Stereogum: Dishwalla’s “Counting Blue Cars” is an alternative number one
In this segment, The Alternative Number Ones, a comprehensive review of every single that has reached the #1 spot on the Billboard Modern Rock Tracks/Alternative Songs chart since its inception in 1988 is conducted. This assessment is done in conjunction with The Number Ones series, and the column is currently published biweekly, alternating with The Number Ones on Mondays. To set the tone, it is requested to refrain from delving into personal thoughts on spirituality, an enduring subject that has captivated and confounded human minds through the millennia.
The enigmas surrounding the vast cosmos, deities, and the very essence of existence have been a source of both fascination and consternation for humanity since time immemorial. Every civilization has crafted its unique belief systems and creation narratives. While many of these myths are indeed intriguing, the author expresses a desire to evade discussions pertaining to the topic. It is noted that the prospect of engaging in conversations centered around spiritual themes has lost its appeal over the years. Recollections of enduring tedious discourses on this matter, primarily instigated by the speaker’s father reminiscing tiresomely on religious queries, only serves to inflate a sense of discomfort.
Experiences of being subjected to the varied musings on spirituality from devout adherents, fervent youth leaders, whimsical agnostics, and disdainful atheists have failed to imbue enjoyment over time. By recounting childhood instances where inquiries resulted in prolonged lectures from the author’s father, analogous to power speeches on 90s rap beefs, the tediousness of spiritual conversations is vividly highlighted. In such instances, the author would feign interest as their mind wandered unencumbered. Thus, a deliberate choice is made to overlook and mentally replace spiritual dialogues with an amusing mental replay of scenes from 1987 film The Monster Squad.
In dissecting the Dishwalla song, “Counting Blue Cars,” the author expresses a lack of identification with the contemplative child lyrical persona. The resulting aversion, however, is attributed not solely to this factor but certainly exacerbated by it. Dissociative sentiments toward Dishwalla, hitherto regarded simply as a band with a strangely named entity and a single, irksome hit, have presented an unsuspecting challenge. This predicament obliges a newfound task of engaging in thoughtful musings about Dishwalla, a fiasco initially avoided. Surprisingly, trivial research unravels some interesting tidbits about the band’s origin from Santa Barbara, California, akin to the illustrious Katy Perry.
Furthermore, the band’s transformation from a synthpop trio named Life Talking, to a fusion outfit combining various genres like hip-hop, funk, and grunge, as detailed in an LA Times feature, reveals an intriguing musical evolution. An account of the adopted pseudonyms, starting with Dish and later revised to Dishwalla, reflects a humorous and whimsical naming process. The band’s keyboardist, Greg Kolanek, humorously recounts the derivation of the band’s appellation from the Indian term “dish wallahs,” shedding light on the change from the original moniker of Dish. This captivating anecdote, akin to a quirky indie film premise, highlights the unforeseen depths behind the band’s chosen epithet.