candlebox tour 1993

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Candlebox by Candlebox

Album Reviews 1993 Albums , 2013 Reviews , Album Reviews by Ric Albano , American Artists , Candlebox , Northwest Artists 4

The four-piece band was formed in late 1991 and took their name from a line in a Midnight Oil song. Their rise to fame was quite rapid as a demo tape found its way to Madonna’s Maverick label and the group landed a record deal in 1992. In their early career, Candlebox was occasionally looked down upon by members of the grunge movement who criticized their style which leaned more towards classic rock then the punk and indie sound of other bands in the genre. Nevertheless, the band worked and played hard until they got their big break.

We start our look at 1993 with this album because it is an example of where 1993 was on the rock timeline – in a phrase, it was when alternative rock stopped being alternative. Candlebox is the perfect representation as they had one of the greatest songs of the decade but it was the only truly complete song on the album, as the rest just seem to be reaching for the gold ring but falling just a bit frustratingly short.  

A little nervous laughter (intentional or not) starts the album before the song “Don’t You” breaks in with a Pearl Jam–like-jam, riff-driven hard rock with simple and steady drumming and some boilerplate vocal effects. “Change” is a distant and moody song with picked out, reverb-drenched guitar notes by Peter Klett , before it breaks into a strong part during the choruses. Like many of the alternative albums of the day, this song employs a tactic in use since “Babe I’m Gonna Leave You” on Led Zeppelin I in 1969, of letting the dynamics be extra-dynamic by sheer use of contrast.

Deadened guitar notes introduce the rotating shuffle of “You”, a minor radio hit for the band. The song’s best moment is the sustained-notes guitar lead by Klett towards the end, preceded by an an almost rap-like lyrical rhythm and choppy drumming  by Scott Mercado . On the next track, “No Sense”, Mercado adds some Boss-Nova style drums accompanied by some interesting guitar and bass interplay before it unfortunately launches into typical grunge orgasm, which is quite a shame for this good beginning showed promise before it gets formulaic.

“Far Behind” is, quite simply one of the greatest songs of the decade of the 1990s, led by incredible vocal intensity by lead vocalist Kevin Martin . Everything comes together on this song, from the crisp opening riff and fantastic middle lead by by Klett to the incredible climax after in the final minute mark of this song. The song was actually recorded in April 1992, four months after the band’s formation, for their original demo tape and it peaked at #18 on the U.S. charts in 1994. The song is a tribute to the late Andrew Wood, lead vocalist of Mother Love Bone, the band which sparked much of the grunge movement.

“Blossom” is slow and methodical with good bass accents by Bardi Martin , again breaking into grunge formula, but strong enough to remain one of the better songs on the album. The next two songs are not quite there, just thrashing for the sake of thrash as the formula and becomes more of an unfocused distraction than a true sonic reward. Kevin Martin has an adequate voice, but not quite the soaring mystical kind necessary to pull off the heavier moody stuff which requires much range (see Pearl Jam’s Eddie Vedder). The most unfortunate production faux pas is “Rain”, cool and bluesy from the start with the band doing an adequate job pulling it off before the song abruptly stops about halfway through and breaks into a funk/grunge section which was totally unnecessary for this song.

The album does recover a bit with the final two, acoustic driven tracks. “Cover Me” is a refreshing slow ballad with great strumming and picking by Klett. “He Calls Home” concludes the album as a bit of melodramatic ballad about a homeless man, carried by mainly by the vocals of Kevin Martin.

Candlebox had success both critically and commercially and the band was eager to follow up on the success, But by the time the band released the follow-up record, Lucy in October 1995, the rock landscape was already changing again and they never quite surpassed the success of their debut.

Part of Classic Rock Review’s celebration of 1993 albums.

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[…] scene was catching fire. Within two years, the group had a major label deal and released their self-titled debut album, which was their most commercially successful record. Later in the decade, the group released two […]

I saw these guys in 2010, and their set list included every song off the first album save for mother’s dream and he calls home, and that was it, and I couldn’t have been happier. I feel like they got unfairly lumped into the grunge movement because they were from Seattle, but if you really listen to that 1st album it’s just straight forward blues-based rock and roll. And in that context this album is stellar. They cultivated a huge following on the strength of it. Those fans have remained loyal, as evidenced by the fact that the 2010 show I saw in Wichita KS sold out a 3000 seat venue.

This has to be on the Mt. Rushmore of worst, horrible, inaccurate record reviews I’ve ever read. I’m ashamed that I even read this.

My mom loved these guys a lot back in the 90’s when they first broke through, she used to have this album on CD but got stolen and she was super devastated because that was the only sort of grunge band she actually liked, she got me into these guys. My personally opinion is that I have to say this album is probably one of my favorite albums of all time in this kind of grunge scene, I wouldn’t even call them grunge but yes indeed they are alternative which makes it better and peter Klett is hands down one of the best up there in the guitar playing realm. I love listening to all the songs, my top 5 songs are No sense, mothers dream, arrow, don’t you, and far behind. But I honestly got to say this is the worst record review ever.

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Seattle's Candlebox exploded out of the gate with their heavy-rocking 1993 self-titled debut. But don't call these guys grunge. Sure, frontman Kevin Martin contends with Eddie Vedder for the most aching warble on angsty power ballads like "Far Behind" and "Cover Me," but the band's most intense moments come when they straight up rock. The opening "Don't You" chugs like early Aerosmith as Peter Klett works his guitar into a searing, squealing frenzy, while "Rain" furiously transforms from a bluesy jam to a wild pop-metal blowout.

July 16, 1993 11 Songs, 53 minutes ℗ 1993 Maverick Recording Company

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Candlebox Signs Off With Vibrant ‘The Long Goodbye’ (ALBUM REVIEW)

• By Jeremy Lukens
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After thirty years, Seattle alt-rock band Candlebox is saying farewell with one last album and tour. Frontman Kevin Martin is the only band member remaining from the original lineup that broke through with the multi-platinum eponymous debut in 1993. In the thirty years since, Martin has seen the band win over fans with singles that were mainstays on MTV and alternative radio. He’s also seen the band dismissed as pretenders riding the coattails of the Seattle grunge bands that came before them. Though that criticism was never fair, at that time, many held disdain for any bands with a “Seattle sound” that weren’t part of that local club scene in the mid-80s. 

The band broke up in 2000 and returned six years later to a musical landscape where alt-rock was an afterthought. Accused of jumping on the hot trend initially, Candlebox has had the opposite problem since reforming: guitar-based alt-rock is as out of style as Doc Martens with shorts. Still, Martin and his alternating cast of bandmates pressed on. The music provides catharsis and artistic expression, and Candlebox doesn’t need a huge following to live that out. 

During a concert in Orlando a few years ago, Martin acknowledged the half-capacity crowd. “I know it’s Spring Break. That must be why more kids aren’t here tonight. You know, all of those teenage Candlebox fans,” he joked.

Though Candlebox hasn’t had a gold record since 1995’s Lucy , it’s had modest hits with Happy Pills (1998), Into the Sun (2008), and Love Stories and Other Musings (2012). Like the crowd at that concert, the fan base may be smaller than it once was, but it’s enthusiastic.

The band’s eighth and final album, The Long Goodbye, is a fitting end for Candlebox in that it has enough high points to show what made the band hit-makers but also some moments that serve as reminders that the band was never able to replicate the artistic and commercial achievements of the debut album. For the final Candlebox album, Martin is joined by guitarists Island Styles and Brian Quinn—part of the lineup since 2016; Adam Kury on bass—a member since 2007, and drummer BJ Kerwin, who joined the band in 2021.

That short-lived stardom and the fickleness of fame are running themes throughout The Long Goodbye. In the album opener “Punks,” Martin bitterly rejects the quest for fame. “I don’t even want to taste it ‘cause every time it gets wasted. And what’s the point of trying to chase it when it’s already gone?” he sings over aggressive, distorted guitars. It’s the album’s best song, not just for its head-banging fury but also for its warning to today’s young, popular bands . “We paved these streets; that’s why you’re here,” he sings before offering the reminder that their popularity is “already gone.”

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• December 31, 1993 Setlist

Candlebox Setlist at Roseland Theater, Portland, OR, USA

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• Dec 10 1993 Showcase San Antonio, TX, USA Add time Add time
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