Sumday | |
Type: | studio |
Artist: | Grandaddy |
Cover: | Sumday.jpg |
Released: | May 13, 2003 |
Genre: | |
Length: | 52:27 |
Label: | V2 |
Producer: | Jason Lytle |
Prev Title: | The Sophtware Slump |
Prev Year: | 2000 |
Next Title: | Below the Radio |
Next Year: | 2004 |
Sumday is the third studio album by American indie rock band Grandaddy, released on May 13, 2003 by record label V2.
The album achieved commercial success in the UK, and was well received by music critics.
Around about the time of the album's release, frontman Jason Lytle commented that the album "represents the closest I've been to singing in the first person, writing passionately".[2]
Sumday was released on May 13, 2003 by record label V2.
The album is the group's highest charting in the UK, peaking at No. 22.[3] By 2006, the album had sold 110,000 copies.[4]
An expanded version of the album was released five months later, with a bonus disc of songs recorded live at the Glastonbury Festival in 2003 (tracks 1–6) as well as three tracks taken from The Black Sessions in Paris (tracks 7–9).
A 20th anniversary box set titled Sumday Twunny was released in August 2023.
Three singles were released from the album: "El Caminos in the West", which reached No. 48 on the UK Singles Chart;[5] "Now It's On", which reached No. 23; and "I'm on Standby".
The album was well received by music critics.
PopMatters viewed the album as one where Lytle had decided to "tone down on the experimentation, and concentrate on developing some terrific melodies", calling it "really the next logical step for the band". He commented on similarities to the Alan Parsons Project ("Now It's On"), ELO ("The Go in the Go-for-It") and John Lennon ("Lost on Yer Merry Way"), and noted an improvement in Lytle's songwriting.[6]
A less favorable review came from Heather Phares of AllMusic, who described the record as being "bland and complacent", opining that it failed to live up to the expectations of The Sophtware Slump. A 2023 review of the 20th anniversary reissue from Arielle Gordon of Pitchfork described it as "wide-open" and "a prescient meditation on the need to escape" that "stood apart from its predecessors".
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