How THE MIDDLE Saved Jimmy Eat World
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Emo isn’t really so much a genre as an insult. Since its origins in the mid-80s Revolution Summer, through the Midwestern “second wave” and beyond pretty much every band that has been labelled with the word has despised it. In many ways genre is just a way to group bands together, used by journalists to make sense of the multitudes of music they have to listen to, define and review. But because of this “emo” has been lazily applied to any punkish music with a emotional heartbeat. Rites of Spring, Lifetime, Dashboard Confessional’s “Screaming Infidelities” and My Chemical Romance have all been tagged with “emo” despite sounding completely different. Another band that shouldered the burden was Jimmy Eat World, deflecting the term while inspiring a multitude under that vague banner. Their 1999 album Clarity, with tracks like “Goodbye Sky Harbor”, paved the way for a whole generation of heart-on-sleeve bands throughout the first decade of the 21st century. Their next album Bleed American was the album that made this sound mainstream, charting on Billboard and making the previously underground sound pop. Featuring hit singles like “Salt Sweat Sugar”, “A Praise Chorus”, “Sweetness” and of course, “The Middle”. But due to label issues that album and its resulting repercussions almost didn’t happen. This is how Bleed American saved Jimmy Eat World.
#jimmyeatworld #AllTheWay #documentary
Soundtrack:
yutaka hirasaka – eternal moment – ambient guitar takes loop (https://yutakahirasaka.bandcamp.com)
yutaka hirasaka – slow dance (https://yutakahirasaka.bandcamp.com)
yutaka hirasaka – lost melody (https://yutakahirasaka.bandcamp.com)
yutaka hirasaka – going back (https://yutakahirasaka.bandcamp.com)
B-Side – Pen Anubis (https://soundcloud.com/b-side-production)
Luar – Anchor (https://soundcloud.com/luarbeats)
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