driven by the steel pedal musicianship of Greg Leisz, an accomplished session player that has guested for a multitude of eclectic artists. The old hymn “Rock of Ages” is given a chilling and vulnerable closing twist by Phillips.

One of the finest qualities of this record is its simplicity. The band never seems to over play or over reach. This may be best demonstrated in the title track, which features sublime melodies and vocals, without trying to do too much. Less definitely reveals more, in that there are many layers and themes to this album. However, Grant Lee Buffalo manages to tell it in at times a hushed, yet compelling way. (www.grantleephillips.com)

Author rating: 8/10