Reviews Of ‘Songs About Stupid People’

Released in 1997

saspcd

-by Jim Santo
-courtesy of Jim Santo’s Demo Universe

Boy meets boy. Boy loses boy. Boy writes album of songs. Released the same year as Midnight Blooming (the cassette that introduced me to Gloff), Songs About Stupid People continues its predecessor’s minuet of raven-tressed dance-pop (“Cellophane”, “The Sorcerer”) and wounded folk-rock (“Boring Me”, “Worth Waiting For”). Although far from flawless — Jeremy’s voice is too often submerged in a muddy and unbalanced mix — this LP delivers many powerful moments as Gloff unloads the wreckage of love gone bad with characteristic candor and commitment. If you’re in a similar predicament, slap on Stupid, break open a box of chocolates and have yourself a good cry.

-fan review submitted by SAratheriNE

This album has the power to evoke high levels of emotion from any listener as it pulls him through the passionate rush of feelings in each of the four parts. Haunting tracks such as “Cellophane” and “Hollow Bodies” will leave you spellbound, as will the crying pleas for resolution in “The Sorcerer” and “Nightbreathing”. Jeremy makes a good transition from growling, vengeful tracks like “Stupid Boy” to the more upbeat “Boring Me”. He also lets his talent as a pianist shine through on several ballads. This album is a definite must-have for Jeremy fans. Be sure to get the newest version, which includes the “Hollow Bodies” remix and the touching country song at the end of the classic “Fredonia”.

-review of the Another Dead Sharon/Jeremy Gloff Split 7″ from allmusic.com
(featuring “The Socrerer” – a SONGS ABOUT STUPID PEOPLE track)

Jeremy Gloff is another contributor to the one man, one synthesizer routine that gets old when said artist either takes himself way too seriously, or when the quality of the four-track recordings are lo-fi to the point of being unlistenable. Not only does Gloff commit these two infractions, but he also adds way too much quirk to sound like a second-hand Devo. Sure, the nasally vocals and heavy synth layers sound as if they came straight from an ’80s vault, but without any playfulness or humor. Gloff is more likely to scare little children away, rather than entertain them. On the other hand, the members of Mechanical Emotions don’t have quirk or nasally vocals — just one, long digital drum beat that flows at a tribal pace to accompany the pulsing keyboards and distorted screams. Nowhere near the realm of fun, at least both Gloff and Mechanical Emotions are right for each other in the category of “anti-dance.”