A User’s Guide to They Might Be Giants serves as the band’s fifth retrospective compilation, following predecessors like Miscellaneous T and Dial-a-Song: 20 Years of They Might Be Giants. But does another “best of” truly justify its existence? For They Might Be Giants (TMBG), the answer is a resounding yes. This compilation distinguishes itself by encompassing a broader range of their prolific output and adopting a playful, non-chronological approach that reflects the band’s unique artistic vision. This guide will help you navigate the quirky and fascinating world of They Might Be Giants, offering insights into their music and creative philosophy.
The genius of A User’s Guide lies in its unconventional organization. Rather than relying on historical significance or popularity, the tracklist is ordered by song length. Starting with the brief “Minimum Wage” (47 seconds), the songs gradually increase in length until reaching “Guitar” (nearly four minutes). Afterwards, the tracks progressively shorten, culminating in the 51-second “Spider.” This quirky structure is mirrored in the packaging, which features “A Fairly Complete List of They Might Be Giants Gigs Since 1985,” a timeline, a list of presidents mentioned in their songs, and a “comparison chart of personal pronouns in TMBG song titles.”
The cover art cleverly subverts the typical “best of” aesthetic. Instead of presenting the material as a cohesive artistic statement, it acknowledges its commercial nature by using an expanded UPC barcode to measure melody, fidelity, and quantity. This meta-approach highlights that these 29 songs are simply data points to be gathered, analyzed, and sold.
Despite some notable omissions, such as “(She Was a) Hotel Detective?”, the tracklist highlights TMBG’s consistent ability to craft quirky and complex pop hooks. Later career highlights like “Cyclops Rock” and “Doctor Worm” exemplify this talent. However, tracks like “James K. Polk” can reveal a tendency towards humorless overliteralization, while “Meet James Ensor” and “Purple Toupee” demonstrate an inclination towards subtext and layered meaning.
A statistical breakdown of A User’s Guide reveals interesting patterns. The compilation includes five tracks from the commercially successful Flood (1990), four from Apollo 18 (1992), and three songs each from their self-titled debut (1986), the breakthrough Lincoln (1988), and their children’s album No! (2002). Notably, 18 of the 29 tracks originate from the 1985-1994 period, while only 11 come from 1995-2004/5. This suggests a heavier reliance on their earlier albums.
These figures provide objective support to a common sentiment among listeners: that the first decade of They Might Be Giants’ career (exemplified by tracks like “Ana Ng” and “She’s an Angel”) produced a higher concentration of quality material compared to their second decade (represented by tracks like “Boss of Me” and “James K. Polk”). This perceived decline might be attributed to factors such as the post-grunge shift away from lightheartedness or TMBG’s transformation from a duo into a full band, which might have diluted their distinctive charm.
Ultimately, A User’s Guide to They Might Be Giants serves as an honest reflection of the band’s journey, acknowledging both their triumphs and their stumbles. It’s a testament to their willingness to experiment and a promise to continue pushing creative boundaries. It’s more than just a collection of songs; it’s an invitation to explore the wonderfully weird world of They Might Be Giants. This compilation is a perfect starting point for new listeners and a rewarding retrospective for long-time fans. It’s a celebration of their unique sound, clever lyrics, and enduring appeal.
