Some music, though not world changing, is simply an important part of one's music lifetime. This is definitely not a new concept, but it is something interesting to consider from time to time. I bought Hallelujah Anyway at a Coconuts in a shopping center on Brookpark Road in Cleveland at some point in the early 90s. Sitting in a bargain bin, this particular album by the Dancing Hoods got my attention with a sticker that said something along the lines of "the first picture disc made in America." I believe it was in one of those long cardboard boxes in which CDs were originally sold, and it allowed me to admire the image of the tiger on the disc. How could I pass it up? For the last 20 years, I assumed the Dancing Hoods were an obscurity. At the same time, Hallelujah Anyway never slipped out of my view and has had a lot more plays than many of its peers bought at that time. Lead singer Bob Bortnick seemed like a quintessential rock singer, and the playing of Mark Linkous, Don Short, and Mike Gracino seemed to demonstrate the culmination of a lifetime of becoming a rock band... the highest point for a group of nobodies playing music. Opening the album, "Torn Away" is an observation of defiance paired with a little 80s sounding alternative rock. "Baby's Got Rockets" slows it down slightly, while upping the feeling of significance. Despite not knowing exactly what the lyrics mean, there's definitely deeper meaning here: (my interpretation of the chorus)

I'm going to count to ten. And then I open my eyes. I don't want to see anything. I'm going to count to ten. Baby's got rockets on again. Just like the movies. Baby's got rockets on again. And, I'm losing sleep.

Damn. That sure does seem like something, and more often than not I find myself singing along with Bortnick. Following this, "Better Look Up" and "Puppet Dancing" go for some harder rock sounds, including a dark electric guitar beginning on the latter. Then, "Welfare Shoes" tosses a little country-tinged fun into the mix; upbeat and lighter. A variety of genres and sub-genres in one sitting. The final track ("Wish I Could Tell You") pulls it back to that 80s alt rock sound with which the band seems most comfortable. Emotionally sung with lamenting lyrics, the song is a good fit to awkward teenage emotions. Amidst the various original tracks (mostly by Bortnick and Linkous), the Dancing Hoods toss a couple covers into the mix. Leonard Cohen's "Diamonds In The Mine" is played quick and loose, with a lot less anger than Cohen's version. And, the Dancing Hoods do no harm to John Prine's "Angel From Montgomery", with a nice mix of electric and country/folk tones. This piece stood out to me even as an ignorant child. As is often the case, I developed a favorite amongst the tracks of this album. Played acoustically with somber vocals and harmonies, "Falling Down" seems desperate ("everything is falling down...."). Outside of the album context, this is a song I included on mix tapes. Bortnick convinced me that he knew something, and I treated these lyrics as some sort of intelligent glimpse into the world around me. It's this piece that continues to be cathartic for me from time to time, which in turn inspires me to play this album... on a random weeknight... or a random car ride. In doing a little digging for this review, it turns out that the Dancing Hoods weren't quite as obscure as I believed. Their first album, 12 Jealous Roses was met with some degree of critical acclaim!?! Apparently, Hallelujah Anyway was a bit of a letdown, with the group disbanding shortly after. Still, "Baby's Got Rockets" got some play on college radio and MTV's 120 Minutes. The Dancing Hoods got close to making it "big." Additionally, Mark Linkous actually had a second act in forming the band Sparklehorse. So, after all these years, my little "unknown" turns out not to be. I think that actually makes me happier, knowing others may have experienced what these songs have to share. It also turns out that I have some more music to find.