Additional personnel includes: Rob Taylor (guitar); Van Vinikow, Sid Page, Joel Derovin, Armen Garabedian, Tiffany Hu (violin); James Ross, John Scanton (viola); Peter Lenz, Suzie Katayama, Dane Little (cello); Dave Stone (bass); Frank Machia (programming).
Producers include: Brad Nack, Bruce Winter, Toad The Wet Sprocket, Gavin MacKillop, Marvin Etzioni.
Personnel: Rob Taylor (guitar); John Wittenberg, Tiffany Yi Hu, Eve Sprecher, Mari Tsumura, Dennis Molchan, Bob Sanov, Elizabeth Wilson, Joel Derouin, Sid Page, Brian Leonard, Armen Garabedian, Haim Shtrum (violin); James Ross , John Scanlon (viola); Suzie Katayama (cello).
Audio Mixers: David Vaught; Gavin MacKillop; Paul DuGre; Andy Wallace; Tom Lord-Alge.
Audio Remixer: Michael Brauer.
Photographers: Dana Tynan; Danny Clinch.
Arranger: Van Dyke Parks.
Toad came to prominence in the early-'90s, heavily influenced by the jangly alt-rock sound of early R.E.M. In retrospect, the band can be seen as something of a prototype for the alternative-tinged folk-rock renaissance that occured later in the decade with the Counting Crows and lesser groups like Tonic and Third Eye Blind. Toad The Wet Sprocket represented the friendliest possible face of '90s alt-rock, its sound full of feathery harmonies and sunny melodies.
The more pastoral side of the group's sound is exemplified by the breezy "Walk on the Ocean," with its acoustic strumming and languid fretless bass. Contrary to popular myth however, Toad was always capable of shading its style with subtle darkness. "Hold Her Down" (presented here in a remixed version) is an unsettling tale of sexual abuse, and "Fall Down" is a terse, angular rocker. "All I Want" is Toad at its best, a transcendent midtempo tune full of achingly beautiful harmonies, soulful lyricism, and a gentle thoughtfulness clearly at odds with the contemporaneous grunge bands to which Toad existed as a viable alternative.