The Ramones Discography: Part 4 : Road To Ruin

While 1977's Rocket To Russia is now regarded as a pivotal point in punk music becoming a legitimate form of music, but the sales weren't stellar to say the least. This caused original drummer, Tommy Ramone, to leave the band as the drummer and instead take up position as producer for the band's fourth LP, 1978's Road To Ruin. This also started the band's quest for a chart topping album, something that some Ramones fans would say is summed up by the title of this album.

However, the music on this album is not the sound of a band simply striving for radio success, despite what some critics at the time said. Instead, while Road To Ruin is not necessarily the band's strongest outing, it does show a lot of improvement in terms of variety and (as with Rocket To Russia) songwriting. In fact, one has to remember that the first four Ramones albums were all written in two years time, which would make it hard for even the most creative bands to keep fresh, but lo and behold, The Ramones managed to do it near flawlessly.

Emphasis on near; while Road To Ruin has some of my favorite songs in the Ramones catalog thus far, it also features the most played out tracks as well. In fact, I think the first two tracks are actually kind of boring, not bad, just kind of 'meh'. This has a lot to do with the fact that they remind me too much of other Ramones songs. For example, the opener "I Just Want To Have Something To Do" recycles the riff from the track "I Don't Care" from the last LP, albeit using it in a far more interesting song.

But I'd say the highs on this LP are just as high if not higher than they were on Rocket. "Don't Come Close" is a bouncy tune that incorporates some newly employed rhythm guitars and Joey Ramones' vocals are more melodic than ever before. Such is the case with other tracks on this LP, like the Searchers cover "Needles And Pins" and the longest track the band had released at this point, "Questioningly" which even has a bonfide guitar solo in it! Also, while the band was playing with more melodic 'ballads' they didn't forget to inject that raw punk energy from previous albums, with tracks like "I'm Against It" and "I Wanna Be Sedated" searing with white hot punk gusto.

The main complaints that are usually directed at this LP are that the album was too soft, or that the band was only incorporating new sounds to try and sell their album to a wider audience. And sure, that may be true, but as long at it yields an enjoyable album, motives don't really matter to me, and Road To Ruin is just that, a very enjoyable album. Still, I'd say this is the weakest LP thus far in the band's discography, mostly due to the LPs slow start.

9.0/10

The Ramones Discography: Part 3 : Rocket To Russia

Released a mere 10 months after their sophomore effort, Leave Home, The Ramones' third album is a pretty big leap for the band in terms of production and songwriting. Not only does this album feature some of the band's most endearing work, but it is also a stepping stone in punk music. Melody and songwriting were finally given the spotlight and the music became less about simply being loud and aggressive, and started to harness its fury into something that could start a riot, or a spontaneous fit of dancing.

Simply put, Rocket To Russia is considered to be the band's finest outing by a lot of people, and I can definitely see where they're coming from, because this album is a near flawless blend of the punk sound the band were working with on their debut and sophomore albums,  fusing it with 50's style rock reminiscent of Elvis to create a sound that would go on to define the American punk sound.

Obviously this album features some of the groups most endearing material, such as the anthemic  "Sheena Is A Punk Rocker" to the beach rock classic, "Rockaway Beach". But the album offers up some really excellent deep cuts as well; such as the irresistibly catchy "Do You Wanna Dance" which is two minutes of pop-punk bliss.

However, this album is not without its flaws; case and point, "I Don't Care" which features the laziest lyrics and worst singing featured on a Ramones album at this point in the band's career. I get the feeling that this song was included as more of a 'statement' then an actually worthwhile song. Also, the renowned repetition and recycling are  still prevalent here, save in a far less egregious fashion.

Regardless, this LP is still a bonafide classic in every sense of the word, and is an excellent place to start if you're looking for an easy in to the Ramones catalog.

9.5/10 

The Ramones Discography: Part 2 : Leave Home

Having established their stripped down sound on the self-titled debut, The Ramones continued on there punk rock road the following year (1977) with Leave Home, an album that doesn't so much see the band moving forward, as it does show that the band was ready to pump out more quality tunes in the vein of the debut.

Leave Home's  greatest strength is that the production this time around is a bit more polished, and the songs feature a little bit more variation. These variations come in the form of some honest to God intros and outros to some of the tracks here, such as the track "Pinhead" which opens with some odd chanting. Also, despite not being as popular as the debut, or the follow-up record, I'd say that Leave Home still features some of the strongest material the band had released at that point; especially cuts like "You're Gonna Kill That Girl" and the super catchy "California Sun".

However, this album still features the same four chord structure, and while it is used in enough ways to justify writing another fourteen tracks around it, some very noticeable recycling occurs on this LP, like the track "Now I Wanna Be A Good Boy" which aside from great intro, sounds too much like the similarly titled track from the debut.

But, none of these tracks are bad, in fact, I'd say I enjoy Leave Home just as much as the debut if not a little more. The tracks are tight, succinct and are incredibly catchy; everything you could ask for from a punk album really.

The following LP would be considered by many as the bands finest moment, but it would also the first sign of band drama and drummer rotation that would last until the end of the bands career.

9.2/10 

The Ramones Discography : Part 1 : Self-Titled

It's time for another discography review! And this time around, I'll be looking at one of the most important careers in all of punk music; The Ramones! So, lets not waste any time, it's time to sniff some glue!

The Ramones are punk band that formed in the mid 70's in Queens, New York. The band is considered to be one of the first true punk bands to ever exist, and their discography is full of absolute classics, but it is the eponymous debut record that many consider to be their all-time classic, and with good reason. To keep it short (because the band likes it that way), this debut album takes an 'all killer, no filler' approach giving the listener one searing punk track after another, stopping only on occasion to deliver a heartfelt 'love song' from time to time, such as the endearing "I Wanna Be Your Boyfriend".

Nothing on this album is "smart", but that just adds to its raw appeal. Not one track on this LP is over three minutes, and the LP itself goes through fourteen of them in under thirty, making this self-titled debut feel like a compact punch to the gut, and brain. Furthermore, the subject matter on this album is just as simple and straightforward as the music; track titles like "Now I Wanna Sniff Some Glue" and "Judy Is A Punk" describe literally the entirety of their respective songs content.

But lets talk about the music for a bit, since that is why this LP is so revered. Do you like your four major key power chords? Good, because the vast majority of the tracks use slight variations on these exact chords, and while that may be incredibly lazy, you have to remember that these guys were incredibly young and weren't concerned with being "musicians"; instead, they make up for their lack of virtuosity with raw attitude and noise: early punk in a nutshell.

And that may be the finest way to sum up this entire LP, since really. no other album so succinctly states punk's mission statement than this album does. So while it may not be a 'perfect' album, it is impossible to deny its importance to not just punk as a genre of music, but as an attitude and lifestyle.

9.2/10

A$AP Ferg: Always Strive And Prosper ALBUM REVIEW

Ferg is a strange guy. He started his career as the off-key singer in some of the least appealing tracks from A$AP Rocky's first mixtape, but soon became his own thing with the release of his first mixtape- turned album, Trap Lord. An album I admittedly hated upon first listen, but has steadily grown on me and is now something I can say is well worth the listen; though suspending artistic license is a requirement.

Now we have the long awaited follow-up, and the added pressure of Rocky's last LP being... passable. So, does Ferg rise above not only his own past material, but also the expectations of his crew? Yes, yes he does. In fact, Always Strive And Prosper  may just be the finest thing that the A$AP crew has ever produced.

This comes from multiple facets; first, there's the excellent beats and production that almost seamlessly slides from banger beats on tracks like "Hungry Ham" and "Let It Bang", to more soulful cuts like "Strive" and "Beautiful People". And the latter two tracks lead into this album's biggest surprise; there's a lot of positive messages on this album, something I wasn't expecting at all considering the last album had track titles like "Murder Something". But Ferg is quick to state that he isn't the same guy who made Trap Lord and is instead trying to be some kind of guide to the street hustler, encouraging them to be more than drug dealers and gang bangers. This message is most exemplified on "Strive" and the sentiment is sprinkled throughout the album.

Another change that this album makes is just how much of it is personal. Trap Lord was all but devoid of anything that wasn't gangster posturing, but this LP sees Ferg talking about the people who inspire him the most. The track "Psycho" details the character of his uncle, who seems like a slightly destructive character, but Ferg goes on to explain that this was do to a hard life, and the track actually inspires one of the most fiery performances Ferg has ever produced. The closer "Grandma" is about just that, though I'd be lying if I said it was a strong closer to the album.

There are a couple of low points here, all of which find their home in the middle of the album, but these moments don't bring the project down enough to make me want to skip them. Also, the features here a incredibly solid (heck, he made Big Sean bearable!) and they all contribute in a meaningful way to the overall concept of the album.

Overall, an incredibly solid effort from my favorite member of the A$AP crew.

8.6/10

Kevin Morby: Singing Saw ALBUM REVIEW

Kevin Morby was the bassist for the popular indie folk group Woods, whose repertoire includes everything from lo-fi folk to even a bit of afro-pop on their last album (an LP I might do a full review for). Also, that band is well known for a busy and consistent release schedule, so one has to wonder what kind of content, if any, would a single member have to share with the world that hasn't already been put to tape elsewhere? Well, as it turns out, while Woods is changing things up, Kevin Morby is staying in his comfort zone on his latest record, Singing Saw, and I can't blame him; he is very good at what he does.

To put it simply, Singing Saw takes elements from Nashville Skyline era Bob Dylan and crosses it with Leonard Cohen's crooning, with some nice modern production to tie it all together. In fact, Morby reminds me a lot of another folk revivalist: Kurt Vile. Both of these artists show their influences without shame, but manage to put their own stamp on these sounds, so as to not make them an unnecessary listen; in fact, Singing Saw is one of the finest records I've heard all year, and it is also one of the most solid folk albums to come along in a good while.

The album mixes in slower, more contemplative moments like the opener. "Cut Me Down" with more energetic cuts like "Dorothy", which is a fuzzy tune that, again, reminds me of a Kurt Vile tune, namely one from his Wakin' On A Pretty Daze LP. Another fantastic cut is the track "I Have Been To The Mountain" which really shows just how great of a bass player Kevin is.

There are also a couple of longer cuts, most notably the title track. This track really shows off Morby's Dylan influence with a long, linear narrative that feels like a dream. But simultaneously, the track features a very forlorned sound that calls to mind the early days of Leonard Cohen's career.

Singing Saw may not be the most inventive thing I've ever heard, but I can't deny that every track on here is worth listening to. Also, I'm just happy to have another great folk album to add to my collection.

8.5/10

Chairlift: Moth ALBUM REVIEW

Chairlift are the best pop band that hardly anyone ever talks about. Their past two LPs, despite not being 100% my cup of tea, were both undeniably well-made and extremely well made albums. However, on the duos third full length LP, Moth, I believe that they have the record that could really help them make a name for themselves outside of the indie scene, and occasional commercial spot.

Simply put, Moth is one of the finest pop albums to come around in some time. The tracks here range from irresistibly sweet ("Polymorphing", "Romeo") to slow and sometimes downright ethereal such as the track "Ottawa To Osaka", which is a little on the shapeless side, but is still a solid track overall.

Truthfully, this album is at its absolute best when the group sees fit to make the beats punchy and the hooks prominent, such as the aforementioned track "Romeo" which is bound to find a home on a list at the end of the year; it is just so bubbly and fantastic. Another stand out cut is "Show U Off "; a track that is bound to be remixed or sampled in the near future by some bedroom trap rapper, with its slight hip-hop influence and pitch perfect vocals.

Speaking of which, the vocals on this LP are utterly amazing; not a single note is sung that isn't flawless. I've heard the vocalist, Caroline Palochek on some features, and obviously, on previous Chairlift LPs, and her vocals have never sounded better than they do on Moth.

Aside from a few of the tracks here being a bit too wispy ("Look Up", "No Such Thing As Illusion"), I still think this album is well worth checking out; especially for tracks like "Romeo".

8.1/10

Violent Soho: Waco ALBUM REVIEW

Violent Soho are a band from Australia who specialize in recreating iconic sounds from 90's alt rock with a slight post-hardcore flair in the vocals. Now, this may not sound like a completely unique sound for a band in the 2010's, and that's because there are a lot of bands who emulate this sound, but I think Violent Soho are one of the few that I'd actually recommend that you give a shot.

However, that doesn't mean that this band avoids falling into the same pitfalls that a lot of bands do when recreating this sound, but I'll start by noting the positives of their latest album, Waco, before going into what those shortcomings are. First of all, the first half of this LP is incredibly strong, like, long lost alt rock gem good; especially cuts like "How To Taste" which balances quite guitar phrases with roaring vocals and heavy distortion, or the fun and bouncy "Viceroy" which kind of reminds of Fountains of Wayne mixed with Oasis (a strange combo, I know). And the latter has a lot to do with the vocals, which go from rabid screams, to sounding like a mixture Liam Gallagher and Billy Corgan.

Other notable tracks are "So Sentimental" which is sort of a mini anthem that totally sounds like it could of been on What's The Story, Morning Glory?. But not all the material on this LP stands as strong as the first half, in fact, after the track "Slow Wave" ends, the album simply tries to recreate the feeling of the first LP, but at this point, it sounds stale. This problem is also highlighted by the simple fact that this album and band already remind me of a lot of other, older bands, so its really too bad that they didn't try to sounds a little more unique.

But, it still stands that the first half of this LP is freakin' great, so while this LP may not end up on my end of the year list, I'll for sure be revisiting this LP for the remainder of the year, or whenever I need a 90's fix, but want cleaner, meatier production.

6.5/10

Panic! At The Disco: Death Of A Bachelor ALBUM REVIEW

I know I'm a little late to the party on this one, but seeing as how I'm going to be seeing them and Weezer live in a couple of months, I figured there's no better time than now to share my feelings on the lates Panic! album.

This LP is the first Panic! album, post band 'breakup'. Simply put, every other original member save for Brendon Urie has left the fold, and thus, Urie has been left to run the show. All this really means is that this new LP, Death Of A Bachelor features a lot of electronics and all the songs center around Urie's personal experiences and eccentricities, of which he has many.

As someone who has enjoyed previous singles from this band, I have to say, despite a few cornball moments here and there, this new album is just as catchy and fun to listen to as the bands past material; plus, this album really showcases Urie's chops as a singer, especially on cuts such as "Emperor's New Clothes" and "Hallelujah". This guy is just so charismatic, and he really uses all the range he has at his disposal, which leads to some fantastic highs and sultry lows. For instance, the track fiery "Emperor's New Clothes" is followed up by the Sinatra-esque "Death Of A Bachelor" a track that puts the drug addled, loner protagonist of the album (presumably and exaggerated Brendon Urie) in a situation where he can't deny that he has finally found someone who he can actually love.

It's moments like the title track that suck me in with their charm and songs like "LA Devotee" which shines with pop excellence, that I can't help but love what I'm hearing. However, there are a few potholes in the tracklist; such as the sort of cringe worthy "Crazy = Genius" or the completely forgettable " The Good, The Bad, And The Dirty" both of which have some pretty terrible lyrics along with being the least impressive, instrumentally.

But, these tracks aren't enough to completely ruin the album, and I can't deny that the first half of this LP is rock solid. So, I'd say, even if you aren't a fan of previous Panic! albums, this may still be worth your time if you're into the idea of a pop album with a slight gospel feel and some extremely sharp hooks.

7.5/10 

Frankie Cosmos: Next Thing ALBUM REVIEW

Greta Kline, otherwise known as Frankie Cosmos, is an indie rock project that started in 2014 with the release of  Zentrophy, an album that I did listen to enough to have written a formal review, but I passed on it because I just felt so 'meh' on it. That had a lot to do with the fact that the album felt as young as the artist putting it together (she was 19 at the time, as was I) and that left a lot of the tracks feeling a bit hollow and thrown together. Also, the album was incredibly short, with track lengths that only flirted with the 2:30 minute mark. So, going into this new LP, I was hoping for a bit more body and sharper, catchier songs, but is that what I got?

To the former; no, because while there are more tracks here, they again, only flirt with the idea of being over two minutes, and the tracks themselves have the tendency to feel like small ideas of songs and not fully formed tunes, like the track "If I Had A Dog" or the entirely pointless interlude track. However, I have to admit, when the songs actually feel like fully formed songs, they're darn catchy. In fact, despite only being a little under a minute and a half, the opener "Floated In" is a great track, that totally reminds me of slacker 90's rock from the likes of Pavement.

And the album has other bright moments like this, such as the track "Too Dark", "Fool" and the heartfelt closer "O Dreaded C Town" which seems to be about a destructive friend who Greta used to be close with. This track is especially nice because it changes the sonic scenery a little bit; something this LP could of used a lot more.

I'm not expecting Sufjan Stevens levels of instrumentation, but I would have enjoyed more sounds than the cleanly strummed guitars that this album is covered with. And this fact only highlights how, even though the LP isn't all that long, it feels a little tiresome to listen through in one sitting.

So yeah, this album is an improvement over Zentrophy, but I can't say that I am very excited to hear whats next in the Frankie Cosmos canon.

6.5/10

Weezer: White Album ALBUM REVIEW

For a lot of people (including myself) Weezer had spent the better half of the 00's releasing albums that just weren't all that good. And it seemed like that would be the legacy the band would leave behind, that of a once great band that peaked early and spent the rest of their years releasing sub-par material. However, that streak was effectively broken in 2014 when the band put out Everything Will Be Alright in the End, an album that saw the band return to form in a big way, and while I did greatly enjoy the album upon its release, I'd be lying if I said that LP hasn't quickly become my third favorite in all of Weezer's discography. That album was just so much fun, and had enough emotional moments to balance out some of the goofier moments, i.e. it was a quality Weezer album.

Now we have their latest release, another self-titled project (something the band does pretty much every other album) and while this album was teased with no less than five singles (exactly half the albums tracklist) I was still a bit nervous to hear if the band would be able to follow up EWBAITE. And I've gotta give it to them; they succeeded.

In fact, in a couple of ways, this LP is a tighter, more cohesive LP than the last one, with a loose 'concept' that centers around the beach and California, which leads to a lot of, uhh, 'sunny' tunes. This is especially true on a track like (Girl We Got A) Good Thing" which sounds like Weezer's take on a beach boy track; and the opener, which describes California as the perfect place for outcasts and people who just aren't seeing the bright side of life.

We also get a couple of straight rockers on here; such as "Do You Wanna Get High",  which sounds like a long lost Pinkerton B-side (and a good one at that) and the track "King of the World" which may be my favorite Weezer barn burner in some time.

However, not every track on White Album is all about sunny days and happy vibes. For instance, the closer "Endless Bummer" sees the 'protagonist' of the album getting sick of all the sunshine, to the point where even 'kum ba yah' makes him violent. Also, the track "Thank God For Girls" is a song that seems to be about a kind of awkward dude talking about a girl he's obsessed over, but turns out to be a song that pretty much points at the finger at God for creating women for the purpose of making men desire them (a strange sentiment, I know). And while this track got a bit of heat from Weezer fans for its change in sound, (it was the first single after all) I've been a fan of this track from day one, I think it has a great, arena ready sound; the kind of stuff that Weezer has always flirted with.

Another left-turn on this album is the penultimate track "Jacked Up"; this track is lead by a very moody piano phrase, and sees Weezer climbing into his upper register. But while the sound is new for Weezer, the narrative is not; it's a song about getting worked up about a girl, a concept that Rivers perfected on Pinkerton, and something that he still does very well all these years later.

The only track I wasn't one hundred percent behind was the track "Summer Elaine and Drunk Dori", but I feel like it will grow on me over time (much like "Cleopatra" did).

It's incredible to think that I again live in a world that a Weezer album can be something to look forward to, and if the band can keep this quality up going forward, I don't see that changing any time soon.

8.9/10