The Weekly Coos

Growing up in the early 2000s, I relied on radio as my main source of musical discovery. YouTube was still in its infancy, and I didn’t have the income to keep buying CDs to see what I liked and didn’t like. MTV’s Total Request Live also helped shape my interests, specifically as a semi-scene kid in middle school. We all remember the flannel-and-skinny-jeans-and-long-hair era; many of us went through it, but being so ingrained through these channels, it’s no surprise that artists like Michelle Branch and Avril Lavigne were major parts of my adolescence. Since I’ve become more critical of music, few things get me hyped like a new TRL episode in 2005. In recent vintage, it has been nostalgic concerts by artists revisiting iconic works that I’d put in a higher echelon than some of these artists’ new music. I remember being exhilarated with anticipation when I purchased tickets to a Freddie Gibbs & Madlib concert celebrating 10 Years of Piñata, and Isaiah Rashad, who did similarly for Cilvia Demo. It was no surprise I felt the same again when Michelle Branch dropped the news she has been teasing online for a while. She’s touring. But also, she’s re-recording some of her old hits on a brand-new EP, Everywhere and Back Again. 

It’s safe to say my enthusiasm was through the roof when I saw the news. The Spirit Room & Hotel Paper have been cornerstones, alongside others, that have been a part of me for as long as I can remember. They have since become two albums that have brought me a sense of peace and direction amongst the angst and confusion life has brought me. As Hilary Duff did earlier this year, these re-recordings come with something special beneath their core. They have greater historical and artistic significance, especially compared to Taylor Swift’s financially driven re-recordings, which often focus on reclaiming ownership rather than artistic expression. This contrast highlights Michelle Branch’s genuine connection to her music and career, making her re-recordings more meaningful in her current journey of nostalgia and reflection. It was evident in her sharing of old media appearances and in her promotion of a performance that mirrored the ethos of MTV’s Total Request Live.

Now, no shade towards Taylor Swift, though; I actually quite enjoyed the re-recordings for what they were. Unfortunately, the personal significance in history and artistic self-worth of these albums felt more accidental, as you realize they don’t capture the charm and greatness of the original releases. Regardless of my thoughts on these albums, The Spirit Room & Hotel Paper hold a more important spot in my heart.

With the announcement of this tour and her new EP, Michelle Branch dropped her first re-recording, “The Game of Love.” A momentous moment in Branch’s career, this song elevated her further as she stole the show as a featured artist in a Santana song. She did what Rob Thomas did with “Smooth” on Supernatural (1999), but on Shaman (2002) instead. Choosing “The Game of Love” was a solid move to reconnect fans with one of her most iconic songs. What sets the new version apart from the original is a new composition weaving together the demo and the final product. Originally composed and written by Gregg Alexander of New Radicals and producer/songwriter Rick Nowels, it underwent a shift during the recording phase. Legendary record producer Clive Davis thought the song would have a more resounding impact if the vocals were done by a female singer, and through multiple auditions, Michelle Branch got the part. In a way, I feel like Davis was bestowing this huge opportunity upon her, and it further elevated her presence. Sadly, this new rerecording did not deliver. It isn’t by any means “bad”; rather, the duet isn’t as effective, and it becomes a totally different song altogether. It doesn’t land as I expected, but it did take me back to the 2000s on the surface. Give it a listen below.