Four words – Sixpence None the Richer. Wait. Keep reading. Seriously.
I know what you’re thinking, I’ve heard it all before. “‘Kiss Me’ was my prom theme. My date loved it, therefore it be came ‘our song.’
“On top of that, ‘There She Goes’ took on a whole new meaning when she dumped me for the quarterback. I’ve heard enough Sixpence to last a lifetime.”
But have you? Really? Keep reading.
Yes I know that for a ridiculous amount of time you couldn’t turn on the radio or surf between MTV and VH1 without hearing Sixpence or watching them cuddle up with Freddie Prinze Jr. or Dawson & Co.
I can empathize. I too became tired of “Kiss Me” (however, since “There She Goes” is a La’s cover, I still enjoy their version, as I happen to like The La’s).
But did you hear the entire album that spawned those ever-present hits? Really? Keep Reading.
This self-titled album is a gorgeous piece of intelligent modern-day pop. Songs like “We Have Forgotten,” “I Can’t Catch You,” “The Lines of My Earth” and “I Won’t Stay Long” show a brave maturity and depth not heard on many albums of that year or since.
A sonically vast production ethic coupled with thought-provoking lyrical content has made this one of the better albums of the late 1990s (as it was initially released in 1997).
With their follow-up, Divine Discontent, Sixpence adheres to said formula and has created another stellar album that may or may not spawn another “Kiss Me.”
For Divine Discontent, Sixpence brought in veteran producer Paul Fox (XTC, Phish) to build upon their already expansive studio know-how.
Just like their previous work, Sixpence relies on dark strings, jangly guitars, brooding bass and a wash of tasty keyboards to lay the groundwork for vocalist Leah Nash’s ethereal vocals.
Always at the heart of the Sixpence machine are the songs.
Principal songwriter Matt Slocum has a knack for writing intelligent lyrics over beautiful melodies.
Nash’s sexy-as-hell vocals prove the perfect vehicle for these songs. She even decided to get in on the action and pen a couple herself.
On Divine Discontent, Slocum has not slowed down on the profundity or catchiness of his songs.
“Paralyzed” is a bold anti-war statement on par with Edwin Starr’s “War” (well, maybe not).
“Breathe Your Name” shows the ubiquitous soul searching that Slocum is known for.
“A Millions Parachutes” (which was co-written by up and coming Nashville producer, Sam Ashworth) is quite possibly one of the saddest song’s I’ve ever heard.
What’s even sadder is that the bulk of this album has been in the can for over two years.
Their label, Squint, was swallowed up by Gaylord Entertainment (the Nashville corporation that pretty much owns and runs the city). In the corporate shuffle, Sixpence found themselves casualties of the music business machine.
Fortunately, Reprise picked up the band, which went back into the studio with Fox to record a handful of fresh material.
Perhaps the hiatus will prove beneficial for the band. With teen pop holding court over the Top 40 airwave, there may have been no room for a band like Sixpence.
Then again, maybe the masses have all but forgotten about Sixpence None the Richer.
Only the public’s response and the Reprise honcho’s promotional pockets will decide if Sixpence will once indeed be a band that cannot be ignored.

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