Car Seat Headrest: Teens Of Denial ALBUM REVIEW

Car Seat Headrest is the moniker of Bandcamp veteran Will Toledo, who has in the past 5 years or so, released over ten albums in total, all recorded with very modest means. The album he put out last year, Teens Of Style, was the band's first outing on a major label, and while that album did in fact have label backing, it still sounded like a bedroom project. However, on this new release, Toledo really shows of his chops as not only a songwriter, but also shows an almost day and night improvement in terms of production quality. In short, Teens Of Denial is not only Car Seat Headrest's best work to date, it may just be my favorite album released thus far in 2016.

Sure, it isn't a perfect LP, but the things that detract from it being a flawless ride just add character to the album, which is already full of character to begin with. The album spans an ambitious 70 minutes or so, but never feels like it is going on too long, and it mixes things up throughout, so not a single moment drags. In fact, the pacing here is superb, often going from an energetic track, like the opener "Fill In The Blank" to a longer, more complex tune like "Vincent". Or take the shift from "Unforgiving Girl (She's Not An)" to the sprawling and beautiful "Cosmic Hero". The album just flows so effortlessly, and provides some stellar tunes along the way.

For example, I absolutely adore the track "(Joe Gets Kicked Out Of School...)", a hilarious, yet contemplative song about getting high and the effects of the drugs themselves, which leads to some pretty interesting imagery. Or the amazing "Killed By Hippie Powers", which is so insanely catchy, I just can't stop myself from humming it to myself at random intervals throughout the day. In fact, darn near every song here is liable to get stuck in your head, even the longer form songs, such as the aforementioned "Cosmic Hero" which opens with a wonderfully 'Neutral Milk Hotel' esque horn part at the beginning.

And I can't talk about how great the songs are without mentioning the lyrics, which range from the ludicrous and hilarious, such as Will musing about trying to "Find the really good porn" to him wanting to hide his insecurities on "1937 State Park", the gambit of emotions that this album goes through really makes it feel like an experience when you sit down and go through the LP in its entirety; something that I think is required to full appreciate every track here. Because while there are some amazing stand alone moments, you can really feel the love of the album that Will has, and Teens Of Denial is a fantastic ALBUM.

My only complaints lie in some slightly iffy production moments; a murky guitar here, a slightly buried vocal part there, but all in all, I can't find much to complain about here. Though I can see some people getting hung up on Will's voice, which goes from a Strokes esque low croon, to a wild and frenzied shriek at the drop of a hat. But to me, I love both sides of is vocal range, and it really helps sell the humor and sincerity that these tunes present.

I've had this album on repeat for the past couple of days, and I have a feeling it will remain in rotation for the rest of the year. The way I can get lost in this album's flow is something that has been sadly missing from a lot of music released thus far in 2016, and I'm glad to say that I've finally found it.

9.5/10

Modern Baseball: Holy Ghost ALBUM REVIEW

Modern Baseball are an emo band that formed in 2012, this is there third LP titled Holy Ghost. Now as it always seems to happen year after year, I seem to find a modern emo album (a genre I usually despise) that I actually enjoy a lot, this is this year's model, I suppose. Because what I hear on his new album is the sound of a band releasing their feelings and experiences in short, controlled bursts, but by the end of this album, you can really feel the relief that goes along with the cathartic release.

However, this isn't a drawn-out release, with the album clocking in a around 27 minutes; in fact, you'd almost expect this album to have more punk influence, but instead the tracks here, for the most part, stick around just long enough to say something poignant (poignant to the band at the very least) and work in a catchy hook before ending and moving on. This formula works in the album's favor, because the band never gets stuck in a particular subject or story too long, and all of the tracks here feel like a cohesive whole.

There a few downsides here, mostly with the fact that the tracks that don't run all that long, such as "Coding These To Lukens" fail to leave much of an impression, and the album moves along so fast, moments like these are very easy to miss, despite having given this album a solid dozen listens at the time of this review. But when the songs stick, they really stay with you. "Wedding Singer" is a fantastic kick off to this LP and the following track "Note To Self" is some of the most bonafide, grade A emo I've heard in a long time. Other great moments include the more aggressive "Breathing In Stereo" and the closer "Just Another Face" which really leaves the album off on an emotional note.

Overall, I think this is a very strong album; though I don't think it is necessarily a great one, I do think it is worth checking out if you're into the softer, more emotional side of rock music, but want something that doesn't rely on melodrama to make you feel something.

7.4/10

The Misfits Discography: Part 6 : The Devil's Rain

Just like I did with the Ramones discography, I am skipping the covers album that the Misfits did in the mid 2000's, despite actually having Marky Ramone on it!

So after the second dissolution of the Misfits in the late 90's, Jerry Only decided about 5 years after, to reassemble the group, but this time he recruited a "supergroup" of punk rock musicians; they released a single album in 2004, and the band promptly went on yet another hiatus, until the release of The Devil's Rain in 2011. But instead of going for the same line-up, Only decided to instead make the group a trio, with himself taking the reigns of lead vocalist on top of his bass playing. The result is sadly a lifeless affair that shows that maybe Jerry should of just let the band remain dead after all.

Unlike the last two Misfits releases, I have nary a single track on The Devil's Rain that I enjoy from start to finish. The album opens with the title track, which features a pretty unenthusiastic performance by the band, and some incredibly cheesy rain sound effects hanging in the background. And the lyrics themselves are just laughable. And this is kind of the way most of the tracks here go; we get a so-so instrumental with some weak vocals singing a song about a mummy ("Curse Of The Mummy's Hand") or zombies ("Land Of The Dead").

The only moment I could feel my blood sort of rising in excitement was on the track "Father", but that's because it is one of the few tracks here that doesn't rely on a simplistic chord progression for the entire run time and actually features a pretty decent lead guitar riff. There's also the slightly spooky violin intro to "Ghost Of Frankenstein" which was a nice change of sound, despite that track also featuring more cornball sound effects, this time grunts from the eponymous monster himself.

One thing that I just couldn't find any enjoyment from however were Jerry Only's vocals; he's fine as a backing vocalist, but he just doesn't have the chops to lead. I had my fair share of complaints about Graves, but it's like Only tries to combine both Danzig and Graves into one overly theatrical, whiny mess that doesn't work: not once. He also sounds so unenthusiastic, and like he just isn't having any fun with any of the material here. I mean, I would of loved to get a more menacing album from the band after their less than stellar 90's work, but if I'm going to get a campy romp instead, at least sound like you're enjoying it!

We haven't seen any news of a new Misfits album in 5 years, and like I said at the beginning of the review, I sort of hope it remains that way. I love this band's overall concept and early material a whole lot, but the second half of their career is just a slog to get through, and has very little in the way of redeeming qualities. Though, with news of Danzig and what is left of the 'original' line-up set to do some shows this year, maybe we can at least relive some of the glory days in a live setting, though again, please don't record another album unless it is some stellar stuff.

3.0/10

The Misfits Discography: Part 5 : Famous Monsters

After making their big comeback in 1997 with American Psycho, the Misfits seemed to be back on their usual roll as far as album releases go, seeing how they followed up the less than stellar American Psycho two years later with Famous Monsters, an album that is markedly more enjoyable, but in my opinion, still suffers from being an album that feels out of character for the once menacing Misfits. This feeling also translates to the image the band is putting out on this album, which is far less actual 'horror' and far more 'monster mash', I mean, just look at the cover; while it looks pretty great in a campy sci-fi/ horror camp kind of way, I would never think that the group were called Misfits by the title alone.

I will say without any reservations whatsoever that the album opens incredibly strong with what may be one of my Top 5 all time favorite Misfits tunes, "Forbidden Zone"; this track is insanely well constructed and has a massively enjoyable hook. This is an example of how well this line-up could work together, it is a shame that we never got to see this group go forward though, seeing as how shortly after the release of this LP, the band would once again disband for nearly 5 years, before bassist Jerry Only would reform, and later front the group.

And while no other moment on this entire LP trumps "Forbidden Zone", I have to say that the first quarter of the LP certainly holds up against it. Especially on the wonderfully cult-ish "Dust To Dust", which features yet another great hook. And another thing to note with the better tracks here; the band just sounds a lot more enthusiastic and in sync. A lot of moments on American Psycho (and even this album, admittedly) feel like the band is still shaking off the rust of over a decade of inactivity. But here, we see them return to form in a pretty big way.

This makes the rest of the album a pretty big disappointment.  While there are some decent moments here and there in the form of "Die Monster Die" and "Living Hell", there are some downright laughable ones too. The biggest offender being the saccharine sweet "Saturday Night" which is the sound of the band shooting for a 50's crooner, but ending up with a mopey punk song with no guts whatsoever. And we get a couple 'songs' here as well that just feel like a riff or hook but never come together, such as "Witch Hunt" or "Pumpkinhead".

But the biggest problem I have with this album is actually Grave's vocals, not because I think they're overall terrible, in fact I think he really makes the tracks that I enjoy here all the better. It's when he forgets to clear his nasal passages before singing on cuts like "Scream!" or "Crawling Eye" that I start cringing. The sound of his voice on these tracks is just so grating and annoying, it makes me wonder where the vocalist on "Forbidden Zone" was that day, because he ain't here now!

Did I enjoy this more than American Psycho? Certainly. But I'm not going to lie to you and say that I think this is a great album or anything. Sure, it has worthwhile cuts here and there, and one downright fantastic one. But it also features some of the worst tracks I've yet heard from the Misfits. So approach with caution.

5.6/10

The Misfits Discography: Part 4 : American Psycho

As great things often are, the original lineup of the Misfits wasn't long for this world. Not only had they replaced their guitarist during the release of Earth A.D., but after that that album's release, the band saw the departure of perhaps the most important piece; lead singer Glenn Danzig, an occurrence in the band's career that would ultimately cause their fanbase to split into two categories: those who though that the band went downhill from that point on, and those who though 'ehh, they aren't that bad'. Now who got the opportunity to fill the legendary shoes of Glenn Danzig? Well, a young upstart musician who went by the stage name Michale Graves, that's who. In fact. the loss of Danzig caused the band to go into a near 14 year hiatus, before finding graves and recording their followup to Earth A.D., titled American Psycho. This means that the band replaced Danzig with a guy who would have been around 3 years old when the band first game on to the music scene.

But, age is just a number, and for all the problems that I do in fact have with American Psycho, not all of them involve the merit of Graves as a vocalist, more that I think his talents would have been better suited for another band entirely. Because while he does pull of some decent Danzig esque vocal performances here and there, such as the title track and the cheekily titled "Walk Among Us". Both of which are definite highlights here. But it there are some tracks here where the vocals are just too innocent and immature sounding, such as "Blacklight" which is hardly a song to begin with, and "Day Of The Dead" which is just kind of laughable.

Also, the track "Dig Up Her Bones" is, in my opinion, the sweetest the band has ever sounded, and it makes me feel like I'm getting cavities just listening to it. Sure, it is not a horrible tune, but it is a bad Misfits song. Because for all the outrageous antics of a song like "Last Caress", at least that song reflects the name of the band! You feel kind of devious listening to lyrics like that, and its campy-ness  works in favor of a great song. Whereas the campy aesthetic on American Psycho just goes way too far, leading to an album that sounds like a punked out 'Monster Mash' Halloween music compilation.

As far as the instrumentals here, the band seems to be in autopilot a lot of the time, simply churning out one simple chord progression and drum line after another. And it says a lot that I'm complaining about repetition, considering that I just spent two weeks listening to the entirety of the Ramones discography. But what makes it such an issue here is that the songs just aren't that great most of the time.

So, while I did find at least a couple of moments to enjoy on American Psycho (not to mention the cover art is fantastic), I just could not get over how cornball a lot of this album is, and how much a shift the tone of the band has taken on this LP. I guess they were trying to compete with the pop-punk scene of the late 90's, but even the big players in that game had moved on at this point. Go ahead and pass on this one.

4.5/10

Skepta: Konnichiwa ALBUM REVIEW

The U.K. grime scene is not one that I'm well versed in, but when I saw that a new Skepta release was out, I figured I should go ahead and check it out. I mean, he and guys like Dizzee Rascal are both names that I recognize and have enjoyed in the past, plus it seems as though that style of music is preparing to make its big entrance into the American charts for the first time in a while, so might as well see what all the fuss is about. However, you have been warned, I'm no grime expert.

In any case, I liked a lot of what I heard on Konnichiwa; in fact, I love the title track/ opener, which features a banging beat and Skepta is spitting bars that mention The Matrix and how he's ready to concur the rap game; he sounds hungry and his energy is infectious. This energy also carries over to tracks like "Lyrics" and "It Ain't Safe", both of which have fantastic hooks and again, some pretty solid bars from Skepta.

There are some sort of big drawbacks to this LP however. While I love how Skepta keeps his energy up, it tends to drown out the more mellow tracks here, such as "Text Me Back" or "Corn On The Curb" both of which would have gone over better if he changed up his delivery a bit more. Also, what's with the overly long skits at the end of some of these tracks? I mean, I get that he wanted to tell a story with some of these tracks, but I don't like listening to a 2 minute outro when I'm going back through an album. These moments are okay the first time through, but are completely passable after that. And I can't deny that the track "Ladies Hit Squad" is a dud through and through; it may be someone else's cup of tea, but to me, it is grade A sleaze that has no place on an album as hard as this one.

But these problems aside fortunately didn't stop me from enjoying this album quite a bit, because the album follows this stinker with three of the best tracks on the entire project. "Numbers" proves that Pharell is at his best when he's producing bangers and "Man" and "Shutdown" are so incredibly hard, it is a wonder why a track like "Ladies Hit Squad" was even considered for the final cut.

Overall, I'd say this is an album worth paying attention to, and if the U.K. grime invasion brings us more albums of this quality, then colour me excited.

8.0/10

The Misfits Discography: Part 3 : Earth A.D./ Wolfs Blood/ Die, Die My Darling

Released only a short while after their proper debut in 1982, the followup to Walk Among Us, titled Earth A.D./Wolfs Blood is easily the bands most intense and brief effort. In fact, the initial release of the LP, which carries the aforementioned title, clocks in at a staggeringly short 14 minutes. Whereas latter editions of the album included tracks from the Die, Die My Darling EP which rounded things up to 21 minutes overall. Either way, the third Mistfits album is not going to take up much time, and in my opinion, it also cuts a lot of the crap that some of the band's later LP's would wallow in. But before I move on to the album itself, I should probably voice my opinion on which version of the LP is 'superior' since there are people out there that prefer the initial release. In my opinion, if you want a fast, no frills hardcore punk album and nothing more, go for the Wolfs Blood edition; you'll be hard pressed to find a leaner, more satisfying punk album. However, if you would like to have a few more shots of melody, then the Die, Die My Darling edition is for you. Personally, I love the three tracks that the latter edition adds, so I choose that one.

All that aside, the album on offer here is one lean mean punk machine. It just doesn't stop from the moment the track "Earth A.D." kicks things off, to the moment that "We Bite" squeals out and crashes. This LP is hardcore punk, a genre that kind of seems like pure noise to the untrained ear, but I'd argue that this album would be appealing even to someone who usually writes the genre off completely. Not only are the riffs here hard as nails, but Glenn Danzig is such a compelling frontman and his voice just soars above the mix in such a fantastic way. I've probably listened to this album a good two dozen times in the past week in preparation for this series, and each time I go through it, I appreciate Danzig's vocals even more.

That's not to say that the playing here isn't fantastic as well, I mean, these guys are playing their guts out on every track here, even if the production leads to some of the finesse being lost in translation. Still, there are some fantastic tracks here, such as the studio version of "Mommy, Can I Go Out & Kill Tonight?", the grinding "Green Hell" and the menacing "Blood Feast" which for the original cut of the LP is the lone moment that the band slows things down to create a more moody atmosphere. However, with the later editions we get the classic Misfits tune "Die, Die My Darling" as well, and the wonderfully catchy "We Bite" which is the closest this album comes to revisiting Static Age in terms of style.

Aside from some murky production here and there, there's not really any other negatives to point out here. Sure, it isn't the catchiest, or most immediate Misfits LP, but I'd say it is the most viscerally satisfying by a long shot. So, if you're in the mood to trash around for a good 20 minutes, put on some Earth A.D.!

9.3/10

The Misfits Discography: Part 2 : Walk Among Us

As I stated in my review of Static Age, this is the album that was first released as the Misfits debut album. And while in hindsight, it is a shame that Static Age wasn't just released in its entirety instead of broken up over multiple releases, to me, the real shame is that Walk Among Us simply isn't as good as Static Age. True, this album isn't bad, not is the slightest, but it lacks some of the gusto and pure punk excellence of the band's first recorded effort. Though I can't deny that Walk Among Us Still contains some of the groups finest moments, and is an overall solid effort from a band that had this many line-up changes and band turmoil in such a short time.

The album opens strong with the menacing "20 Eyes" and goes into a track that is worthy of a full crowd chant along with "I Turned Into A Martian"; a track that digs into the more campy elements that the band is known for nowadays. Then the album goes into some less memorable territory after the decent track "Hell Breaks Loose". Especially with a track like "Vampira" which just doesn't stick with me at all. Luckily, at around the halfway point, we get one of my personal favorite Misfits tracks, "Hatebreeders" which features yet another sing-along chorus with a lot of guts to boot.

In fact, the albums best songs all follow this formula, where the playing is muscular, and the hooks are lean and to the point. Though there are a couple better dissonant moments, such as the live version of the track "Mommy, Can I Go Out And Kill Tonight?" A track that would appear on the band's next LP, but in a studio capacity. This track also broadcasts the direction the band's next LP would take.

Other highlights for me include the quirky "Skulls" and the hilarious closer "Braineaters". But the crowning jewel here is undeniably "Astro Zombies" which is a perfectly balanced punk tune in my opinion; there's gore and destruction in the lyrics, but the song itself could soundtrack a summer beach trip. I only wish there were a few more moments on this album like "Astro Zombies" because then this LP would be an undeniable classic. But, as it stands, it is a solid record from a great band, and while it isn't my favorite Mistfits record, I understand why some people consider it to be theirs.

7.8/10

The Misfits Discography: Part 1 : Static Age

Welcome to another discography series! This time I'll be digging into the career of one of punk's most notorious and influential acts, The Misfits! While this series won't be as long as my Ramones series, considering they only released about half as many as the Ramones (not counting compilations), I will be sticking to full length, non-compilation albums. And on that note, I feel it is pertinent that I explain why I'm starting with Static Age. and not the band's 'official' debut, Walk Among Us. The reason is pretty simple, but unfortunate; the band couldn't find a record label that wanted to release it. So, instead, the group put out a four track EP end for a few years, they toured the songs and wrote for their next album which would eventually be their official label debut in 1982.

While songs from this album were scattered throughout compilations and EP's, it wasn't until 1997 when the album was released in a proper form. And that's a shame, because this would of easily been remembered as one of punk rock's early greats, especially in 1979, when the album was first recorded, and considering that the tracks that did get out in one form or another are some of the band's most loved and endearing tunes, it just goes to show that labels pass up some really amazing stuff.

With that bit of history out of the way, it's time to discuss the music on Static Age, which is fast, loose, and ultimately some insanely catchy punk with some light horror and sci-fi themes. Though not as cartoonish as the band's later material, ( save for "Last Caress") Static Age still goes for an outlandish and violent image, such as the track "Bullet" which describes the Kennedy assassination in detail and even goes into a not so safe for work fantasy involving Jackie O, or the aforementioned "Last Caress" which has lines about raping mothers and killing babies. But despite these extremely dark themes, the band never seems like they actually want you to think they do this stuff, instead it just sounds like a group of rowdy teenagers who say obnoxious stuff to get attention. And really, with track names like "Teenagers From Mars" and "Angelfuck", are you really going to take the messages of these songs seriously?

On top of being outlandishly grotesque, a vast majority of this LP is also shamefully catchy. It is kind of hard for me to pick a favorite when there are so many that I love, but I'll simply list some off: "TV Causality" is a hellish tune about a TV that eats people, "Return Of The Fly" is an ode to an old Vincent Price movie of the same name, "Hybrid Moments" is probably one of the happiest songs about creatures raping ones face I've ever heard, and "Attitude" is the perfect song to play if you want to vent about a particularly snotty person.

Track for track, Static Age delivers one gem after another, slowing down only once for the track "Come Back" which is still a great tune. In fact, my only problems with this LP as a whole are some less memorable moments like "Hollywood Babylon" or the opener "Static Age", which aren't bad, but get lost in the mix. And I have to admit that some of the production here is pretty muddy. But the one thing I can't fault on any of the tracks here is the vocal talent of a young Glen Danzig. Good lord, that man can sing, with a husky, super macho voice that mixes Elvis with a Jersey punk, there isn't another vocalist who sounds exactly like him, and he puts on a great show on Static Age.

So, while not the first impression that most people got from The Misfits. I'd say nowadays, this is the place to start. Not only because it was what the band originally wanted, but because it really is a wonderfully compact and catchy punk album that even punk lightweights can enjoy easily.

9.0/10

Sturgill Simpson: A Sailor's Guide To Earth ALBUM REVIEW

A Sailor's Guide To Earth marks the third full length release from modern country artist, Sturgill Simpson, a man who I have a lot of respect for after giving this new album of his an honest listen. He not only made a strong album, but also made a modern country album that doesn't spit in the face of decency or country music's past. That kind of sacrilege is all over country radio, but Sturgill on this album and his last album, decides to opt for a more refined and mature sound that does the genre justice.

This album has it's jams, like "Keep It Between The Lines", but it also has some achingly beautiful moments like "Breakers Roar" that really show how great a songwriter Sturgill is, and how a down tempo country song doesn't have to be about a cheating girlfriend, or an overly patriotic military tune. Instead of indulging in stereotypes and cliches, Sturgill opts to write a batch of tunes that are very personal, but are still relate-able; which leads to some really memorable moments. Especially the opener with the lines about his newborn son, or a personal favorite moment of mine where he mentions getting high while playing Goldeneye. It is a funny little line, but it makes Sturgill seem that much more relate-able and likable to me.

On top of being a very endearing LP, it also sounds fantastic. The production here is very clean, but there's still a lot of soul here, both literally a figuratively, such as on cuts like "All Around You". The instrumentals here are just so classy and well played, and they are kissed with horns and strings, but these elements are not overplayed and never overtake any of the tracks here. This is a very calculated record to be sure, but it never feels robotic or forced.

The only moment I wasn't loving was the track "Brace For Impact (Live A Little)" which just didn't grab me, but is still a well crafted tune regardless. However, with tunes like "Oh Sarah" and "Call To Arms" closing the album off, it is easy to forget any lesser moments that the album may possess. The album even has a bonafide country cover of Nirvana's "In Bloom", and Strugill manages to harness the bitterness of the song, but bring the volume and energy down to a near whisper and still pack punch.

This album is great from top to bottom, and that isn't something I get to say about most modern country releases.

8.8/10

Kvelertak: Nattesferd ALBUM REVIEW

Kvelertak is a metal band from Norway, but in my opinion (especially on this album) the labeling of 'metal' is not giving this band enough credit. Because on past material and especially on this new LP, Nattesferd the band melds together the worlds of black metal, punk, and even some Thin Lizzy esque prog and hard rock. Nattesferd is really an interesting first listen, and it also happens to be one that gets better with each visit.

The album opens with a pretty standard, but still awesome black metal tune, with a noodly guitar line and the lead vocalists wretched vocals, it is the kind of stuff you expect from a Norwegian metal band, and it is a very strong opener to boot. But then things go in a direction I personally wasn't expecting with the track "1985" a track that sounds every bit like its title suggests; I'm getting a strong Van Halen mixed with Dokken vibe from this track, and while I think it is one of the catchiest, most ear wormy tunes to come out o metal in a while, I can see where long time fans or metal purists could be turned off a bit. It is a song that isn't afraid to be a little corny, and the harmonized guitar leads and solo toward the end of the track is just pure ear candy.

But the band doesn't rest on their laurels on this album, with the title track bringing to mind contemporaries such as Baroness, with surging guitar lines and a driving rhythm section and the pure punked out bliss of a track like "Bronsegud", or perhaps the hardest track on the entire LP, the appropriately titled "Berserkr". Nattesferd offers a lot of variety, but rarely feels like a disjointed album, and that has a lot to do with the fact that darn near every track here is great.

But there are a couple of weaker points; the first comes midway through the album with the track "Svartmesse" which is just a bit of an energy sapper considering the rush of energy that came before it, and while I do like the track "Ondskapens Galakse", it has a very similar problem to the formerly mentioned track. But those are really the only two spots I could honestly skip on the album, and that would only be if I was in an especially impatient mood, because even the nine-minute "Heksebrann" is worth listening to from start to finish every time, with its multiple movements and seamless transitions, it shows just how talented these guys are.

At only nine tracks, this album won't take much of your time, and it is also a really great metal album. So give it a try, and let the multicolored tapestry of Nattesferd envelope you.

8.4/10

Chance The Rapper: Coloring Book ALBUM REVIEW

It is amazing to think that right around three years ago, Chance The Rapper released his second mixtape Acid Rap, and whilst on a plane heading for Colorado, my mind was blown. Not only was that album the best mixtape I'd heard that year, but it also found a cozy spot on my top 10 for the best albums of the year. Not only that, but Chance has been busy working with other projects such as Donnie Trumpet, and Kanye West with amazing tracks like "Sunday Candy" and "Ultralight Beam", the latter of which teased the release of this new mixtape, Coloring Book. And I have to say it was well worth the wait, because this is easily the most soulful Rap LP I've heard all year, and may just be the most feel good album you're liable to hear all year as well.

The first thing you'll notice about Coloring Book is its Gospel flavoring, a sound that Chance has been teasing all along, but really digs into here; and the result is an album full of spiritual tune that are incredibly uplifting and beautiful. The opener "All We Got" sees Chance and Kanye giving credit to their passion and how they love their craft. Then there's the bouncy "No Problem" which not only features a killer hook, but also boasts solid verses from both 2 Chains and freakin' Lil Wayne of all people. In fact, this tape pulls excellent performances from all of its contributors, especially on a track like "Mixtape" with Young Thug and Lil Yachty, both of whom have a tendency to phone in features, but sound great here and actually put a bit of though into their verses. T-Pain also contributes to one of tapes best moments with surprisingly soulful lead vocals on "The Finish Line/ Drown". And I can't forget about Bugati Biebs, who kills his feature on the slow jam "Juke Jam".

As good as the features are though, it is Chance himself who shines brightest of all. He just has so much charisma on this album, and manages to change up his style and flows to match the beat and energy of each track. His lyrics are often funny and relate-able, and he even drops some nuggets of wisdom on tracks like "Blessings", a track that is my favorite of the year so far; it's a track that sees Chance really giving thanks to his inspirations and giving his fans the kind of music you can really rejoice to, whether you're religious or not.

For the most part, Coloring Book is a lively affair, much like being in the crowd of an especially fiery sermon, but Chance turns down the energy for exceptional tracks like "Same Drugs" and "Summer Friends" the latter of which may be the saddest, most introspective moments on the entire album. But not once does this album fail to deliver quality material; it is incredibly consistent, but never boring or long winded. In truth, just talking about this LP makes a little joy well up in my heart, it is really that fantastic.

My only small complaint is with some of the production, which for 95% of the album is gorgeous, but I would have loved a bit more guts behind the instrumentals on tracks like "Blessings" which was first debuted on Fallon with a live drum kit; a touch I wish made the final mix of the album, and maybe the track "How Great" could of been a little less reliant on that old gospel standard; however, I'd argue that the bars from Jay Electronica more than make up for any shortcoming that the track has.

I said in my Acid Rap review that I was excited to see where Chance was going, and Coloring Book is exactly what I wanted to hear. It is an undeniably strong project from one of the best young talents that we have in popular music. God bless him.

9.3/10

Drake: Views ALBUM REVIEW

Drake has had a pretty great couple of years recently. His last 'mixtape' If You're Reading This It's Too Late sold exceptionally well and was even critically loved to boot. In fact, that album narrowly missed being on my Top Ten list last year, and I can say with not a doubt in my mind that that album is Drakes best, most consistent work to date. Then there was the beef with Meek Mill (who lost horribly, by the way) which gave the world Drake's most fiery rap track yet with "Back To Back". All the while though, Drake was teasing us with the prospect of a new album called 'Views From The Six', now known simply as Views. This album was supposed to be Drake getting into the mindset of his city, Toronto, and giving us another album of smooth introspection.

But this album ran into trouble pretty quickly for me, because despite the track "Hotline Bling" being a personal favorite of mine (now relegated to be the lone bonus track here), the other two singles "One Dance" and "Pop Style" were both, to put it nicely, highly disappointing. They both suffer from oddly poor production and some pretty terrible lines from Drake; especially the Channing Tatum line on "Pop Style".

And truth be told, the rest of Views, aside from maybe two or three tracks (out of 20!) are just as bad. I haven't listened to a Drake album and cringed this hard since Thank Me Later, and in a lot of ways this sounds like a more expensive, and significantly longer version of that album. The songs focus too much on the soft-crooner side of Drake, and when he does rap, his bars softer than a Three Musketeers. Which is a darn shame, seeing as just a year ago, Drake was on the top of his game in all aspects.

Views just feels like Drake got caught up in his own hype and forgot to put his heart into this album; it is an album that is both ridiculously long, at an astounding 88 minutes, and gives no merit to it being even half that length. In fact, I would be hard pressed  to even assemble a solid 10 track album from the tracks given to me on Views, they're just that bland and outright terrible at points.

For the couple of high points, I gotta give it to the DMX inspired "U With Me?" which has great energy and even has a pretty catchy hook. Also, the track "Weston Road Flows" is another solid rap track and I still have to give it to "Hotline Bling" which ends the album off on an odd note, but it is still at least a solid song. And the fact that I was given a 20 track album, but had to dig, and even include bonus tracks, to find positive things to say is just so mind boggling.

I could get into all the tracks I hate or just don't like, but then this review would go on just as long as the album. In short, if it's not a goofy beat ("Feel No Ways", "Fire & Desire") or wack lines that would make Lil' B roll his eyes ("9". "Child's Play", "Views") then it is just a general lack of anything worthwhile whatsoever. Views is Drake's worst album yet, and it is a shame that it had to happen at this point in his career, when I think even former Drake haters had to admit he was getting better.

3.2/10

The Ramones Discography: Part 13 : Adios Amigos

Before I get into the meat of this review, allow me to clear the air on a couple of things. First, I know that there was an album between Mondo and this one, but it was entirely made up of covers, so I don't feel like it is worth digging into and critiquing in the same manner I will be for this album. Second, I was originally going to do a 'personal ranking' post of all of the Ramones albums from least favorite to favorite, but I've decided that I will forgo this rather lame post in favor of spending time looking for another discography to review! So, lets cut the crap and send this series off right!

Adios Amigos is the technically the 14th studio album released by the Ramones, and from the outset, the band had planned on it being their last; what with the title and themes on some of the songs here, it is clear that the band wants to end their famed career being true to themselves. And in my opinion, Adios Amigos is the finest example of a Ramones album since Too Tough To Die, an album I've brought up a lot in this series because it is not only my favorite, but because it is the perfect example of a comeback album that completely reinvigorates a bands sound. And while Adios Amigos isn't quite as brilliant, it has moments that shine just as bright.

Especially on cuts like "I Don't Wanna Grow Up" with its bratty attitude and catchy as all get out guitar work; it is a quintessential Ramones tune through and through. Then the band dishes out gems like "Life's A Gas" which is pretty much the precursor to Joey's solo album and one of the band's  best 'I'm okay, not really' songs.

Even Dee Dee contributes some great tunes to the album, despite not being in the band for a full 6 years at this point. However, C.J. Ramone takes the wheel on these tracks and really proves definitively that he was able to hang with the Ramones in a serious way, especially when the album gets to his personal contributions like "Scattergun" which are pop-punk ear candy. And despite him not doing much after being in the Ramones, I think he should be commended (much like Richie) for being a pivotal member of the Ramones.

Adios Amigos doesn't have many downsides if I'm being completely honest; maybe a couple of the tracks here aren't instant ear worms, or work with a familiar formula, but all in all, I can't deny that this is the most fun I've had during this series since Too Tough To Die. And I really think this should be remembered as not only a high point in the career of the Ramones, but also a fitting way to put a career to rest.

This album was released in 1995; the band disbanded shortly after its release and the original members of the group (Joey, Tommy, Dee Dee, and Johnny) all passed away within ten years of its release. So in more ways than one, the band really was saying 'Adios'.

8.8/10

The Ramones Discography: Part 12 : Mondo Bizarro

Released in 1992, nearly three entire years after the release of the disappointing Brain Drain, which saw the departure of longtime bassist, singer and songwriter, Dee Dee Ramone. In my opinion, that album is easily the worst Ramones album (thus far in this series) and a sign that the band really needed to change things up or at least harness some of that old-school Ramones energy. And for the most part, that is was happens on Mondo Bizarro, seeing as it is easily the strongest LP the band put together since Too Tough To Die.

First and foremost, I need to mention the new bassist / singer, C.J. Ramone, as he not only has the task of replacing Dee Dee, but also takes the spotlight on two of the tracks here; ironically, both of which were written by Dee Dee! "Strength To Endure" is a fist pumping anthem and  while "Main Man" isn't one of Dee Dee's best, it is a strong track nonetheless. However, it is the final Dee Dee written number "Poison Heart" that really steals the show; it is a very melancholic tune, that details a deep paranoia; no doubt written when Dee Dee was at his most drug addled and bitter.

As well as finding a fitting replacement for Dee Dee, the band also started working with a new record label here, and the production is cleaner and punchier, something that was severely lacking on Brain Drain, this is especially evident on a track like "It's Gonna Be Alright".

Other standouts include Joey's middle finger salute to the PMRC, "Censorshit" which sees the front man not mincing words and features a classic styled Ramones riff.  This song is also one of the few politically minded tracks I've heard from the Ramones, post- Too Tough To Die. There's also the blast from the past closer "Touring" which is an amalgamation of the band's early albums, and closes the album off on a light, fun loving note.

While this is a great Ramones album, I'd be lying if I said it was anywhere close to perfect. A few of the tracks here "Cabbies On Crack", "The Job That Ate My Brain" and "I Won't Let It Happen" aren't the most distinctive tracks the band has ever produced, even in terms of their 80's output, but they aren't offensively bland like many moments on Brain Drain or Animal Boy, so I'll let them slide.

But overall, I'd say this album is worth checking out! It even has the added benefit of being the sole Ramones album to feature their rendition of the Spiderman theme song; so that's something!

8.0/10 

The Ramones Discography: Part 11 : Brain Drain

Brain Drain is the 11th studio album by the Ramones, and it marked both the return of drummer Marky Ramone, who hadn't been with the group since Too Tough To Die, and also the departure of longtime bassist and songwriter Dee Dee Ramone, who in my honest opinion, wrote the best material the band has ever released. This album is also considered by fans to be one of if not the definitive lowest point in the band's discography.

And save for a few saving graces like the opener, the track "Palisades Park" and the fantastic (though contentious) "Pet Sematary", the album does in fact feature the weakest material I've yet to hear from the Ramones. In fact, this album is even below what I though Animal Boy was bringing to the table, since so many of the tracks on offer here are not only bland and forgettable, but are produced so poorly, it is hard to feel any sort of way about the music here. Though the album does feature production from the same people who produced the last three or so Ramones LP's, Brain Drain just sounds so claustrophobic and everything is laden in so much reverb that it sounds the audio equivalent to having a sinus infection.

However, the bright spots on this album are pretty darn enjoyable, especially "Pet Semetary" which has such a great hook, and despite the chessy synth, I still love this track. Also, the closer "Merry Christmas( I Don't Want To Fight Tonight)" is a pretty enjoyable number as well; it really shows the direction that Joey wanted the band to go in, and it is a decent close to a pretty rough album.

But, Brain Drain still holds the record for number of truly terrible songs on a Ramones  album with the tracks "Punishment Fits The Crime" and "Learn To Listen" showing definitively that more songwriters does not equal a better song!

So yeah, Dee Dee's departure is evident here, because even though his writing is still present on half of the album, you can tell that the band was simply taking his leftovers and trying to salvage them. Which leads to Brain Drain being an especially sour spot in the band's discography.

5.0/10

Beyonce: LEMONADE ALBUM REVIEW

"Hell hath no fury like a woman scorned". These words are an apt way to describe Beyonce's latest album LEMONADE, which is also a reference to the old saying, "when life gives you lemons, make lemonade", or simply; make the best of a bad situation. And that is exactly what Beyonce has done here; in fact, LEMONADE is easily Beyonce's best, most artistically solid album ever.

Now, I'll be honest and say that Beyonce's music has never appealed to me. Her early albums were just too squeaky clean and 'fabulous' for me, and her last album, while a step in the right direction, featured some kind of corny lyrics that just rubbed me the wrong way. But, LEMONADE sees Beyonce honing in on a single concept and executing songs that, for the most part, contribute to said concept. The concept being that of a relationship in the aftermath of infidelity, and how the woman in the couple deals with and resolves it.

The album opens with the quite and painful "PRAY YOU CATCH ME" which seems to detail the moment when she overhears her husband talking to the other woman, and you can feel the pain in Beyonce's delivery, which really sells the emotion of the song, and kicks the concept off perfect. The following track "HOLD UP" bids for an explanation from the cheating party and the track "DON'T HURT YOURSELF" explodes with indignant fury.

The entire album, save for the last track "FORMATION" all add another piece to the puzzle, which really helps sell this album as an entire album, instead of just a vehicle for singles, like so many of Beyonce's other albums, in my opinion. LEMONADE is proof that even the biggest, most noteworthy singles artists can release an album that not only has a strong, thoroughly though out concept, but also have singles that will still climb the charts, seeing as how this entire album is sitting in the Top 100 as of the time I am writing this review.

However, despite how great I think this album is, there are moments that I think are certainly less than stellar. For instance, I really didn't care for the track "6 INCH" and (this may gain me an army of haters) I absolutely cannot stand the track "FORMATION". I get it, it is a very empowering track, and I love that aspect, in fact, my major gripes are all music related, as I just cannot stand the instrumental on this track; it is just so fractured and sewn together, but not in an interesting or compelling way. I also think it is the wrong way to end the album, and I feel like the track "ALL NIGHT" would have been a much better closer.

But, despite that, I can't deny that this is an incredibly solid album from front to (almost) back. Even if you're not a Beyonce fan, I urge you to at least give this album a try, because pop music albums are rarely this consistent.

8.5/10

Radiohead: A Moon Shaped Pool ALBUM REVIEW

To say that Radiohead was an integral part of my music loving history would be a huge understatement. In fact, they are arguably the first non-metal band that I listened to in a serious fashion. Albums such as The Bends and In Rainbows inspired me to not only venture outside of my comfort zone when it came to music listening, but they opened my eyes to how beautiful rock music could be when put in the right hands. Sure, at that point in my life, I would of told you that no other band was better than Radiohead; of course, having widened my musical horizons in the last 8 years or so in a pretty significant way, I now realize that Radiohead are simply a fantastic band that managed to break free from their brit-rock shackles and really carve out their own niche. They may not be the best band in the world to me any more, but they certainly are one of my favorite.

So I was a little disappointed  when the band put out their 2011 album, The King Of Limbs. Not only was it the shortest LP the band had ever released, but it was also the least enjoyable upon repeated listens. Not since the band's debut has a Radiohead been less rewarding than The King Of Limbs. But, even though I was disappointed by that album, I knew deep down that Radiohead could definitely still put out music worth raving over; and that is exactly what A Moon Shaped Pool is.

To be completely clear, this album is not another In Rainbows or Ok Computer; in fact, if you're only a fan of the band's more rock oriented sound then I suggest you pass on this one, because there's very little in the way of traditional rock instrumentation here. Save for the rhythmic motion of a track like |"Identikit", most of this album relies on string sections and gentle atmospherics to propel each song. In short, this album is a patient one. It has nowhere to be but here, and it takes its time to unfold and make itself comfortable.

While this may make the album sound like a complete bore (and to some, it may be), in my opinion, A Moon Shaped Pool is everything that the previous album wasn't: warm, heartfelt, and rewarding. Songs like the beautiful "Daydreaming" or "Glass Eyes" rival such Radiohead classics like "Nude" for pure, unwavering beauty, and the more tense moments like "Burn The Witch" and "Indentikit" balance out the mood of the album and really show just how amazing this band is at playing as a unit.

And finally, we have the closer, a song that has been in the Radiohead canon for nearly 22 years, but just never found a home on an album, does just that here. And the result is an achingly sincere and near perfect track that sums up the emotions of the album perfectly. "True Love Waits" has been a gem hidden in the band's discography for so long, I guess it is only fitting that it ended up on the band's most patient and possibly most heartfelt album of their career.

10/10

Anohni: Hopelessness ALBUM REVIEW

Anohni, formerly known as Antony of Antony and the Johnsons, is a singer-songwriter who has been making some of the most heartbreaking and emotional music you're liable to here for neary the past 15 years. Though her output has been pretty minimal (a few full length albums and just as many live albums) the music itself, at least the albums that I've heard all the way through have been incredibly beautiful works; all showing vulnerability, backed by some of the strongest pipes in the singer-songwriter world.

However, those albums were mostly piano led, or were accompanied by minimal instrumentation, and that's where this new album Hopelessness changes things up in a significant way. Sure, there's still piano. but it is now backed up by pulsating electronic basslines and the songs like "Watch Me" even have 'drops' of a sort, like the kind you'd find on a low-key EDM record. And this is all thanks to the production, which is handled by both Hudson Mohawke and Oneohtrix Point Never, both of whom have made a name for themselves in the modern electronic music landscape; the former specializing in banger beats, and the former opting for a lot more ethereal textures. However, on this record they both find themselves somewhere in the middle, and most of the tracks here are very low-key in their execution.

Which is fitting, because it gives room for Anohni's gruesome lyrics about drone bombings and other wartime atrocities to spread out and consume the listener. In fact, there's a pretty big stipulation that I should probably get out of the way if you are at all interested in giving this album a listen: this is a political album. Sure, the songs can still be enjoyed without the context of what they're about being clear, but I feel like the album's finest moments come from how cutting they are in terms of the subjects being conveyed in the lyrics. Such is the case with the first track here "Drone Bomb Me" which finds Anohni singing from the perspective of a middle-eastern girl who has bean decimated by a bombing, and the lyrics of this song involve gory depictions of the after effects, but also conveys an almost perverse sense of relief: it is a chilling song indeed.

Other fantastic moments include the paranoid, yet somehow comforted passages of "Watch Me" and the barbed questioning on the late album cut "Crisis". All of these songs are not only captivating from a lyrical standpoint, but the music behind them is perfectly balanced and really help sell the emotion; though Anohni's voice can certainly do that all on its own. She just has such a resonant, yet delicate voice, and I simply can't get enough of it.

But, this album does stumble pretty hard in spots. In fact, I'd say nearly half of this album is inconsistent, or has elements that really detract from the overall experience. This all starts with the track "I Don't Love You Anymore" which is a heavy moment, but the instrumentation just feels too flat, and Anohni's voice is in such a weird spot in the mix, almost like it's hiding behind something. Then there's the track "Obama" which is a sharp political monologue of sorts, but the melody that Anohni is singing is just so formless, and the track around it feels just as shapeless. Then there's the track "Violent Men" which seems more like an experiment than an actual song.

But these problems don't keep me from enjoying the album overall, and I highly recommend this LP to anyone who is up for a dark, political album that handles its points of view with a steady hand, and has some strong songs to boot.

7.8/10

Death Grips: Bottomless Pit ALBUM REVIEW

Well, well, just last year around the time Death Grips released their amazing double able The Powers That B, I would of told you that it was the group's swan-song. After all, once you've released some of the most groundbreaking and boundary pushing hip-hop music of the decade and punked not only your former label (yeah, these guys were on Epic at some point) and your fans (releasing albums out of the blue, shooting music videos that are mostly silence, or cut in with obnoxious noise), there's not much else you can do... except come back a year later with another fantastic release like you never broke up in the first place!

Enter, Bottomless Pit, an album that came after not only the 'break up' but also comes after an instrumental release (which I enjoyed, but didn't commit to listening to enough for a review) and a series of progressively weird Youtube videos and promotion tools (the band has a hotline you can call if you want to listen to the song "Trash"). All that aside; is it any good? Well, I kind of spoiled that one, but let me restate myself: Bottomless Pit is fantastic.

The guys haven't put together an album this skittery and off kilter since No Love, and they continue to push a more punk based sound that was prominent on Powers That B. The opener is a perfect example of this with it's incredibly loud and crunchy guitar riffs that aim to shred every fiber in your ear canal. But as I said before, this album is also really jittery and frantic, such as the track "Spikes" which reminds me of stuff from No Love, but even more twisted, and the track "Warping" pushes that sound as well.

However, this album also has sounds that really distinguish it from previous Death Grips releases, such as my personal favorite track "Eh" which keeps things cool for the first half until it explodes into pure aggression. In fact, it is worth mentioning that MC Ride is really scaling his entire range on this album; you'll get more pensive, moody performances followed by some of his most manic.

Finally, I should probably mention the lyrics... which are just brutal. Especially on the title track, which may be the filthiest song about sex that Death Grips have ever written, and that's coming off some of their raunchiest moments on the last album. However, for the most part, Ride is pretty legible on this record, and manages to deliver some hellishly good hooks and refrains; especially on tracks such as "Bubbles Buried In This Jungle" or "Trash".

That all being said, this album isn't 100% all killer no filler, the only weaker link being "BB Poison" which is good, but not nearly as memorable as the rest of the album (kind of reminds me of "Pop" from No Love in that way), but other than that and the fact that I personally would of loved for the album to have a couple more tracks, Bottomless Pit was definitely worth the emotional torment...

9.2/10

The Ramones Discography: Part 10 : Halfway To Sanity

On the Ramones tenth album, they make a slight return to form. Whereas Animal Boy was a rougher and more raw release, Halfway To Sanity cleans up things a bit and actually hearkens back to the band's eighth studio effort, Too Tough To Die.  And that is a great thing to hear, since a lot of Animal Boy just sounded so stale to me, or was slathered in so many synths, it was really hard to get excited about what was happening on any given track. Luckily, Halfway To Sanity doesn't suffer from nearly as many weak moments as its predecessor, and while it isn't an overall great Ramones album. it is solid.

The album opens with perhaps its best moment, the anthemic "I Wanna Live" and is followed up by a decent little punk tune called "Bop til' You Drop". However, aside from some great standout moments like the moody "Garden Of Serenity" and the endearing "A Real Cool Time", Halfway To Sanity suffers from a lot of filler. tracks like "Weasel Face" and "I'm Not Jesus" are instantly forgettable and don't hold a candle to any of the more aggressive tracks that were on Too Tough To Die or even Subterranean Jungle. Also, while I think "Go Lil Camaro Go" is a 'cute' song, this kind of track just feels out of place on a latter day, post Too Tough To Die Ramones album; especially when you consider the weighty subjects on both that album and even Animal Boy to some extent.

At this point in the band's career, pretty much every band member hated each other, and the band's followup to this album would prove to be the breaking point and would see the departure of the band's main creative force, Dee Dee Ramone. Even this album waves goodbye to then drummer Richie Ramone, who held things down for the better part of the decade, despite never earning the respect that very much deserved.

Anyway, drama aside, Halfway To Sanity marks another okay, but not great album in the Ramones discography, and according to most other review sites, this is the lowest point in the band's career. Although those same sources said Animal Boy was just short of great... so we shall see!

6.8/10

The Ramones Discography: Part 9 : Animal Boy

Well, it finally happened. All throughout this series I've had albums that I wasn't huge on (Subterranean Jungle) and albums that I loved more than I thought I would (Too Tough To Die), but I haven't outright disliked anything... enter Animal Boy.  Now before I continue I have to clarify; I don't hate this album, but it is the one Ramones album thus far that I haven't wanted to dive right back into after first listening to. Does that mean it is completely devoid of anything worthwhile? No. In fact, the few highlights here are really great, it's just that the vast majority of tracks here are utterly forgettable.

The album opens decently with the odd, synth-laden "Somebody Put Something In My Drink" which features a really gruff performance from Joey, like so gruff it's actually kind of hard to take seriously.
The title track is pretty run of the mill Ramones, which became unacceptable four albums ago and the song "Apeman Hop" is solid, but I can't help but shake my head at the intro 'apeman' gibberish and hokey lyrics. I know, Ramones aren't a poetic tour de force, but coming off of the politically minded tracks from Too Tough To Die, I can't help but feel like "Animal Boy" is simply phoned in.

We also get another Dee Dee hardcore punk nod with "Eat The Rat", though this one is pretty passable overall. But Dee Dee does manage to bring one of my favorite tracks to the table with "Love Kills", a song about the death of his friends Sid and Nancy; Sid, you may know, was the bassist for the Sex Pistols. And this ode is not only a great punk tune, but it also delves into the dangers of heroine (a drug that Dee Dee was very familiar with) but it is also a pretty great tribute as well.

However, my undisputed favorite track on Animal Boy is "Bonzo Goes To Birburg", a scathing song about Ronald Regan that just so happens to also feature the best, most consistent riff and melody on the entire album- bar none.

The rest of the album either meanders through familiar chord progressions that have become incredibly tired at this point, or are drenched in so many cheesy synths that I can't help but completely tune out ("She Belongs To Me", "Something To Believe In"). Don't get me wrong, I do realize that "Howling At The Moon" had a very prominent synth, but that song actually had a good hook to back it up, and the production, courtesy of Tommy Ramone, brought out the best qualities that the band has.

As it stands, Animal boy is a mediocre album from a band that, in my opinion, rarely ever put out iffy material; sure there's a "I Don't Care" here and there, but at least that track was less than two minutes.

5.5/10

The Ramones Discography: Part 8 : Too Tough To Die

The 80s were a tough time for The Ramones; they not only were struggling to gain notoriety outside of the punk scene, with albums that were, in my opinion solid, but seen by a lot of critics as middling to decent, but they were inundated with band drama. This included the ever revolving drummers seat with 1983's Subterranean Jungle presenting the band's third drummer since their inception.

If you read my review of that album, you'll recall that I wasn't the biggest fan of it; and that is because it felt like the band really wanted to return to their punchier sound that defined their 70s output, but were either too uninspired or too heavily produced to make that happen. However, I can say with absolute certainty that the follow-up, 1984's Too Tough To Die is not only a better return to form than its predecessor, it may very well be the finest album Ramones have ever put together. Yes, that includes Rocket To Russia and even my former personal favorite, End Of The Century; this album is just that good.

The album opens up with the pure punk posturing of  "Mama's Boy", but then segways into the downtrodden "I'm Not Afraid Of Life", a track that may just be the most mature song the band had written at this point in their career. Actually, allow me to point out the fact that aside from holding the band's rhythm section down with solid bass-lines the entire time, Dee Dee Ramone was also a fantastic songwriter, and he really proves it on this album, since he not only pens some fine tunes of his own (the aforementioned "I'm Not Afraid Of Life" and the incredible "Howling At The Moon (Sha-La-La)), but he also is a co-writer on darn near every track here.

And let me tell you, this is a fine set of tracks: varied, textured, and not afraid to go from embracing the best melodies the band has ever played to going all-out hardcore punk, once again, all thanks to Dee Dee. Though I can see where someone may find issue with his singing on "Warthog" or "Endless Vacation", really, I can't state enough how much of a MVP Dee Dee turns out to be on this record. And come on, you have to admit that band's like Green Day and Blink 182 had vocalists with just as much whine to their vocals, but with half the balls that Dee Dee has on this album.

I digress; I'll sum this review up by saying that this album is simply (in my opinion) the most varied, catchy and at points, heaviest record I have heard by The Ramones. I understand where some people may not like it as much as Rocket To Russia or even End Of The Century, but you can't deny that this LP is a real comeback for the band, and according to popular opinion, it would be the last shining album in the band's discography... we shall see!

10/10

The Ramones Discography: Part 7 : Subterranean Jungle

Released in 1983, the Ramones seventh full length studio album, Subterranean Jungle sees the band attempting to reclaim some of their former punk energy; with some mixed results. That's not to say that this album is a 'bad' album; in fact, like Pleasant Dreams before it, this album is still a solid effort. However, there are some pretty forgettable tunes here, and the fact that two of my favorite tracks are covers says a lot about the shape the bands songwriting was in at this point in their career.

Those covers by the way, come at the very beginning of the album; the stellar "Little Bit O'Soul" is peppy and really brings me back to the peppier moments on Road To Ruin, and the following track "I Need Your Love" is another decent rendition of a ballad under the bands belt. But soon the misses don't come far after the opening tracks; such as "Outsider" which just sounds so gutless, and I can't even recall the melody to "Highest Trails Above" despite giving this album seven full listens for this review.

But, the deeper cuts are not all dull, in fact, tracks "My My Kind Of Girl" and "Psycho Therapy" are classic Ramones through and through. And the cover of "Time Has Come Today" is probably the weirdest the band has gotten at this point.

It is clear however, that the drama that the band had been experiencing since the start of the 80's was starting to effect their music, since I can't say that I'd recommend Subterranean Jungle to anyone outside of Ramones enthusiasts. Sure, it's not an awful LP, but it is far from the bands best or even most interesting work (at least at this point in the bands career). I'll end up doing a final rankings list for the entire discography, so I'll be interested to see where this album ends up; however at this point, this is easily my least favorite Ramones LP.

7.8/10

The Ramones Discography: Part 6 : Pleasant Dreams

Released just a  year after their sound-shifting album End Of The Century, the Ramones followed that amazing up with the great, though noticeably less sharp LP, Pleasant Dreams.  And while that may make this album look bad, in all honesty, Pleasant Dreams is the album that I would of expected to follow Road To Ruin. Both LP's feature, slower, more plodding opening numbers before finally giving up the goods in the form of fantastically catchy rock and punk tunes.

And Pleasant Dreams certainly delivers where it counts, especially on tracks like "The KKK Took My Baby Away" and what is easily in my top 5 Ramones tracks of all time, the simply perfect "She's A Sensation". The album may not be as immaculately produced, but I think that lends to this albums overall charm; it's almost like the band had to shake of the stressful experience of recording End Of The Century by recording a far more stripped down album.

However, that's not to say that this album isn't polished; tracks like "Don't Go" and "We Want The Airwaves" are produced within an inch of their lives; luckily the latter track still retains some character, whereas the former suffocates completely. This is a problem I had with the last LP, but the songs on that album were strong enough to pull through, whereas the tracks with weaker production decisions also happen to be just weak songs in general.

As far as the style of this album is concerned, the band continues their abandonment of punk, delving into the worlds of Caribbean rock with "It's Not My Place" and just playing for straight up rock in general. Again, like on End Of The Century these choices don't really bother me, though I am already missing tracks like "Sheena Is A Punk Rocker" or "Beat On The Brat"; tracks that didn't overstay their welcome, but gave enough ear candy to keep you coming back.

Overall, I'd say if you're a fan of what was happening on End Of The Century, then Pleasant Dreams will be an enjoyable experience as well.

8.5/10 

The Ramones Discography: Part 5 : End Of The Century

Let's just get this out of the way; End Of The Century is not a punk album. In fact, this Phil Spector produced album is far more influenced by 60s pop music and straight up rock and roll music. It is also the first album in the band's discography to be a real point of contention for the band's fanbase, with some calling it the band's best and others still referring to it as the point where the Ramones lost the plot entirely. My opinion: End Of The Century is a fantastic album, rivaled at this point in the band's career only by Rocket To Russia.

And it has a lot to do with the production. While there are a few moments here and there where Phil Spector's "Wall of sound" only manage to suffocate the songs, (the opening section of "I'm Affected" come do mind) for the most part, Spector's added touches, like string sections and reverb are used with amazing results. My favorite moments where this shines through are on the opener, a track that sees the band reflecting on how rock used to be, and the Ronnettes cover "Baby, I Love You" which may be my favorite song on the entire album. Sure, it is a cover, but Joey and the band sell it so well, they really do make it their own, and the aforementioned string sections really give it a unique character in the band's discography.

Also, bringing it back to the opener, this album really loves the concept of it being the end of something. The opener mentions how it is no longer the 70's (the album was released in early 1980). but other tracks such as "The Return Of Jackie And Judy" and "This Ain't Havana " are both sequel songs to their debut album counterparts, and the former is one of the band's catchiest songs, making it a worthy sequel indeed.

And really, there isn't a single weak track here, save for some conflicting production moments. Which doesn't surprise me, since one look into this album's recording history will reveal just how hellish it was for the band working with Spector, a known perfectionist. However, the result is truly something that can rival, or even surpass the band's early material. Sure, punk tracks a scarce on this album, but this album marks a point where the band stepped away from the same old riffs (for the most part) and did something truly unique for their music.

I thought about this a fair bit, and I'm confident in saying that End Of The Century is thus far, my favorite Ramones LP, and you should really give it a listen if you haven't yet.

9.7/10