The Top 8 of 2008

Another Year and many many records have soared their way through my brain. This proved to be a very tough list to compile. So much good music was released this year...Elvis Costello, Tom Gabel, The Revival Road LP, A "New" Bosstones Album, a Kevin Seconds solo record, Rudimentary Peni,The Creepshow, Me First and The Gimme Gimmes, The Horrorpops, Chuck Ragan and Austin Lusas' Bristle Ridge, The Briggs, a new Pennywise...I could go on forever. But I made a choice to stick with only 8 releases for the top of the year. Now keep in mind that I have not heard every single record that was released this year and this list will probably change if you ask me in a few months but for now, this is it. So without further adieu: The Top 8 of '08:



8. Reverend Peyton's Big Damn Band - The Whole Fam Damnily

What a cool album this is. The band is comprised of the the Good Reverend on vocals and guitar, his lady friend, Breezy on washboard and vocals and his brother Jayme Peyton on Drums. This record is an exercise in how to combine as many "unplugged" genres as possible. According to all-music.com there is already a genre called "Swamp Rock" which is a shame because that is what I wanted to call this. At its core, this is a country album but with punk rock sensibility. There are definitely silly songs such as "Your Cousins On Cops" But the best tracks of the record occur when the band explores more relevant and social subject matter - from the opening track of "Wal-Mart Killed The Country Store" to "Why is Everybody Getting Paid But Me?" and "Can't Pay the Bills". The latter being a standout track on the record about not being able to afford medication is a driving and pounding plea to basically not get sick. It sounds weird for such modern topics to be coming out along side music that could have been recorded 100 years ago, but that's all part of the appeal. The album closes with "Them Old Days are Gone" where in the Rev. pushes his voice to the limit and sings like he is being chased...but it all sounds great and wraps up the whole experience in a nice little package: "Mama used to say: 'You'll be president some day' , Oh Mama, how I have let you down" Well you certainly have not let down anyone who has listened to this record. Well Done.


7. Rise Against - Appeal To Reason



Rise Against really just rocks on a level heretofore unknown. They can slam a pounding song against your face on one track and slow the whole train down with an acoustic jam on the next. Their 2008 release does not disappoint. From the very first sound of guitars you know the boys have not lost a step. I'm not usually a fan of screamy or preachy band but these guys have a way about them that just pulls me in. The opening track tackles the topic of climate change and global warming, in a pretty epic fashion I might add, including lines such as "When The Air that we breath becomes air that we choke." Yikes. Track after track and album after album Rise Against continues to prove their relevance and their willingness to speak their mind. This particular release includes the rather controversial and brave track "Hero Of War". After this records release this song was a hot topic of conversation, but to the best of my musical interpretation abilities I have deduced it to be a rather biting and cynical look at the current war as a whole. From the viewpoint of a soldier, it really tugs the heartstrings in the first verse and then, to a casual listener, becomes rather shocking and, well, unpleasant. But I get it. It is a great track that I think will probably be celebrated in the years to come. All in all another great record from one of the more important bands making music right now. Their 6th full length release proves that these guys still have something to say, and goddammit you are going to listen.


6. Tim Barry - Manchester

One of the newest, or should I say newly popular, trends for punk or alternative singers is to release a country or folk record. There have been many examples this year. Chuck Ragan went on what he called "The Revival Tour" including any friend he had available and they would just get up on stage every night and play some music. To support the tour Chuck released a 12" Vinyl only comp of some of the artists who were performing on the tour with him.


This is when I discovered Tim Barry's solo material. I knew the lead singer of Avail had released a few folksy records but I just assumed I wouldn't like it. Then I got to the track that turned me around on this guy. "222" might be one of the saddest songs you have ever heard. At first listen it does not sink in, but after a repeat visit that shit will hit you where you live. I was hooked, and had to purchase the entire record. It ended up being my favorite surprise record of the year. Manchester has a very traditional bluesy feel, but an edge that can only be learned from playing rock and roll shines through on nearly every song. Stand out tracks include #3, South Hill. Which is a story of a man joining the army and learns that he had no idea what he was in for. This is a really cool tune because the mood of the listener changes as the story progresses, when he is excited about seeing air strikes you get excited. When he is disappointed about not seeing any excitement you get disappointed, and when he is scared - you get scared. This is more of a news story set to simple background music. Just about every song on this is worth mention, but highlights to check out if you aren't sure you are ready for the hip new "Punk/Folk/Alt-Country" genre include: "This November" (which is peaceful enough at the beginning to be recorded by Cat Stevens 30 years ago, until the 2nd verse kicks in with "Fuck Tomorrow, and Fuck all of Yesterday" and all of the sudden it is evident that this guy is the real deal), "Ronnie Song" (which includes the great line "I think ill stay here gettin older, and angrier, and getting louder with each passing day"), The aforementioned "222" (which may change your life), and finally the albums closing track: "Raised and Grown", which suitably ends the record in a quiet, introspective manner, with the repeating Mantra "I will Not Give Up"




5. Street Dogs - State of Grace

I gave this record a quick review earlier in the year and at the time I mentioned that it would probably be on our best of list at the end of the year. When I wrote that I still was on the fence a bit. This is a really great release...but it takes a few listens to really sink it's hooks into you. Once it does though, you are experiencing some of the best rock and roll out there today. Mike McColgan's voice is far from flawless but there is a sense of purpose and conviction that tells you these guys aren't in it for the fame or money. They are doing this because they love it. Not many bands in this world have the strength of character to keep on pushing through like The Street Dogs do. I fear that the world may never understand McColgan and company as well as I (assume) I do. They are playing the music they love, attempting to inspire people to better themselves, and having a damn good time doing it. This new record marks a new chapter in Street Dog history, slowing down a little but still shouting at the top of their lungs the band has matured musically, adding riffs and breakdowns unseen to them before. Their subject matter remains the same, starting with the opening track "Mean Fist" , despite the specifics the general mood remains the same: "Fight Back...don't take any shit!" The band continues to prove their point with standout tracks such as "Into The Valley" , "Rebel Song", and "Guns." The high point of the record comes on the 3rd to last track with "San Patricios." Which is, again, a departure from the norm. Here we are given a history lesson about a small band of European immigrants who in 1846 joined the Mexican army to fight against America. It is a classic tale of racial, economical and international equality told in perfect Street Dog Form (for info on the real story: http://en.wikipedia.org/wiki/San_Patricios) Plus there's a flamenco guitar solo and a Spanish language chorus. How could you go wrong? Next track is the title track "State of Grace" and from the opening chord and McColgan yelling at us to get the hell into this god damn song. They pound their way into a pleading chorus about finding your place in this would without compromising. They close with "Free" the traditional slow punk rock song. This sets itself apart from most, with McColgan struggling a bit to hit the high notes, the song sums up the Street Dogs. It also sums up a lot of people who listen to the band. It includes perhaps one of the best lines in rock and roll history, which will close this review because it speaks for itself. " Music is a shelter where we know we're not alone. We sing the words of our favorite songs - they bring us home. We find a little comfort, a little piece of mind. Say Goodbye to being left out, Hello Friend please come on in. We have struggled."




4. The Tossers - On A Fine Spring Evening

The Tossers are a really cool band. They were doing what they do years before Flogging Molly and Dropkick Murphys. Everything about these guys just screams that they are having a lot of fun. On their live DVD, also released this year, you can tell that the entire band is really friends with one another and they are just digging being on stage together. Or maybe they are really all just as completely hammered as they look... This record On A Fine Spring Evening is seemingly the most upbeat of all Tosser's releases. Opening with a fun tune called Katie at the Races, and really setting the tone for the next 13 songs. Sure there are some darker topics explored, but the first 5 tracks soar by and make you want to dance a jig, with tracks such as "The Unfamous Paula Spencer" told from a woman's perspective, and a traditional turn in "The Rocky Road to Dublin." We slow down a bit for track 6 and singer T. Duggins, (T. is for Tony) proves that he is far from a classically trained singer, but a little emotion goes a long long way. The rest of the record includes two instrumentals and right between the two of them is the best track on the record "What A Fine Lass You Are" Including the line: "I will break anyones goddamn neck if I hear that they crossed you or broke your respect...Chicago is yours now because it is mine...you are truly a light in this fuckin dark and endless world of ours" Awesome.

The last listed track is one of those classic Tossers songs with a 4 minute intro, but seeing as this is the only one on this particular record I welcome it with open arms. Hunger Strike / Harmony is a nice and peaceful way to end this journey through Traditional Irish music. I would like to proclaim this as The Tosser's best Release to date. It is a really fun, deep and heartfelt record.




THE BIG 3


This was tough...the reason the top music is coming out almost 3 weeks into January is because I went back and forth about a million times about the order of these records. I offer no explanation except whats written below. During the course of the year I reviewed all three of these, so I will attempt not to repeat myself but to explain why I picked them, to cut a little deeper into the albums and focus more on the feeling of the record rather than analyze track by track. At any given time these 3 could be not only the number one record of 2009, but one of the top records of all time. Here we go...



3. Flogging Molly - Float

I gave this record a full review in April, awarding 4.5 stars. I think I'd like to expand on my review and after several months and many many listens I have bumped it up to 5 stars. In April I wrote that this was a very important record to us , but more important to the band. A band like Flogging Molly can conquer the world, and with records like this coming out every few years they cannot be stopped. Sure, they slowed down some of their stuff and unplugged a few more instruments than normal, but they hit the ball out of the park with this release. To compare it to the rest of their records is almost unfair. "Float" functions on an entirely different plane of existence. There are moments on this record that harken all the way back to "Swagger" such as the distorted into and first verse and chorus of "Between a Man and a Woman" and there are songs that raise the bar for Dave King and Company, such as the absolutely brilliant "The Lightning Storm" or the best track on the record "Man With No Country." At the risk of sounding cliched or contrite, I think Flogging Molly is more than just a band to those who love them. They are a group of friends with a mutual respect and admiration who write and record such inviting and (at times) beautiful music that you can't help but be sucked into their world. You can't help but feel the passion for their music that they obviously feel. Flogging Molly can do no wrong. When music is made such as this, with such a pure energy and intensity coupled with raw emotion and convictions there is not a possibility of writing a bad song. They document subject matter ranging from they unrealistically uplifting to crushingly devastating. The band will continue to explore new territory and expand their sound. I am honored to be a part of their musical journey and can't wait to join them and the thousands of other drunken pirates at their next show or when listening to their next record. To again close with a reading from the book of Dave King "Makes it all who you are...no it's bitter the pill that you swallow to feel. I Don't Care what I lost, I just thank God I'm Alive...Makes you know who you are..."


2. The Loved Ones - Build and Burn
This could well go down in history as having the single greatest opening line and track on any record. Ever. Dave Hause has a voice that makes you sit up straight and pay attention to every syllable. From the first breath of this record "I've Been Workin Longer Hours, Watching money streamin in. I've been trustin' crooks and liars like I don't have any friends..." I really could write a book about this song. I cannot quite express why this album is as great as it is, but I'll try. The songs are all extremely well executed exercises in desperation and determination. In the opening track he is convincing himself that leaving his family and friends to hit the road with his band is what he has to do...because he can't see himself doing anything else. Track 3, "The Bridge" is an excellent example of their personal style of songwriting. A song about choosing "destiny" over complacency "The Bridge" is a definite high point on the record, complete with a sailing chorus that will stick with you forever. The Loved Ones are not a flashy band, they don't write particularly complicated music but (I know I say this a lot but it applies specifically to this record) Hause really believes the words he is saying and the band is behind him 100%. Records like this don't come around every day, every song is a genuine attempt to be heard, and to leave a mark on this world. The music flows so smoothly with Hause's rough vocals you can tell that each member of the band are giving this short set of 10 songs all of their energy and emotion to get their point across. Their point, in my humble opinion is that rock and roll, or music, can change things. You don't have to sing every song about hating the government (even though they do slip one in with "Dear Laura") or about changing the way things are in the world. Playing or even listening to Rock and Roll gives you the chance to make a change in yourself and that is where get the courage to act. Fear is a big part of everyones life, and Dave Hause and company make us believe that a few chords and howling choruses can overcome anything. The Loved Ones deserve any bit of success that comes to them for pushing themselves musically, vocally and letting us know that "A little faith can heal a heart that's been betrayed"





1. The Gaslight Anthem - The '59 Sound

If you would have asked me on August 24th 2008 what the best album of the year was I wouldn't have hesitated to tell you it was The Loved Ones' Build and Burn. August 25th I received my pre-ordered copy of The '59 Sound and I'll be damned if my opinion slowly started changing. This is just one of those albums that grabs you and will not let go. The whole thing opens with the sound of a needle dropping on a record in a quiet but appropriate manner. After a small guitar part goes around a few times the band blows up and you have no choice but to join them. Listening to The Gaslight Anthem is like reading singer / songwriter Brian Fallon's diary. He has a very bluesy approach to writing lyrics. Most songs are executed in a conversational fashion, but you don't really notice because of the awesome music backing him up. If the Loved Ones' record has the feel of despiration and determination than The Gaslight Anthem play with a sense of hopefullness and confidence. They know they are performing excellent music, which makes it all that much better because they take chances that a less self assured group would not. A lot has been said about Fallon's Bruce Springsteen sound, or dropping other's lyrics into his. But if you think about it, isn't that a good record? Taking your personal experiences and making them accesible to others? Allowing others to connect with you and your words? This entire record is dripping with emotion, and yet its not a bit sappy. The emotions are raw and stripped down. Fallon reminices about his old regular job, about past girl friends, lost friends, and why he does what he does. He does it in a manner that elevates the band to a higher platform, and this is what struck me to select this as the best album of 2008. I listen to this record and I feel every line he sings, he quotes albums that I love and the music is absolutely wonderful. Drummer, Benny Horwitz, plays a flawless set. He knows when to be loud and fast and when to let the rest of the band take center stage. The guitar and bass, Alex Rosamila and Alex Levine deserve a lot of credit as well for helping to create and shape an album such as this. It apears that The Gaslight Anthem is on their way to fame, appearing in several magazines and on several late night talk shows. I'm very very happy for them and I know they will continue to write music that can touch people at the core. For now though, The '59 Sound appears to be the record that these guys were born to write. There is a lifetime of emotion and experiences crammed onto this record, and it can all be summed up with a line from "Even Cowgirls Get The Blues": "Tell your pappa you'll be coming home when the good feelin' dies...but not me, pretty baby, I still love Tom Petty Songs and driving old men crazy..." The bands not going anywhere and they won't apologize for or compromise who they are. I said it before, but this record defies genres, it could be punk, or straight up rock and roll, or even soul and once you wrap your head around that you will enjoy this even more. So go buy this album now if you don't have it. It proves that music should be the most important part of a rock and roll band, not fashion or publicity. For a band that has only been around for a few years these guys sure are tearin' it up. Congrats guys. Can't wait to hear the next record.





So there you have it. All albums that would most likely end up in a "best of the decade" list. I am constantly getting new music, or new to me music. I will do my best this year to do at least one review a month. Lets see how that goes. I would love feedback on my choices and on future reviews....I will leave this now before I change the order of the last three again...



-Pete

Every Scratch, Every Click, Every Heartbeat

A few months ago I purchased a Record Player that would convert vinyl into Mp3s. It is pretty much the coolest thing ever. However, it is quite time consuming to convert all of these records into digital format. Along the way I have discovered several hidden gems within my record collection, as well as the collection of my parents and friends. I decided that every once in a while I would update you fine people (or person) on some long forgotten masterpieces. They won't necessarily be old, and I won't even necessarily make this a re-occurring feature, but for now...here we go:

The Jim Caroll Band

Catholic Boy --------------------originally released 1980

This is a record that makes you cooler just by touching it. Jim Caroll is a poet first, a rock and roller second. But god damn you wouldn't know that to listen to these songs. Included on this record is the closest Jim Caroll and the boys every came to a hit with "People Who Died", which closes the first side of the record. The song keeps on trucking through...even when most artists would have packed it in around the 3 minute mark. The song is a touching dedication to those he has lost, a true masterpiece. The rest of the album is extremely impressive, with great tracks like "Wicked Gravity" and "Three Sisters" bringing the first side to the aforementioned closer. Opening up the second side is a near epic cut "City Drops Into Night" this is the song for me that defines the entire record. A very atmospheric and lurking opening leads into Jim and his seven and a half minute poem set to a rocking soundtrack, complete with saxophone. When you listen to the quiet but menacing verses, you can picture yourself walking down a dark (and probably frightening) city street watching all of the characters in the song prostitute themselves and try to buy drugs.

Picking back up with the rock and roll the next few tracks prove that this is indeed an important record in the development of rock and punk rock as we know it. This album has all of the early 80's anger of Elvis Costello, Patti Smith but with a little more edge. Listen to the autobiographical title track and you'll hear the "punk rock" coming out. I can't say why Jim Caroll is not more popular than he is. This is an album that has stood the test of time and 28 years later still packs a punch.

If you haven't heard it- check it out now.

The Gaslight Anthem: The '59 Sound

And if I recall, the last thing you said to me...

After the release of their full length in 2007 and their EP early in this year, The Gaslight Anthem were the coolest band you've never heard. Well, that should all change now... I really, really enjoyed their previous two releases. I pre-ordered this new record, half expecting to be disappointed because of my extreme anticipation.

You know, when you have two records under your belt that are relatively cohesive but still are a bit between genres, you have to make a choice. Do you go down the "Sink or Swim" road? Mix your Bruce Springsteen / gritty soulful sound with a Rise Against / Pennywise intensity? Or do you start to filter out the hardcore little by little and focus more on the bluesy vibe. Gaslight Anthem has found the perfect blend, they mellowed out a little but still maintain the swaggering bite of most punk rock bands. The previous releases have strung together the story of singer/songwriter Brian Fallon's life including girls named Maria, Virginia, Anna, a diner of significance and several other reoccurring themes, and The '59 Sound is no exception. This record is one of the first I have heard that simultaneously makes you feel nostalgic, and yet excited for this new music pounding into your ears.

From the opening track Great Expectations where a needle hits a record and a small guitar part skips once or twice and then Fallon and company explode into existence with a song about their old regular lives (which you will hear a lot about on this record) The opening track perfectly sets the mood for whats to come, including lines like "And they burned up the diner, where I always used to find her, licking young boys blood from her claws" and a fantastic chorus: " I saw tail lights last night in a dream about my first wife, everybody leaves and I'd expect as much from you" The song carries on and includes some sing along "ba-ba" and what sounds like Tubular Bells. (the instrument, not the scary song from the Exorcist) and a perfect 'outro' seals the deal on a solid opening track.

Next up is the title track, which begins with a slow folksy clean guitar strumming, which might fool you if it wasn't for the feedback and the sudden drum fill to bring us into the song proper. 2nd track and the 2nd example of how these guys are evolving. It is a bit of a subdued verse pondering "Which song they're gonna play when we go..." What really shines here is the guitar work on this song, with a great high pitch chorus and a tense staccato during the verse that acts as a counter to the low key vocals. The song is a story of young people leaving us too soon and includes the line "I was playing a show down the road when your spirit left your body" That's about as personal as songwriting can get. The chorus is a dedication of the highest order, the last line of which really drives home a spike: "Did They Play Your Favorite Song, One Last Time?"

Track 3 is Old White Lincoln, which continues with the slower themes. To be honest, I cannot pinpoint what the exact subject of this song is... but god damn is it fun to listen to. The chorus includes some awesome backing vocals, and after the last chorus there is a sweet guitar line that smoothly brings us out of another great track.

High Lonesome is next, and this one comes with a special kind of intensity. A thunderous opening leads into a softer (in volume only, the spirit is as hard as it comes) This is about a life misled. The protagonist is tricked into drug use, all in the name of fame. This is a great example of Mr. Fallon and his "Maria" The end of the track is a catchy sing along...just listening to it I can picture the line on countless t-shirts and bumper stickers. I can see a whole club full of people singing along: "When our boots they hit the ground, they made a high and lonesome sound" Songs like this bring you back to their previous records, for a minute... give it a closer listen and you can tell its not the same. The band is growing and learning their way around a song. An unmistakable achievement for the band, this song is a high point on the record. When you go in for that closer listen pay close attention to how much is going on at the end of this song...the apparent simplicity is very quickly betrayed by a fantastic layering of another great high pitched lead line, roaring drums, backing vocals, and some good old fashioned 'oozin ahhhs'.

Track 5, Film Noir, is another instant classic. It begins as a pseudo country song, with lines like "Broken bones Matilda left a note and a rose saying 'baby, honey child, see I love you so long, but you deserve much better than me" cue guitar. In a split second the song transforms into a riotous energy and spite filled epic. And we're only 40 seconds in. The verse comes back to tell a tale of the working mans blues, and a sentiment that everyone who's ever wanted to play music for a living has felt.

Rumbling into the station is "Miles Davis and The Cool" The song is a peaceful offering about young love. A tale told in the way only Fallon and co. can do it. A quiet, driving song (with a nod to Elvis Costello in the second verse) that slowly builds into a memorable chorus. I think if you look up in a songwriting book how to write and execute the bridge of a song, they will talk about this song. After the chorus there is a build up so infuriatingly tense that you damn near pass out waiting for them to come right back into a stellar chorus, bringing us to a hand clappin', tambourine slappin' end with " Don't wait to long to come home.My how the years and our youth pass on. Don't wait to long to come home, I will leave the front light on... as we go Down Down Down, from our youth to the ground"

The next two tracks "The Patient Ferris Wheel" and "Casanova, Baby" are more illustrations of why these guys are the real deal. "Ferris Wheel" actually took me a few times to really like. The chorus repeats a lot and at first I didn't care much for that. But now I can't even fathom the song any different. The star here though is the small guitar line that goes underneath the chorus. Brilliant. "Casanova" ingredients: 'Virginia' A high pitched lead guitar line, references to classic rock songs, epic background vocals...who could ask for any more?

"Even Cowgirls Get The Blues" is the B side for the pre-release 7". I loved it then, but I think I am even more of a fan now that I hear it in context with the rest of the record. This is a song that puts the band far and away from anyone else. This song has a timeless feel - like it could have been recorded in any decade since rock and roll's inception. The chorus: "Not me pretty baby, we still love Tom Petty songs and driving old me Crazy" is a great chorus, because even though we have no idea what the Tom Petty thing is about- we can make up a story in our head. Again on this track the guitar kind of takes the lead from the vocals and they dance into the last chorus "Tell your pappa you'll be coming home when the good feelin' dies...but not me, pretty baby." A stellar tune that acts as a lynch pin for the record...even being so late in the track order. Fallon's vocals are spot on and the drummer, Benny Horwitz, keeps his cool and manages to come up with a great beat, without which this would not be the song it is.

In continuation of the darker mood is "Meet Me By The River's Edge" This is the epic anthematic song every band wishes they could write. It has everything you ever want in a song, from the opening riff to the explosion of rock when the band kicks in, all they way to the sing along at the end. Bruce Springsteen could have a baby with Joe Strummer and I'm not sure it could write a song better than this. The whole song is a highlight, with the vivid storytelling from the non stop vocals. The song peaks at the end with the defiant "No retreat. No Regrets" Which summarizes the song and even the entire record - in one line.

Their previous full length had a few slower songs but "Here's Looking at You, Kid" is the only one on this record. A tale of all of his old girlfriends and telling him that he has made it as a rock and roller. Each girl gets a different story To "Gail if she calls, Im famous now for all these rock and roll songs" "Tell Jane if she writes, Im drunk off all these stars and all these crazy hollywood nights" and theres a message for Anne, etc... Each girl's message though, comes with a depressing confession that he's not famous, or rich. The reason I really like this song is the conversational approach. Sure, there is some soft drumming, some soft guitar work...but it could be just you and Brian Fallon sitting at a bar or at a diner and he's telling you this story of lost love and his dreams slipping away before his eyes. The song is crushing, especially the last line "And though its hard to tell you this: heres looking at you, kid" Well I think perhaps after writing a record like this maybe all of your lies will come true Mr. Fallon.

As quiet and soft as "...Kid" ends, closing track "The Backseat" crashes into port and knocks your head against the wall. Drummer, Benny, again leads the driving pack with a perfect, complex beat for what could have been an easy cop out. The titular Backseat is a not so subtle metaphor. I can't quite find the best description for this song. Its a ball of energy that doesn't stop rockin for a single note. The end included a last example of what I will call a "Gaslight Build-up" This one, though, comes complete with harmonies, backing vocals, and one of the most exciting ends to a song you'll hear all year...maybe your whole life.

Bands like this don't come around every day. The Gaslight Anthem has a heartfelt approach and a no holds barred attack. Their songs roll out of the songwriters head and into yours directly. I think what attracts me to these guys is their cool, stylistic method of playing. Sure maybe at their heart they are a Punk band, but I would call them more of a soul band. Put them in a class with Flogging Molly, The Loved Ones, and The Bouncing Souls. You don't have to write songs about hating the president or bringing our troops home. Punk rock is about saying what you feel and having the freedom to express it. Its not about how much money you make or what label you are on. For what its worth I think that is why The Gaslight Anthem and their new album can take on the world. A timeless, brilliant record that deserves any award it can get. The boys have been working for a few years on perfecting the recipe, and they hit the nail on the god damn head. A sure fire pick for a top spot on our end of year list. I command you to buy several copies of this record and give one to every person you know. The music will appeal to anyone. I listened to it with headphones for hours trying to figure out what star rating to give this record. A standing ovation is in order, as the band gets our first 5 star review of the year. Bravo.

A Few Quick Ones...

New, Good Music is one of my favorite things in the world. Over the last few months I have certainly been remiss in my reviewing duties, but that doesn't mean I have been remiss in my music listening duties. Doing these reviews really takes a lot of time for me because I like to do it right and analyze every track and really get to the meat of a record, rather than just doing the usual generic brief recap. Unfortunately, busy lives do not allow for endless amount of musical contemplation. So here is a "Catch up" of what I have been jammin to recently. Some new releases, some are a little older but all are really solid, and if you haven't heard them I insist that you do... (Don't be surprised if some of these reappear on our top 8 of '08)

Far From Finished - Living In The Fallout

Amongst my friends, I was one of the only one to really enjoy their first record. I thought it was cool and a really solid effort. Then this record came out and all of the sudden Far From Finished is the band to listen to . From the title track, where the singer (whose name I can't freakin remember and I'm too lazy to dig up the liner notes) belts out that he is a "fuckin disaster" you kind of get the idea that these guys have gotten better...a lot better. The next few track continue to prove that point (especially #3 "Roses and Razorblades" - almost single-ready) The second half of the record starts off with a 'party' at the beginning of "Wanna Be A Catastrophe" and keeps on plowing through into a really solid record that absolutely deserves more attention than it receives. The final track, the title track, could go up against any Bouncing Souls, Street Dogs or pretty much anything. Great effort...can't wait to hear what they have in store for us. Stand Out Tracks: "Disaster", "The Impostor", "Watch Your Back", "Heroes and Ghosts", "Living In The Fallout"

Say Anything- In Defense of The Genre

OK, I know what you are saying..."Pete - you reviewed this last year and gave it a mediocre review...what the heck?!!?"

Well, I'll have you know that I have re-listened several times and this is a really good record. The bad tracks are still pretty bad, but god dammit did this boy sing the shit out of these songs. After several revisits and re-reading the lyrics I think this is definitely a worth follow up to "...Is a Real Boy" not as good, but a little more mature and certainly ambitious. I think also worth mentioning is that this record is extremely interesting, you just never know what this crazy dude is going to do next. Stand out Tracks: "Surgically Removing The Tracking Device", "The Church Channel" ,"Shiksa", "Sorry Dudes, My Bad", "We Killed It", "Have At Thee", "Hangover Song", "I Used To Have a Heart", "Plea"

The Creepshow- Sell Your Soul

Heather just really got into this record. I had not listened to it in about a year, but it is really fun. Singer, Hellcat, sings the heck out of the songs. Really really cool psychobilly with songs ranging from Zombies to break ups...how could you miss?? Standout Tracks: "Creatures of the Night", "Sell Your Soul", "Candy Kiss", "The Garden, "Psycho Ball And Chain"

Big D and The Kids Table - Strictly Rude

Well, god damn. This is a killer ska album. Whats that? it came out in 2007??!!?? Well I never. With a non stop energy flowing through it, it appears that the boys have hit their mark. The opening chords kind of hints at whats to come...and then all of the sudden you hear the 'ka-chunka' guitar and you know you are in the right place. Awesome tracks come at rapid fire and suddenly the mood changes with "SnakeBite" Which is really good, and a bit more Jazzy than previous tracks...Next is the title track which could be confused for any reggae song from the '70's. And then all of the sudden its time to talk about politics on "Try out your Voice" They slide along until the bellowing chorus builds up into something really special. A few more danceable tracks groove on by and here comes "Raw Revolution" and "Relocate the Beat". Hell of a record, with some really awesome beats and a truly memorable vibe. Could have been released on Two-Tone. Not really a bad track on the whole thing.

Against Me! -Searching For A Former Clarity

"We Charge into Danger, no guarantees of safe places" Hell of a way to start a record. I absolutely positively think that Against Me!'s newest record, "New Wave" is a masterpiece, but what about the one before that?? I'll tell you - it is freakin awesome. The band had not quite polished their sound, but Tom Gabel has begun mellowing out his vocals a bit and man oh man is this a good record. The first track he bellows complaints about "Fuckin Miami", the next track he complains that nothing excites him, then he talks about the war for a bit, then he talks about the music industry, then he sings a song about Condelezza Rice..getting my point? This guy is all over the fucking map, BUT, it sounds and feels really good. Excellent music and songwriting compliment the maturing vocals, so that the lyrics almost become like another instrument. The album also touches on dating, drug use, record contracts, important life decisions and terrible disease. But even in howling about every possible subject anyone could ever write a song about, the band seems like they are only observing and casually reporting-like if you saw them play in a shitty bar that they would hang out with you and tell you stories behind every single song. I don't quite know how to put it in words, but either I really get Against Me, or the band really gets me. Im leaning towards the former since I have never actually met the band. I will stop talking about this record now at the risk of "Coming off kind of contrived and pretentious" But - In Closing - this album kicks more ass than most bands can hope to play in front of, and thats saying something.

The Briggs- Come all You Madmen

I first heard The Briggs on their E.P. 'Leaving The Waves' and became an instant fan. Singer Joey Laroca's voice has a low grumble that brings to mind Roger Daltry of Quadrophenia era. On this new record the band executes the songs with determination and real heart. Starting off with a driving, footstamping, hand clapping, sing along intro. Everyone is singing along including Ken Casey(!). This opening track is a great tune... a bit of a departure as it barely has any guitar, but an awesome sea shanty of an song. Then the boys come rumbling in to tell you about their home town in "This is LA" Each track on the record holds its own, forming its own identity, which is a great thing for these guys to be doing. There is another kick ass guest vocals on "Charge Into The Sun" by his holiness Dickie Barret. This song in particular rocks pretty damn hard, and then you hear Mr. Barret and Mr. Laroca trying to out-grumble each other and you cant help but smile. The band has slid a few slower jams into the mix...the best of which is the unbelievable closing track, "Molly". Slow strumming and heartfelt vocals lead into a build up which only really includes a soft piano, low guitar and some drum rolls- but it sound huge. I never thought I would call a song by The Briggs beautiful...but this is a beautiful song and closes out a great record by a band that just keeps getting better. Standout Tracks: Mad Men, Charge into the Sun, Not Alone, Oblivion, Final Words, Molly.

Street Dogs - State of Grace

Mike McColgan and the boys have a message for you: Come get some. (I debated leaving the review as just that line... I think it sums things up fairly well.) All of their other records are awesome, and this one is almost as good...but a little different. The band takes a breather from screaming and yelling about politics for a few more tracks than normal to sing about themselves and their families. A very personal record with songs about grandmothers, fallen friends and relatives and a whole bunch of sing alongs. The difference in this record (aside from the subject matter) is that they slowed things down a little. (Remember: Slower doesn't automatically mean bad.) There are some really cool guitar lines and drum beats that they would not have been able to do with Savin Hill or Back to the World. But when they do play hard and fast, like on the opening track, it sounds as fresh as it did in 2003. Probably the best track is "San Patricios" you have to hear it to believe it. There is a god damn flamenco guitar in it! brilliant! The next two tracks close out the record very nicely. I think the Street Dogs are onto something with this record. I love the new direction...as legendary as their previous offerings are I think they did a hell of a job on this one and are going to make even more of an impact if they keep it up. Standout Tracks: Mean Fist, Into The Valley, Elizabeth, San Patricios, State of Grace and Free"

The Gaslight Anthem- Sink or Swim & The Senor and the Queen

I have this thing where I find a new record or band that I really really like and Ill listen to it non stop to the point where anyone driving with me or near me when Im listening to it is sick of it. This is one of those cases. These guys are awesome. I think the reason I became mildly obsessed with these records is because it was interesting. They are like a blues band with a hardcore guitar player and a punk rock Bruce Springsteen singing. These guys are playing the type of songs that hit me the hardest. Every song has an epic feel and the singer Brain Fallon has a way of just grabbing your attention (and your heartstrings) and dragging you into his sad but hopeful world. In 2007 they released "Sink or Swim" On this record He sings lines like "Well you never had a night on the town, like I could show you such a night on the town. And you aint never had a song you can sing, well its a deep dark night - I hear you Ive been there" on the amazing "We Came to Dance." He digs just as deep on the next track "1930" The music is like a freight train building tension until the last minute where everything drops out except a soft guitar where he almost whispers: "And If recall, the last thing you said to me. Before we broke up. Before he took you from me" the next line is delivered with the emotion of a Motown break up song- but it rocks significantly more as Mr. Fallon bellows: "and you said I love you more than the stars in the sky, but your name just escapes me tonight" What really grabs you about these guys is that they don't give a shit about any genres or labels. There are a few acoustic track on both records. Many many blues riffs throughout, and some finger tapping. You cant beat it. The EP Senor and the Queen is painfully short. I want it to last forever, but I'll have to wait another month or so for their new record to be released. Definitely my most anticipated record being released right now. Very excite.

The Loved Ones - Build and Burn

This band is ridiculous. They play every song with an unrivaled intensity, yet an extremely impressive control. Singer, Dave Hause, wails every line as if it is the only chance he has to do so. The opening line is "I've been working longer hours, watching money streaming in, Ive been trusting crooks and liars like I dont have any friends. Ive been finding myself praying when Im deepest into sin, Ive been reinventing happiness again". From "Pretty Good Year" that line alone makes it a 5 star record and the album isnt even 15 seconds old! The opening track goes onto detail how tough it is for the band to leave their regular jobs, homes, and friends and hit the road...but they realize they must. The entire feeling is summed up by the line "If I go will the house fall down? Will I burn it if I stay?" The majority of this album is about what to do with yourself. What do you do when you start approaching 30 and your rock and roll band hasn't taken off? I'll tell you what you do: you write a goddamn album like this. Track 3, the title track, echoes more of the same sentiments but with a really unique progression, and a pretty kick ass chorus...complete with gang "heys." "Brittle Heart" opens soft with a rapid fire opening vocal...sliding into Mr. Hause's wailing "whooooaaaa." The next track, "Selfish Masquerade" is a little tricky. Starts with a little piano riff and then explodes into what seems like an entire orchestra playing the opening bridge. But, true to form, the chorus pulls everything together and makes you want to pump your fist and sing along...especially when the breakdown comes around "cause this is my selfish masquerade, Ill tell you what you wanna hear, It comes easily to me" Perhaps the most compelling track is "Louisiana" which, if Im not mistaken is specifically designed to be sung around a campfire. A really great tune with the simplest of ideas taken to the extreme and it pays off big time with the power of the band and Dave's voice this is a rel standout track...especially when everything drops out and cue guitar and vocals "you can leave them there, you can walk away, you can point your guns, hope they'll stay. But they'll fold their hands and start to pray. A little faith can heal the heart thats been betrayed" They then repeat that line, but they turn the intensity up to 11.

There are two frustrating parts to this record. The first being that it is so short. I will begin a campaign to have their next record be a double album with 30 tracks.

The other is a not applicable to all, but I really identify with a lot of what they are singing about, and unfortunately his voice is so ridiculous that the only place I can comfortably sing along is in the car. But I still find myself walking around the grocery store trying to sing about "All the Years he's been struggling" A 5 star record.

There you have it. Hope you enjoy, and one day I'll actually write a full review again.

Flogging Molly: Float

Life's only Life with you in this song...

Flogging Molly has long been one of my favorite bands. I truly believe that they are the best live band you will ever see. From the very first moment I heard the band I knew they were going to be an important part of my life. I was browsing through Tower Records and they were playing on the overhead speakers. I could not focus on anything except for the music playing. I worked up the nerve to ask the person at the counter who we were listening to (which took considerable courage, because who wants to admit that they don't know a band to a record store employee?) she handed me the CD and I would never be the same. I have seen them live in concert more times than I can count, from the side stage at Warped Tour to the Electric Factory to the Festival Pier in Philly w/ Dropkick Murphys where it seemed like there was a million people in the audience-they never disappoint. I always make it a point to go up and tell them it was a great show, and they are always kind enough to talk to us. At our wedding the "garter-taking off" song was Devil's Dance Floor so at the first show after the wedding we brought a picture of me removing Heather's garter and they signed it. How freakin cool is that? They have a genuine passion for their music and, just as important, a genuine friendship exists between every member of the band. They write what they know, what they've done and where they've been.

So with their new album out now I present myself with the following questions:

1. Is this their best release to date?

I don't think so, but it is really really good.

2. Is the sticker on the front of the disc quoting AP to be believed "...the most important album of the decade..."?

No, but this is absolutely the most important album that Flogging Molly has released. Important to the fans, but more importantly: important to the band.

The first track, "Requiem for a Dying Song" was heard almost a year prior to this release on the Complete Control Sessions live thing. I didn't really care much for it at the time but now I think this is a great way to open the record. They really set a tone for things to come. A slightly poppier, less distorted sound but Dave King's lyrics have not lost their bite. If anything he has sharpened his wit and it shines through on the opening track which is a not so subtle attack on the Iraq War. "(No More) Paddy's Lament" brings you right back to the Swagger days. From its thunderous opening measures to the pounding chorus these seven drunken pirates prove that they are not going to become stagnant. This track contains some of the best lyrics on the record. Also for your enjoyment is a signature Dennis Casey solo leading into an awesome breakdown. "Float" (also on the Complete Control Sessions) is a fantastic track. For 75% of the song it is mostly a slow, quiet introspective piece. Nathan Maxwell's bass really ties this song together providing a bridge from the 1st part to the grand finale. About 2 minutes in Mr. Casey starts plugging away and you know that things are about to get pretty bad ass. After another verse/chorus the whole band kicks in and round it out with a great 'outro' "A ripe old age, that's what I am, A ripe old age, just doin' the best I can." Next up is "You Won't Make a Fool Out Of Me" and this is the point where even the most casual of observers can realize that the anger is still alive and kicking in these seven road warriors. Although, this is also the point that you start to realize that this is a little different. The band has matured. Not a bad thing by any stretch of the imagination. I hear the chorus of this song and I can picture Dave King taunting the audience to sing along.

"The Lightning Storm" closes out the first half of the record and man oh man is it good. Another classic track. It has everything that makes these guys great, including a nearly hardcore breakdown late in the game. Awesome. With lyrics again condemning a war, and all musical cylinders firing this is bound to be a fan favorite in the years to come.

"Punch Drunk Grinning Soul" is another one that makes you sit up and pay attention. These guys really went for it this time. The structure of this song is truly something to behold. A tense and driving verse leading into a uplifting chorus. After the last chorus of sing along "Hey Now, Stay Proud" things kind of get out of control and you can just tell that the band is having a blast doing what they are doing. At the end of this track is some weird spoken word thing which is actually quite good, but a little out of place.

"Us of Lesser Gods" is a sweeping upbeat song at first glance, but upon closer inspection it is a call for religious tolerance. How unexpected.

"Between a Man and a Woman" is awesome. I'd like to think that this about Dave King and Bridget Regan. I have no major evidence supporting this, just a few pieces of circumstantial. But this song has a sweet, heartfelt vibe which really lightens the mood from all of the political tracks. Only a momentary reprieve though as we plunge right into "From the Back of a Broken Dream." I think that this is a song about a soldier writing home. But I could be reading too much into it. Either way, a good tune.

Look out though because here comes "Man With No Country" this song begins with a punch in the face and does not stop until the last syllable fades out. A true highlight on this album and within the whole of Flogging Molly's catalog. I might even be brazen enough to call this the perfect rock and roll song. It certainly includes one of Dave's best choruses to date "For once in this life, I better do something right. Don't bury the voice that's not yet spoken. I'll challenge the flames till this man with no country remains." Take it Mr. Casey...we sing another chorus and the song explodes into a classic.

As is traditional with the band, the record closes with a slower tune. This one, "The Story So Far" is not quite up to par with "Far Away Boys", "The Son Never Shines" or "Don't Let me Die Still Wondering" but I tell you what, it is a perfect fit for this record. Both musically and thematically. It will have you singing along with the end chorus for days to come.

So, what makes this record so important to the band? They seem to have realized that they cannot record the same album every time around. I would listen to the same Flogging Molly record for the rest of my life, but the band is not going to be complacent. They are doing what every great band does: expanding. They are keeping their true core sound but slowing down a bit here, and mellowing out a bit there...maybe losing a little distortion in this direction. This will be a record that will help Flogging Molly to last forever. They remain a personal and worldly band who writes fantastic records. I think they wrote this one for themselves and if you don't like it then you just don't get it. A reading from the book of Dave King: "Sick and tired of what to say. No one listens anyway. Sing, that's all you can"

NOFX: They've Actually Gotten Worse Live

It's Funny Because It's True...

You know, I've played several live shows while intoxicated. Hell, I'd estimate that 99% of the time I play I am under the influence. But somehow we never sound close to as tight as an intoxicated NOFX. I have seen them live, and it really is as bad as people say, and yet somehow on both of their live albums they seem to have their shit together. I suppose being a band as long as they have been, there isn't really any excuse for them to play poorly. They certainly make a go at it though. This live album was advertised as "Part Comedy" and it is pretty damn funny. But what really struck me is the tightness that the band achieves. Particularly on the new arrangements of the old songs. Starting with "Your Wrong" which was a great song to begin with, but now add the trademark NOFX drum part and you have a classic tune. Even if some of the chords were wrong, as Eric Melvin proclaims at the end of the song. Next up is "Franco UnAmerican", which I never really cared for much on the studio album, but it winds up being a pretty good live track. Especially when Fat Mike needlessly changes the words of the song to "Listening to The Dead Kennedy's and Ragan Youth" and not so needlessly to: "We all know George Bush is an imbicile, he loves Dick but he hates homosexuals"
Following this song there is a 'comedy' portion involving Fat Mike's signature iced cream: Chunky Drunky. Bringing us to 'old slow song turned fast' part 2. "Scavenger Type" somehow actually loses a bit of its bite compared to the acustic version on Punk in Drublic. The song reedeems itself at the last verse, with a high pitched save from guitarist El Hefe. After an AFI diss, they spiral into take three of "Whats the Matter with Parents Today" which is a great track, and plays even better on this live version...even with the dirty lyric change. The album loses my attention with the next two songs. "The Longest Line" is a great song. Just not that great here. And I have never been a fan of the "Happy Birthday Song".

"Eat The Meek" is a great song. But again, not really something to be played live when the rest of the set is going 100 miles per hour. Speaking of which, the next 9 songs take place in the span of about 7 minutes. Starting with an excellent new version of "Murder the Government" the marathon includes "Monosylabic Girl" "I'm Telling Tim" "Instant Crassic" "Can't Get the Stink Out" "See Her Pee" "I Wanna be an Alcoholic" "Fuck The Kids" and "Juicehead". Stink and See Her Pee both steal the show with their awesome choruses and swift kicking drum beats. Taking a well deserved breather the boys, led by El Hefe on Trumpet 're-imagine' a Herb Albert song. Yes, Really.

Jumping right back into the action with "Lori Meyers" NOFX proves why they have been a band nearly as long as I have been alive. This has always been one of my favorite of their songs, and with Mrs. Eric Melvin doing singing the "Lori" part, it is somehow better than the studio version. Speaking of better than the studio version... "We March to the Beat of Indifferent Drum" is a tough call. They changed it up on us and took one of the best tracks from their last record and NOFX style 'ska-ed' it up. And just when you are getting comfortable the second chorus comes up and they go back to playing faster than you can think. I can't confidently say I like the new version better than the old one, so I will have to picture them as two different songs. Both freakin awesome.

The next track, "I, Melvin" with accordion accompaniment by Matt from Flogging Molly, is one of the highlights of the record. It seems like it might be a joke, but I think it is a very depressing song in which guitarist Eric Melvin sings about drinking too much, not contributing to society and being the "second guitar...always on the third string" But hey, Eric, at least you got this song out of the deal, right?

Digging deep in the NOFX vaults comes the next track "Green Corn" from the Ribbed album. They tear through this nearly 20 year old track with El Hefe nailing the guitar solo. This is the best they play on the whole record.

Which leads to the best track on this live extravaganza. "Whoops, I od'ed" used to be a slow song. But in keeping with the trend, it is fast now. And infinitely better than the original version. The band has it together, and improve on an already great song. The last official song on the record is another oldie. "Stickin' in My Eye" has long been one of my favorite NOFX songs. And there is definitely no disappointment here. They play this song as if they wrote it last month. It still sounds fresh and fast and rockin.

After the song is over, an extremely frustrating thing happens. The crowd cheers, the band comes out for an encore. They start to play "The Decline..." and its very exciting, I mean, no shit! they are actually going to no play their 17 minute epic track. And I'm sure they do. But for some dumb reason we only get to hear the first minute before it fades out. WHAT THE HELL?

24 tracks, and if you believe the liner notes they were unreasonably intoxicated throughout all of them. This is a great live record, but it does have its low points. NOFX has released some 15 records and countless comps and 7" records. They always prove to be a great band with a lot of talent. They are out to show us that they are "Pushing 40, and doing just fine" and they do show us without a doubt that they are living the dream, and they are not going anywhere for a long time.

3 1/2 stars... not 4 because of some of the songs being terrible. And not 3 because some of them are incredible. If this had less tracks it might not have seemed so up and down. But hey, NOFX has been together since 1983. Who the hell am I to tell them how to do things.

Reviewed by: Pete