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Overview[edit] Static Prevails marked a shift from Jimmy Eat World's previous skate punk material in the vein of NOFX, Rocket from the Crypt, and J Church,[31] into aggressive but melodic post-hardcore,[32] emo,[33] and punk rock,[34] taking inspiration from mid-tempo rock artists such as Low, Seam, Sunny Day Real Estate,[26] and Tortoise.[6] Ozzi said Jimmy Eat World musically sat between the type of band they wanted to be and the kind of band their label expected of them.[26] Lind attributed this change in style to listening to Christie Front Drive, who they found to be highly melodic while remaining impactful.[31] He said he played in a more aggressive and noisier style of rock-oriented drumming, with elements of his punk roots.[31] Static Prevails splits lead vocals evenly between Linton and Adkins, which contrasted from the Linton-dominated Jimmy Eat World, where Adkins only sung lead on one track.[35][24] Trombino was baffled at first by the vocal change, as he considered Linton their main vocalist and Adkins an occasional singer, to the point where he asked why Linton was not providing more vocal parts.[29] Ted Simons of Phoenix New Times compared Adkins' vocals to those of the Replacements' frontman Paul Westerberg.[11] Ozzi remarked that where Adkins had previously crammed a lot of lyrics into fast-paced punk rock verses, for the new songs, he spread out the words and let them "occupy the space the band created for themselves."[29] In addition to playing the drums, Lind played the accordion and the concertina.[28] Tracks such as "Seventeen", "Digits" and "Robot Factory" are reminiscent of releases on indie labels like Homestead and Twin/Tone Records.[11] Richter provided additional vocals on "Digits", while Kidd played an acoustic guitar on "Claire", Lind's ex-girlfriend Sarah Pont played violin, and Trombino contributed on the Moog synthesizer.[28] Songs[edit] The opening track, "Thinking, That's All", and "Call It in the Air" are screamo-esque songs, the former channeling the sound of Unwound.[35][36] Linton said Adkins came up with the basic form of "Thinking, That's All", which the other members added to.[24] The band had been playing "Rockstar" live for sometime, prior to signing with Capitol, with Linton often mumbling his speech as he had no lyrics for it. It was only during the demo session with Auer that he wrote the words, as the label thought it was a hit-sounding song.[24] "Claire" evokes Texas Is the Reason with its quiet and loud sections, aided by a violin.[36] Lind considered the song to be important for the band, as it showed them that a simplistic arrangement could make a song interesting.[37] Linton said they took influence for it from Sunny Day Real Estate, specifically their song "In Circles" (1994), while Adkins said the lyrics were akin to a journal entry.[24] "Call It in the Air", with its punk-esque sound, earned a comparison to Sense Field.[36] Lind said it exemplified the band's punk roots.[38] Lind said the opening drum part to "Seventeen" intentionally ripped off Drive Like Jehu, to the annoyance of Trombino.[39][40] "Episode IV" is the first track the band wrote without any "loud, saturated guitar sounds", according to Adkins.[41] He came up with the basic structure, which he showed to Linton, who thought it had a sound akin to "Hurt" (1994) by Nine Inch Nails. Linton opted to whisper his vocals instead of singing to "keep it a really delicate song".[24] "Digits" was influenced by the work of Christie Front Drive; an earlier version of it was released on Jimmy Eat World's split with Christie Front Drive.[2][24] For the album's version, new sections were added to the song, increasing its length by a further three minutes.[29] "Caveman" features the sound of crickets throughout its length, which was achieved by taking a Neumann U67 microphone outside Big Fish Studios.[42] For sometime, Linton struggled with the song's lyrics; he only came up with them while in the bathroom at the studio "looking at aerosol cans and trying to find some rhythming words to match the verse". The band used to open their shows with "World Is Static" as it would shift direction partway through. Alongside this, Adkins said they were employing choruses more often as they found enjoyment in repetition.[24] The drums in it were inspired by John Anderson, the drummer of Boys Life.[43] Staff members at Capitol asked Linton to tell Adkins to stop screaming as he was doing it for the majority of "World Is Static": "I was like, 'Yeah, I can't tell him that, because he'll just scream louder'". Burch compared the hushed atmosphere of "In the Same Room" to falling snow. When mixing the song, Adkins said him and Trombino recorded radio static for its beginning, which Trombino compressed to make it sit around the vocals. The title of "Robot Factory" comes from a power plant in the McClintock area of Tempe, Arizona.[24] The closing track, "Anderson Mesa", features a string arrangement; its title references the observatory of the same name.[44][45][46] Adkins said it was about him living in Flagstaff,[24] in particular, his previous college apartment during its closing lyrics.[29] Release and conflict with Capitol Records[edit] After Jimmy Eat World handed in Static Prevails, the staff at Capitol were disappointed. "Just guys being like, 'Uh ... this is a lot different than what we expected'", according to Linton.[6] Jimmy Eat World toured the West Coast of the US in anticipation of the album between May and July 1996,[47] supporting Crumb for half of this period.[48] Capitol Records released Static Prevails on July 23, 1996.[49] The cover artwork features a sideways photo of chimneys, shot on a rooftop in Denver, Colorado,[50] which was taken by Drake.[29] The original vinyl LP version featured different artwork, and included the bonus seven-inch vinyl of "In the Same Room" and "77 Satellites".[51] The discourse with the concept of selling out hade reached the mainstream by the time of Static Prevails' release; the band had relatively few fans during this period that Burch said they were "so young that there wasn't anything to sell."[52] Ozzi said the music scene in Arizona was receptive to Jimmy Eat World's desire to get bigger, unlike the scene in Berkeley, California, which was hostile towards its bands that had joined major labels.[52] Backlash towards the band instead came from when "Seventeen" was used on a promotional CD for the Surge brand of drinks, created by The Coca-Cola Company.[53] While their local community was supportive of Jimmy Eat World, they soon learned that Capitol Records was unsure of how to handle the band.[53] Adkins said that major labels knew what to do with artists that shifted thousands of albums per week, such as Green Day and Jawbreaker, yet were stumped on what to do with Jimmy Eat World, whose collective sales racked up 2,000 copies across all their releases.[54] As Static Prevails lacked an obvious single-sounding song, radio support for the album was dropped. It struggled to receive feature stories and reviews from press outlets and magazines. The band appeared too insignificant for press outlets to care about them, while important punk zines disregarded anything that was issued on a major label. Despite this, Israel drafted up reviews that were then sent to zines, such as Maximum Rocknroll. He said writers for these type of publications were talking about bands like Jawbox, Knapsack, and Texas Is the Reason, all of whom he felt lacked the better vocals that Adkins and Linton offer and were unable to write hooks like Jimmy Eat World.[55] Aaronson and Israel were met with indifference at the label's offices, with Gersh not willing to support an act that was relatively unknown.[55] The band made a music video for "Rockstar", which was included on some copies of the CD version of the album as enhanced content.[28] It was filmed at Koo's Cafe, a DIY venue in Santa Ana, California, with directing brother and sister duo Richard and Stefanie Reines,[24] both founders of Drive-Thru Records and friends of Jimmy Eat World.[55] A friend of the siblings was interested in funding said music video; it was estimated to cost $5–10,000, with him initially wanting to pay half.[56] When Israel brought this up to Gersh during a meeting, an argument ensured with Gersh declining the proposal. It was eventually made without support from Capitol. Marketing ideas from the label were met with resistance from Jimmy Eat World. During one meeting, Capitol's marketing department suggested having them perform outside 7-Elevens all over the country, which was promptly turned down. Leibow began an internship at Capitol during this time and directly saw how the label was fine with allowing Static Prevails get buried under other releases from the year, such as one from the Butthole Surfers, which he was told to promote instead.[57] Capitol Records released "Call It in the Air" as the lead single from Static Prevails on August 26, 1996,[49] on a seven-inch vinyl record, with "Rockstar" as the B-side.[58] Despite the issues with Capitol Records, Jimmy Eat World proceeded as they previously had, with Lind booking their future touring treks.[59] The band promoted the album with a mini-US tour along the West Coast;[11] later, they embarked on the God Bless America tour with labelmates the Smoking Popes and the Figgs from September 1996.[49] Following a supporting show for the Voodoo Glow Skulls in October 1996,[60] Jimmy Eat World they played a few West Coast shows the following month.[61] In February 1997, Jimmy Eat World embarked on a cross-country US tour with Sense Field.[62] The members of Jimmy Eat World frequented record stores, where they were unable to locate copies of Static Prevails. When in the New York City offices of the label, Adkins tried to find any sign of their album, only to be asked by an employee if he had gotten lost, presuming Adkins to be a student that disappeared while on a tour of the facility. Adkins had discussions with Richter, where he was disappointed with being on Capitol and debated doing something else with his life. Jimmy Eat World were making headway while grinding out on tour, alongside their contemporaries in Braid, Jejune and Mineral.[59] Capitol felt the original version of "Seventeen" would work in the film Never Been Kissed (1999), and in return for letting them use it in the movie, the band members met Drew Barrymore.[30] Adkins felt the lyrics of the original tied in well with the lead character of the movie.[24] Reception and aftermath[edit] Professional ratingsReview scoresSourceRatingAllMusic[63]The New Rolling Stone Album Guide[34]RTÉ[33] Static Prevails was met with mixed reviews from music critics on its songwriting. Gavin Report's David Beran highlighted the guitarwork on the album, and remarked that Jimmy Eat World "still have a lot of world to eat; they're on the right track."[64] AllMusic reviewer Mike DaRonco stated that the maturity of later Jimmy Eat World material was fundamentally absent from Static Prevails; "but it's almost as if the studio heads at Capitol wouldn't let them [mature] so that there would be more room for radio-friendly pop songs. In the end, nobody won."[63] Harry Guerin of RTÉ found the release to be a mainly typical emo album that rarely kept his attention throughout its duration. According to him, it had a high number of similar-sounding guitar riffs and "overwrought vocals [...] to be convincing".[33] Journalist Chris Ryan, writing in The New Rolling Stone Album Guide (2004), called it a product of the time period it was made in, complete with "anxiety-ridden vocals, lyrics of suburban melodrama, and screaming punk guitars".[34] He conceded that Jimmy Eat World "knew a hook heard it head one", highlighting "Call It in the Air".[34] BBC Music writer Tim Nelson opened his review asking if the album title was intended to be read as ironic, as "staying still is one thing this propulsive pop album [...] doesn't do." In his eyes, the music passed the line dividing "indie indulgence and soul-sucking corporate pap with aplomb".[65] Barbara Restaino of Lollipop Magazine thought she would enjoy the enjoy the album to begin with, however, Adkins and Linton's voices became an annoyance to her after a while.[66] In the first of Static Prevails' release, the album had sold less than 10,000 copies, making it a commercial failure.[67] The Nettwerk America label re-released Static Prevails and Jimmy Eat World's third studio album Clarity (1999) in June 2001.[68] Both albums were then reissued in 2007; "77 Satellites" and "What Would I Say to You Now" were included as bonus tracks on this iteration of Static Prevails.[69] Static Prevails, along with Clarity and their fifth studio Futures (2004), was re-pressed on vinyl in 2014.[70] In 2007, Michael Carriere of The Shepherd Express viewed Static Prevails and Clarity as landmarks in the second wave of emo.[71] In 2012, Jason Heller of The A.V. Club noted that like with similar punk artists that joined major labels, Jimmy Eat World lost of a lot older fans and earned a minuscule amount of new ones with Static Prevails.[72] Coinciding with the album's 25th anniversary, Bandbox and Captiol Records released a version of the album with an accompanying booklet written by Alex Rice. He highlighted five songs from the band's catalogue – "Believe in What You Want" from Clarity, "Bleed American" from their fourth studio album Bleed American (2001), "Futures" from Futures (2004), "Action Needs an Audience" from their seventh studio album Invented (2010), and "Pol Roger" from their ninth studio album Integrity Blues (2016) – that drew influence from Static Prevails.[24] Louder writer Alistair Lawrence said songs like "Claire" and "Digits" made "something uneven but distinct, which would unintentionally form part of the roadmap for emo's rite of passage through the late '90s".[73] Andrew Sacher of BrooklynVegan felt that "Claire" was the oldest instance of the band reaching with artistic intentions, which was further on Clarity.[74] Track listing[edit] All songs written by Jimmy Eat World. All recordings produced by Wes Kidd, Mark Trombino, and Jimmy Eat World.[28] .mw-parser-output .tracklist{border-spacing:0}.mw-parser-output .tracklist tr{background-color:var(--background-color-base,#fff)}.mw-parser-output .tracklist tr:nth-child(2n-1){background-color:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .tracklist caption{text-align:left;font-weight:bold}.mw-parser-output .tracklist td,.mw-parser-output .tracklist th[scope="row"]{vertical-align:top}.mw-parser-output .tracklist th[scope="col"]{text-align:left;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output .tracklist th.tracklist-length-header,.mw-parser-output .tracklist th.tracklist-number-header,.mw-parser-output .tracklist th[scope="row"],.mw-parser-output .tracklist-length,.mw-parser-output .tracklist-total-length td{padding-right:10px;text-align:right}.mw-parser-output .tracklist th[scope="row"]{font-weight:normal}.mw-parser-output .tracklist-number-header{width:2em;padding-left:10px}.mw-parser-output .tracklist-length-header{width:4em}.mw-parser-output .tracklist tr.tracklist-total-length{background-color:transparent}.mw-parser-output .tracklist .tracklist-total-length th{padding:0;font-weight:bold}.mw-parser-output .tracklist-total-length th>span{float:right;padding:0 10px;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output .tracklist-total-length td{background-color:var(--background-color-neutral,#eaecf0);font-weight:bold;padding:0 10px 0 0}Static Prevails track listingNo.TitleLead vocals[35]Length1."Thinking, That's All"Jim AdkinsTom Linton2:522."Rockstar"Linton3:473."Claire"Adkins3:404."Call It in the Air"AdkinsLinton3:005."Seventeen"Linton3:336."Episode IV"Linton4:287."Digits"Adkins7:298."Caveman"Linton4:349."World Is Static"Adkins3:5610."In the Same Room"Adkins4:5711."Robot Factory"Linton3:5812."Anderson Mesa"Adkins5:14Total length:51:28 Personnel[edit] Personnel per booklet.[28] .mw-parser-output .col-begin{border-collapse:collapse;padding:0;color:inherit;width:100%;border:0;margin:0}.mw-parser-output .col-begin-small{font-size:90%}.mw-parser-output .col-break{vertical-align:top;text-align:left}.mw-parser-output .col-break-2{width:50%}.mw-parser-output .col-break-3{width:33.3%}.mw-parser-output .col-break-4{width:25%}.mw-parser-output .col-break-5{width:20%}@media(max-width:720px){.mw-parser-output .col-begin,.mw-parser-output .col-begin>tbody,.mw-parser-output .col-begin>tbody>tr,.mw-parser-output .col-begin>tbody>tr>td{display:block!important;width:100%!important}.mw-parser-output .col-break{padding-left:0!important}} Jimmy Eat World Tom Linton – guitar, vocals Jim Adkins – guitar, vocals Zach Lind – drums, accordion, concertina Rick Burch – bass guitar Additional musicians Eric Richter – additional vocals (track 7) Sarah Pont – violin Mark Trombino – Moog Wes Kidd – acoustic guitar (track 3) Design Paul Drake – cover photography, ambient band photo Andy Mueller – smiley band photo Jim Adkins – other photos Ohiogirlco – design, art direction Production Wes Kidd – producer Mark Trombino – producer, engineer, mixing (all except tracks 2 and 5) Jimmy Eat World – producer Tom Rothrock – mixing (tracks 2 and 5) Rob Schnapf – mixing (tracks 2 and 5) Billy Bowers – assistant engineer Jeff Sheehan – assistant engineer Peter Doell – assistant engineer Billy Smith – assistant engineer Steve Genewick – assistant engineer Cappy Japngie – assistant engineer Larry Elyea – engineer Stephen Marcussen – mastering Craig Aaronson – executive producer References[edit] Citations .mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman} ^ .mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}"History". Jimmy Eat World. Archived from the original on March 4, 2000. Retrieved January 4, 2025. ^ a b c Jimmy Eat World (2001). The Singles (booklet). Golf Records. CDHOLE049. ^ Ozzi 2022, p. 77 ^ a b c d Ozzi 2022, p. 78 ^ Ozzi 2022, p. 69 ^ a b c Ozzi, Dan (October 12, 2016). "Jimmy Eat World (for Now)". Vice. Archived from the original on October 12, 2020. Retrieved October 11, 2020. ^ a b Ozzi 2022, p. 79 ^ "Jimmy Eat World : Album : J.E.W./Christie Front Drive Split 7". Jimmy Eat World. Archived from the original on December 22, 2008. Retrieved January 4, 2025. ^ Ozzi 2022, pp. 79–80 ^ a b Ozzi 2022, p. 80 ^ a b c d Simons, Ted (August 8, 1996). "Givin' Us Static". Phoenix New Times. Archived from the original on October 11, 2020. Retrieved October 11, 2020. ^ a b Ozzi 2022, p. 81 ^ Ozzi 2022, p. 83 ^ a b Ozzi 2022, p. 84 ^ Ozzi 2022, pp. 84–85 ^ a b c d e Ozzi 2022, p. 85 ^ Ozzi 2022, p. 82 ^ Mehr, Bob (September 27, 2001). "Brave New World". Phoenix New Times. Archived from the original on January 10, 2016. Retrieved July 21, 2021. ^ a b c Ozzi 2022, p. 86 ^ Ozzi 2022, pp. 73, 86 ^ Leahey, Andrew. "Jimmy Eat World | Biography & History". AllMusic. Archived from the original on October 12, 2020. Retrieved October 11, 2020. ^ King, Ian (February 22, 2019). "Jimmy Eat World – Reflecting on the 20th Anniversary of 'Clarity'". Under the Radar. Archived from the original on February 23, 2019. Retrieved October 13, 2020. ^ a b c d Ozzi 2022, p. 87 ^ a b c d e f g h i j k l m Rice, Alex (2022). Bandbox Issue #44: Jimmy Eat World (booklet). Bandbox/C