Mad Season

1	Angry 3:45
2	Black and White People 3:45
3	Crutch 3:25
4	Last Beautiful Girl 4:04
5	If You're Gone 4:35
6	Mad Season 5:02
7	Rest Stop 4:29
8	The Burn 3:27
9	Bent 4:16
10	Bed of Lies 5:22
11	Leave 4:34
12	Stop 3:50
13	You Won't Be Mine 9:54

Barnes & Noble

After selling about a zillion copies of their debut album, matchbox twenty could have easily coasted along with a formulaic follow-up to YOURSELF OR SOMEONE LIKE YOU. But give them credit: Although they depart only slightly from the emotive hard rock sound on MAD SEASON's first single, "Bent," Rob Thomas and company do toss some new ideas into the mix. From the summery horn lines that propel "Black and White People" to the syncopated grooves that bubble under "Last Beautiful Girl," it's evident that Thomas has seen some new musical horizons while working with Carlos Santana on the multiple Grammy-winning "Smooth." Abetted again by producer Matt Serletic, the quintet make considerably more use of the studio than on the relatively stripped-down YOURSELF OR SOMEONE LIKE YOU, adding new layers of turbulent sonics to riff-fests such as "Angry" and "You Won't Be Mine" and manifesting a surprising sensitive side on such cuts as "Stop," which is punctuated by Thomas's melodic piano. Whether you've come to expect fist-pumping rock or smooth moves from matchbox twenty, MAD SEASON is guaranteed not to disappoint. David Sprague

All Music Guide

On Yourself or Someone Like You, Matchbox Twenty's ability to craft sturdy, mainstream rock was overshadowed by their reliance on loud guitars, colorless production, and bombastic vocalizing. They trade that sound for a varied, accomplished, smooth production on their second album, Mad Season. Throughout this record, Matchbox Twenty seem unashamed that they sound their best when they're simply a mainstream rock band. They exploit this strength by expanding the production, adding horns and layers of keyboards to their sound, opening up the mix, and emphasizing their melodies. That shift in direction may disarm some fans of the debut, which was pretty much just guitars, but the band winds up with a big, bright, shiny album that's livelier than its predecessor. That alone makes Mad Season more engaging than the debut, but the real surprise is the group's growth as craftsmen and Rob Thomas' progression as a songwriter and singer. Prior to this album, Thomas had a tendency to oversell his songs, not just in the delivery but in the writing, and the band followed him along. Here, they tone down their performances and while the end result is heavily produced, the overall feel is more relaxed and welcoming than the debut. Of course, it also helps that they have a solid set of songs -- a set that eclipses their previous effort, even if there are a few dull moments here and there. Even with those occasional missteps, the end result is a strong, unabashedly mainstream record that finds the band coming into their own. Stephen Thomas Erlewine