Hootie & the Blowfish

At press time, 16 million Americans had purchased a copy of Hootie & the Blowfish's Cracked Rear View. However much music snobs may shake their heads in disbelief, the major-label debut by these four South Carolinians touched a lot of people, many of whom probably didn't listen to much pop music or hadn't in a long time. The reason? Hootie's brand of classic-flavor Middle American guitar rock was unoriginal and kind of dull, but you could also call it pleasantly familiar. "Hold My Hand," "Let Her Cry," "Only Wanna Be With You," and "Time" became megahits because their melodies are catchy and likable, and because Darius Rucker's mellow voice worked on listeners like a fuzzy security blanket.

Unfortunately, even the best bar bands have trouble with artistic growth, and Hootie proved no exception. Fairweather Johnson is more of the same, just not as good. Actually, the tunes hold up well; the central problem is Rucker, who apparently decided between albums that he'd sound more soulful if he sang more gruffly. He only sounds more constipated. Musical Chairs is a significant improvement, with less mannered vocals enhancing punchy rockers like "Wishing" and down-home country-style outings like "Michelle Post." Song for song, it's their best so far.

Hootie's next album, an all-covers affair, takes songs by such notables as Tom Waits, R.E.M., and the Smiths and makes them sound like Hootie & the Blowfish originals. Which proves a point: This band, unlike a lot of other pop acts, has an instantly recognizable style. If only it were a little more exciting. Recorded after a four-year hiatus, Hootie & the Blowfish is another helping of meat and potatoes, with slight detours into smoky soul ("Little Brother") and sassy Southern rock ("Go and Tell Him"). As usual, it's pleasant but nothing special. (MAC RANDALL)

From 2004's The New Rolling Stone Album Guide