{"id":39428,"date":"1998-09-03T00:00:00","date_gmt":"1998-09-03T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/bed\/"},"modified":"1998-09-03T00:00:00","modified_gmt":"1998-09-03T00:00:00","slug":"bed","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/bed\/","title":{"rendered":"Bed"},"content":{"rendered":"<p>When I first discovered who Juliana Hatfield was, the age of the<br \/>\n&#8220;grrrl&#8221; movement hadn&#8217;t come to pass yet. The bluntness &#8211; sexual<br \/>\nand otherwise &#8211; contained in the boundaries of<br \/>\n<i>Become What You Are<\/i> opened a lot of people&#8217;s eyes and ears,<br \/>\nmine included. I was disappointed with her follow-up album,<br \/>\n<i>Only Everything<\/i>; apparently the record-buying public and her<br \/>\nlabel were as well. For a time, it seemed like Hatfield dropped off<br \/>\nthe edge of the Earth.<\/p>\n<p>Now, after recording an album that Atlantic refused to put out<br \/>\n(they&#8217;re still sitting on the tapes), Hatfield returns with a new<br \/>\nlabel (Zoe, a new imprint of the Rounder family), a new album,<br \/>\n<i>Bed<\/i>, and a new focus of attack musically. Put all of these<br \/>\ntogether, and you could easily call this album a comeback. I prefer<br \/>\nto call it a &#8220;rebirth&#8221;.<\/p>\n<p>The ten songs on<br \/>\n<i>Bed<\/i> probably won&#8217;t surprise any long-time fans of Hatfield,<br \/>\nwith the exception that her schol-girl vocals seem to be getting<br \/>\nmore refined and smooth. Some of the lyrical bluntness is gone as<br \/>\nwell &#8211; most of which is the &#8220;shock value&#8221; quotient. On<br \/>\n<i>Bed<\/i>, if Hatfield says something that&#8217;s a bit brash, she has<br \/>\na reason for saying it.<\/p>\n<p>Lyrically and musically, Hatfield sounds stronger than ever most<br \/>\nof the time. Tracks like &#8220;I Am A Camera,&#8221; &#8220;Down On Me&#8221; (a title<br \/>\nthat has a totally different meaning than you might think) and<br \/>\n&#8220;Backseat&#8221; rival anything that Hatfield has ever done in terms of<br \/>\nher greatest material. Likewise, her move to an acoustic guitar on<br \/>\n&#8220;Running Out&#8221; shows off a whole new aspect to her music in terms of<br \/>\nsheer power.<\/p>\n<p>The one drawback to<br \/>\n<i>Bed<\/i> is that it sometimes seems hard for Hatfield to maintain<br \/>\na high level of songwriting quality throughout the whole album.<br \/>\n&#8220;Sneaking Around&#8221; and &#8220;Live It Up&#8221; just don&#8217;t measure up to the<br \/>\nrest of the album, and tend to drag things down a bit. (It<br \/>\nsometimes seemed hard to stay focused on this album as well; unlike<\/p>\n<p><i>Become What You Are<\/i>, this isn&#8217;t an album you&#8217;ll immediately<br \/>\nget sucked into. It takes around two or three listens before you<br \/>\nreally get into it.)<\/p>\n<p>In the end, the time since Hatfield&#8217;s brush with the big time<br \/>\nseems to have helped her mature both as a songwriter and as a<br \/>\nmusician; the overall quality of<br \/>\n<i>Bed<\/i> is a marked improvement from<br \/>\n<i>Become What You Are<\/i>, if even a tad slower tempo-wise.<\/p>\n<p>Hatfield might not be running on the major labels now, but in<br \/>\nthe end,<br \/>\n<i>Bed<\/i> seems to be a perfect fit for a smaller label; she has<br \/>\nbeen given the chance to create an album on her own terms and with<br \/>\nher own unique voice. With one or two small stumbles, the<br \/>\nexperiment worked, and<br \/>\n<i>Bed<\/i> is a very comfortable album.<\/p>\n","protected":false},"author":2,"featured_media":28034,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[7595],"rating":[5617],"class_list":["post-39428","review","type-review","status-publish","has-post-thumbnail","artist-juliana-hatfield","rating-rating-b-plus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/39428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=39428"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/39428\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/28034"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=39428"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=39428"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=39428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}