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Alanis Morissette: So-Called Chaos

 A l b u m   D e t a i l s


Label: Maverick Records
Released: 2004.05.18
Time:
 41:05
Category: Alternative Rock
Producer(s): Alanis Morissette, Tim Thorney, John Shanks
Rating:
Media type: CD
Web address: www.alanis.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Eight Easy Steps (A.Morissette) - 2:52
[2] Out Is Through (A.Morissette) - 3:52
[3] Excuses (A.Morissette) - 3:32
[4] Doth I Protest Too Much (A.Morissette) - 4:03
[5] Knees of My Bees (A.Morissette) - 3:38
[6] So-Called Chaos (A.Morissette) - 5:03
[7] Not All Me (A.Morissette) - 3:58
[8] This Grudge (A.Morissette) - 5:07
[9] Spineless (A.Morissette) - 4:15
[10] Everything (A.Morissette) - 4:36

 A r t i s t s ,   P e r s o n n e l


Alanis Morissette - Vocals, Producer, Piano, Keyboards, Art Direction

Tim Thorney - Acoustic Guitar, Electric Guitar, Bass, Piano, Keyboards, Producer
John Shanks - Guitar, Bass, Keyboards, Producer
Eric Avery - Bass
Kenny Aronoff - Drums
Paul Bushnell - Bass
Jamie Muhoberac - Keyboards
Joel Shearer - Acoustic & Electric Guitar, Bouzouki
Paul Livingstone - Sitar
Zac Rae - Piano, Keyboards, Vibraphone
David Levita - Acoustic Guitar, Electric Guitar
Jason Orme - Electric Guitar
Blair Sinta - Drums, Programming

Scott Gordon - Programming, Engineer, Drum Programming
Jeff Rothschild - Programming, Engineer
Mark Valentine - Engineer
Chris Lord-Alge - Mixing
Stephen Marcussen - Mastering
Errin Familia - Assistant Engineer
Jason Wormer - Assistant Engineer
Rich Tosi - Assistant Engineer
Bill Lane - Assistant Engineer
Kevin Mills - Assistant Engineer
Frank Maddocks - Art Direction, Design
Sheryl Nields - Photography
Shari Sutcliffe - Project Coordinator
Danny Strick - A&R
Guy Oseary - A&R

 C o m m e n t s ,   N o t e s


Recorded in 2003 at Groovemasters, Santa Monica; The Village Recorder, Los Angeles; Henson Studios, Los Angeles; Stage and Sound, Los Angeles.



Like any good veteran, Alanis Morissette knows the importance of trying to best the younger competition. On So-Called Chaos, she does something she rarely managed with previous producer Glen Ballard (and didn’t do enough of on 2002’s ”Under Rug Swept”): rein in her lyrical, vocal, and musical excesses. Within the first few tracks, we get two genuinely commanding, unobnoxious songs: ”Doth I Protest Too Much,” in which she both dismisses and acknowledges the petty jealousies that consume her, and ”Out Is Through,” about working to obliterate some of those problems. Straightforward and grippy, especially for her, these songs wipe away years of bleating vocals and production bombast. You can like them and not hate yourself in the morning.

But Morissette remains her own worst enemy. Those tunes out of the way, the quality starts heading south. Once more, her songs become little more than cloying ruminations (”Everything,” a weak choice for a first single) or sarcastic harangues aimed at those who want to squash her individuality (”Spineless”). Exotic garnishes like sitars don’t make them any more interesting. Morissette’s habit of inverting words for the sake of – well, who knows what? – results in clumsy imagery like ”you make the knees of my bees weak.”

Her message also remains confused. In self-flagellating numbers like ”Eight Easy Steps” (”How to hate women when you’re supposed to be a feminist/How to play all pious when you’re really a hypocrite”), she confesses to her failings and cops to rationalizing her behavior. Yet she still comes off as a tad unhinged, as if deep down she ultimately believes she’s just fine, thanks. ”Fourteen years, 30 minutes, 15 seconds I’ve held this grudge,” she sings at the start of ”This Grudge.” Is she kidding? It’s hard to say. For all of her so-called adulthood, Morissette manages to make the decade-younger Avril Lavigne sound pretty mature.

David Browne, May 24 2004
Copyright © 2015 Entertainment Weekly



Alanis Morissette has often written about affairs of the heart, but she's rarely written from the perspective of being in love, and she's certainly never recorded an album where she seems so in love and at peace as she has with her fourth album, So-Called Chaos. She doesn't hide her romance with Canadian actor Ryan Reynolds, perhaps best known as the title role of National Lampoon's Van Wilder, thanking him in the liner notes and alluding to their relationship throughout this romance-heavy record. There are still strands of bitterness, cynicism, and jealously, yet they feel like unfinished business that she's slowly putting to rest. Nowhere is this more true than on "This Grudge," which for all intents and purposes looks like the final chapter in the tale of "The Relationship," the one that fueled "You Oughta Know," since she acknowledges that she's held "this grudge" for "14 years, 30 minutes, 15 seconds" and through "11 songs" and "four full journals" (and, given Alanis' penchant for confession and single-minded obsession, chances are she's not exaggerating). She's not just leaving this relationship behind, she's maturing, and there's a calm directness to much of her writing that leads her to both open-hearted love songs and, occasionally, a sly sense of humor (as on the sardonic opener, "Eight Easy Steps"). Morissette still has a tendency to overwrite and then deliver these tangled tenses in exceedingly odd phrasing -- the chorus to "Knees of My Bees" doesn't sound much like "tremble and buckle," it sounds for all the world like "jambalaya, Bucko!" -- but that's simply par for the course with Alanis. What's unexpected, though, is the confidence of her music, which recaptures some of the vigor of Jagged Little Pill, as it's brighter, denser, catchier than either of its immediate predecessors, and boasts her most assured singing yet. Even with all this, it's not heavy on immediate singles -- the first, "Everything," takes awhile to have its hook settle in -- but as an overall record, it's her most satisfying since her blockbuster breakthrough.

Thomas Erlewine - All Music Guide



So-Called Chaos is the sixth studio album (fourth released internationally) by Canadian singer-songwriter Alanis Morissette, released in May 2004.

It had been two years since Morissette released her fifth studio album, Under Rug Swept. In that time she had met her then fiancé Ryan Reynolds, inspiring many of the songs she wrote for So-Called Chaos. The album found her in a more contented and relaxed state than her previous output, and her songs were brighter and happier than her more volatile works like "You Oughta Know" and "Uninvited". One reporter asked if the song "This Grudge" was based on the same person as "You Oughta Know", and Morissette replied, "Different person, same era."

The first single, "Everything", was released to US radio in the spring of 2004, and was met with mixed reaction. US Adult Top 40 radio stations gave the song good airplay, but mainstream and top 40 stations were colder in their reception, and consequently it became Morissette's lowest peaking single on the Billboard Hot 100. "Everything" was included on the Totally Hits 2004, Vol. 2 compilation, and in 2006 it was featured in the film Clerks II.

Some reviews of So-Called Chaos were positive, with many critics calling it her most accessible and mainstream record since her debut Jagged Little Pill (1995). Still, others thought she had "sold out" for the sake of sales and radio play; Rolling Stone magazine, for example, said the album "attempts to reverse the sliding record sales following [Jagged Little Pill]."

The album debuted at number two on the Canadian albums chart with first week sales of 11,200, and at number five on the US Billboard 200, selling 115,000 copies in its first week in the US and 287,000 that same week worldwide. It spent a week in the US top ten before falling down the chart. As of March 2012, the album has sold 474,000 copies in the US. The second single outside the US was "Out Is Through", which had a poor showing in the UK. The second US single was "Eight Easy Steps", which, despite being accompanied by an elaborate music video, failed to chart on the Hot 100 or cause a significant increase in sales of the album, which had already fallen off the Billboard 200. "Excuses" was released as a radio single in Brazil, where it peaked outside the top 40.

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