Transplants - Self-titled

Transplants were a rap/rock supergroup from America who formed in 1999. This debut self-titled album was released in 2002, three years before Haunted Cities.

The opening song, Romper Stomper, is basically an indistinct wall-of-noise topped off by shouty lyrics. However it does an adequate role as an opener that introduces the style of the album. Quick Death is much of the same, in my book.

Thankfully, many of the album's songs feature a strong melodic element, beginning with Tall Cans in the Air. A lot like The Clash's debut album, it's a wonderful combination of smooth-yet-still-punk-rock instrumental melodies and angry vocal spat in your face. Tall Cans in the Air's highlights include a timeless hook, a great singalong chorus and a nice build-up through each of the verses into the chorus.

Profanity in pop music is pretty commonplace these days, but back in 2002, dropping the c-bomb in the lyrics of D.J. D.J. would have been quite a statement. Anyway, it's a very nicely rounded song, contrasting between the bouncy energy of the verses and the understated yet highly infectious chorus. My favourite elements are the highly catchy guitar riff and the simple but inspiring words of the chorus: "We're gonna make it on our own / We don't need anyone / Lord knows we don't need you".

Speaking of hooks, the piano riff in Diamonds & Guns is probably the Transplants greatest hook ever. It's bouncy irreverence perfectly contrasts the grim violence of gang life, which is brilliantly illustrated by the lyrics (exhibit A: "...Is it the one with the suit? The one with the sack [body bag]? The one who hides behind his f**king gun and his badge"). On a personal note, I was introduced to this song (and therefore Transplants in general) through a TV ad for the Garnier Fructis shampoo, of all things. Despite all this praise, I've heard this song countless times, so unfortunately I kind of take it for granted these days. However that shouldn't detract from it being a ripper of a song and it is rightfully their most successful single.

The aforementioned three songs sum up this album for me. It seems like a simple formula: upbeat hiphop rock with shouty lyrics about the harsh gang life, with heavy reliance on a melodic hook. Good hook? Then it's a great song. Bad hook? Then unfortunately it isn't.

Dialling back the vehemence for a moment, Sad But True is a wonderful touching ballad with great subtlety and folk-music influences, especially in the chord progression. Like Bro Hymn by Pennywise, it's a spine-tinglingly good tribute to a deceased friend. We Trusted You is a bit more energetic and vengeful, but otherwise shares many of its positive attributes.

One Seventeen isn't particularly memorable, but the punk-rock style injects some good variety into the middle of the album. On the other hand, DREAM is probably the closest example of a traditional hiphop song... and it comes off like a lame white-boy attempt (especially with the some very cringeworthy lyrics). Returning to more familiar territory, California Babylon's piano riff injects a wonderful lighthearted energy, somehow reminding me of Moby. 

Down in Oakland is a unique and excellent take on the ska style, despite the lacking the usual trait of an off-beat guitar. Bear with me here... sure, there's the obvious toasting ("chk-a-chk-chk") vocals at the start, but it runs deeper than that. Effectively, the guitar is playing the horn line of the chorus, and the subtle Hammond organ in the background is another ska strait. Also, one could argue that the guitar is actually playing off-beats during the verses, albeit at half the tempo of the song... so there!

Favourite songs

Tall Cans in the Air, D.J. D.J., Diamonds & Guns, Sad But True, California Babylon, We Trusted You, Down in Oakland

Therion - The Miskolc Experience

Therion are a Swedish symphonic metal band who formed in 1987. The Miskolc Experience is a live album which was released in 2009, two years after the Gothic Kabbalah studio album.

What a beautiful start to proceedings we have with the strings of Clavicula Nox. After basking in the understated joy for a while, we are then treated to wonderfully haunting vocals. There would be no benefit for trying to squeeze in a rock band here, so I have much respect that Therion sat this one out, in order to let the simplicity of the song shine through.

Back in my school orchestra days, Dvorak- Symphony No. 9 was my favourite piece to play, so the stakes are high for me here. This version works perfectly, with Dvorak's legendary "riff" being seamlessly passed around the orchestra. In fact, perhaps this is how Antonín would have written the song if electric guitars had been around back in 1893...

Next up, Vedi... from Il Trovatore features a headbanging chorus. I find it quite stop-start otherwise, but I'm not familiar with the original. Overture from Rienzi has a similar style to Vedi, and its chugging guitars work a treat as backing for the strings and woodwind. However, the song feels like an abridged summary, with each section not given enough space and time to properly express its emotions. Sadly, another miss for me is the power ballad Notung... from The Ring. The menacing groove works well, but overall it's not my cup of tea.

But when the stars align... and the powers of an orchestra, choir and rock band combine perfectly, the result is the huge scale of Dic Irac from Reqiem. It is glorious. I think the key to the success is that the band's guitars and drums are seen as just four voices out of over seventy, so the band need to put away their egos in order for the art to flourish (the album's liner notes also discuss this concept).

The band's abrupt entry in Der Tag ist Da from Rienzi has all the subtlety of Me First and the Gimme Gimmes! After this, however, the song ebbs and flows wonderfully. On one hand, there's the beautifully sparse sections of drums, bass and choir. On the other, it's the Nightwish-style intensity of a lady opera singer going full noise over a raging band and orchestra, like the world is about to end. Herbei Herbei from Rienzi lacks this variety, but the end-to-end powerful (and semi-chaotic) thrash is also a treat.

Blood of Kingu is slightly letdown by the male vocals, which lack the sense of grandness imparted by the rest of the song. However, the howling female vocal sections are incredibly powerful, making this song a hit in my book. Where the male vocals do work well is Lemuria (which reminds me of Metallica's Garage Inc), where the song is driven by a simple vocal melody, nicely accompanied by the orchestra and choir.

A few of the remaining songs suffer from feeling disjointed: Eternal Return features a wonderfully moody strings intro, but that almost feels like a separate song. Then when the band joins in anger, it's another abrupt jump. Schwartsalbenheim also feels disjointed between sections, although the timeless recipe of an opera lady wailing over a ranging rock band atones for many sins (if this is basically what "symphonic metal" means, then sign me up as a fan). Via Nocturna features wonderful headbanging riff-rock (like Lemuria) but is also disjointed. All of these songs have very good highlights, but unfortunately the piecemeal feeling erodes at achieving a grand sense of scale.

Draconian Trilogy opens with a nice slow-burn tease for the first three minutes without any obvious direction. Then all the pieces fall into place when the female vocals start, and the rest of the song ebbs and flows beautifully. The guitars are quite dominant, but the cameo parts from the orchestra are nice touches. It is all put together with perfect layering.

On the other hand, The Rise of Sodom & Gomorrah is a much simpler beast, with the orchestra carrying the song via a headbanging riff for the ages. The other stuff is a tasty icing on a wonderful cake. Rounding things out, Grand Finale has a great driving energy and wonderful layering.

Favourite songs

Clavicula Nox, Dvorak- Symphony No. 9, Dic Irac from Reqiem, Overture from Rienzi, Der Tag ist Da from Rienzi, Herbei Herbei from Rienzi, Blood of Kingu, Lemuria, Draconian Trilogy, The Rise of Sodom & Gomorrah, Grande Finale

Final thoughts

The concept of a heavy metal band plus an orchestra plus a choir is tantalising, but often falls short in reality. This album delivers in full on that promise and the results are spectacular.

The Interrupters - Fight the Good Fight

The Interrupters are an American ska punk band that formed in 2011. Fight The Good Fight (FTGF) is their third album, which was released in 2018, two years after Say It Out Loud.

Title Holder starts off fitting the bill perfectly as an opener catchy. The ska groove is solid, the chord progression adds some texture and the lyrics in verses are nicely rousing. But then the chorus is a bit of a fizzer and somehow the song wears out its welcome towards the end.

In fact, the lyrics a a highlight throughout the album, offering bucketloads of raw emotion and strong visuals. Amongst other things, they lift up the otherwise generic pop-punk ditty So Wrong generic pop-punk ditty into a memorable experience and turn the musically clunky Room With a View into a wonderfully emotive ode to a lost friend. My favourite story on the album is Gave You Everything, which also features grunty verses and a brilliant singalong chorus. A lot of breakup songs feel defeatist to me, so I really enjoy this feelgood energy juxtaposing a bitter tale.

Leap of Faith has strong The Slackers vibes for me (maybe it's the rim shots? or the trombone?). In other words, it's a perfect mix of quirkiness with a solid rocksteady groove. It injects some variety into the album and is a great song in its own right. At the other end of the sophistication scale, Got Each Other is a generic punk-rock ditty; fun but forgettable.

As the exception that proves the rule, Outrage features a wonderfully catchy pop-punk chorus. But the lyrical subject matter is the sad state current media and online discourse... and I listen to ska to get away from that stuff...

Thanks to infectious ska grooves, inspiring lyrics and singalong choruses, She's Kerosene, Broken World, Rumours & Gossip and Be Gone are all heaps fun. I don't have much interesting to say about them, but that shouldn't diminish their virtue whatsoever. One point of interest is that I really dig the half-time breakdown in the bridge and final chorus of She's Kerosene. This song also features subtle backing keyboard and vocals, which work a treat.

Favourite songs

She's Kerosene, Leap of Faith, Broken World, Gave You Everything, Rumours & Gossip, Be Gone, Room With a View

Final thoughts

One might ponder how The Interrupters have developed their artform since their debut album? Well, perhaps some of the rough edges have been smoothed over, but it's mostly another dose of fun ska-punk times. Which suits me to a tee.

Flogging Molly - Drunken Lullabies

Flogging Molly are an American Celtic-punk band who formed in 1995. Drunken Lullabies is their second album, which was released in 2001.

If you're here for rousing verses, a slight sense of chaos and an uplifting singalong chorus, then What's Left of the Flag delivers in spades. May The Living Be Dead In Our Wake is much of the same goodness, however the chorus doesn't hit quite the same heights. On the plus side, the tin whistle and banjo provide a nice extra dimension. 

Going back to the start, Drunken Lullabies features all of the aforementioned attributes, plus a fantastic chord progression as the shot of Jameson in one's Guinness (sorry, I couldn't resist an Irish cliche at some point in this post...). The result is simply Celtic-punk perfection.

Similar but different are The Kilburn High Road and The Rare Ould Times, drawing more on a chaotic sea-shanty feel. This slight shift helps with the variety of the album and brings its own infectious energy. The instrumental song Swagger is also a fine example of this energy. Finally, the highlight of this grouping is Cruel Mistress, which transports me to a rowdy tavern-glass swinging atmosphere. In particular, the simple chorus works a treat. There's also somehow a 'deconstructed carnival' feel to Cruel Mistress, reminding me of The Dresden Dolls or The Incredible Dead Goons.

If I Ever Leave This World Alive is a ballad featuring an endearingly simple beginning. The song subtly builds through guitars (and spoons...) and drums to a nice crescendo. Later in the album, Death Valley Queen isn't particularly memorable in its own right, but works well as a change-of-pace at its point in proceedings.

Speaking of variety, the riff-based groove of Another Bag of Bricks is toe-tappingly addictive. It's AC/DC like with a mandolin, but not an ounce less swagger and attitude.

The Sun Never Shines on Closed Doors kicks off with a wonderfully understated intro, reminding me of The Eels. And although the scale gently builds with extra layers as the song progresses, the beauty is that the simplicity of the banjo and vocals remains the highlight throughout.

Favourite songs

Drunken Lullabies, What's Left of the Flag, If I Ever Leave This World Alive, Swagger, Cruel Mistress, Another Bag of Bricks, The Rare Ould Times, The Sun Never Shines on Closed Doors

Final thoughts

Easy recipe for instant success: take the stylings of a Celtic folk song and add the deafening fury of a punk-rock band. Such a solid foundation can easily lead to complacence and monotony, but Flogging Molly have a big bag of tricks to make this a wonderful experience from start to finish.

Meat Loaf - Bat Out of Hell III

This third - and final - instalment in the Bat Out of Hell ("BOOH" from here on) series was released in 2006, thirteen years after Bat Out of Hell II.

Note: a ridiculous album requires a ridiculous review, so here's my best attempt...

Bat Out of Hell isn't just art, it's a scientific development process; the purpose of which is to represent the entire gamut of human emotions in a musical form. As such, it is self-evident that the latest output of this process will always be the greatest. And, despite the album sales being one tenth of its predecessor, this is clearly the case for BOOH III. Looking forward from the present, someday mankind will cryogenically un-freeze Mr Loaf and Mr Steinman, which will inevitably result in them suing each other once again. Once that is out of the way, they will team up for BOOH IV, which will surpass even this masterpiece. However, in the meantime, here are some dissections of this third instalment:

From the very start of The Monster Is Loose, the instrumentals are much improved over BOOH II, where the appeal was mostly in the poetry of the lyrics (or it's also possible that I just prefer a more modern rock sound). The sound is very different to the earlier albums, but it adds to the huge sense of scale is huge and the passion of the lyrics. Also, it flows perfectly through contrasting sections, which is a BOOH hallmark.

The power-ballad Blind As A Bat has quite an early 1990s feel (but each BOOH album has been a bit retro for its time... perfecting a style can't be rushed...). The piano riff is wonderfully carried through from the intro, and is supported brilliantly by the strings. As for the song title... what a lyric! The lyrics throughout the song are fantastic, a classic Meat Loaf masterpiece of both imagery and humility.

It's All Coming Back To Me Now features a beautiful piano melody, which perfectly leads into the vocals. Then the interplay between the vocalists is amongst the finest duets I've ever heard. Now for a very bold statement: this song eclipses even I'd Do Anything For Love. I'm not trying to be a contrarian here; due to Kaizen, it's a simple scientific fact.

"The sea is up in the sky, the sky is up in the sea". Never has a nonsensical phrase been so emotive and prophetic. In fact, I could quote almost all of Bad For Good's lyrics, since they're all brimming with imagery and/or emotion. The instrumental arrangements more than carry their weight too, with an incredible build-up and momentum. Despite the sections often being stylistically quite different, the transitions are completely seamless. It's almost like a medley of about 8 different songs (as it should be, at over 7 minutes long...), all perfectly stitched together. 

With hindsight, it feels like Everything Louder Than Everything Else (from BOOH II) was merely a early prototype of Bad For Good, and the latter also incorporates a "checklist section" drawing on the lessons from Life Is A Lemon And I Want My Money Back. If you can accept, without irony, that "for the good of one hell of a night" is the ultimate climax to a crescendo, then you're a true Meat Loaf connoisseur/addict. 

Cry Over Me is a bit bland, both musically and lyrically. However, it provides good variety towards the middle of the album. And clearly its mediocrity was added to this album so that we may better appreciate the other songs...

In The Land Of The Pig, The Butcher Is King is a mixed bag, but also one of my favourite songs. Something isn't right about the musical arc, so it feels like a wind-up that gets repeated with minimal variation, thereby wearing out its welcome by the 5-minute mark. But the song title is irreverent brilliance, and often I find myself singing that line in my head for a while afterwards. Adding to the tongue-in-cheek appeal is the sound of the braying pigs at the end of the song. Brilliant!

Like a good reggae-dub song, Alive feels so natural in how it adapts its form over time, making the minutes evaporate as a single pleasurable blur. This is motivational-poster stadium rock at its finest.

If God Could Talk is another epic power ballad. As per the song title, it's simultaneously ridiculous and deeply meaningful. The instrumentals provide great direction and structure, but the real star is the lyrics. Tortured, complex, beautiful lyrics.

Yes, If It Ain't Broke is very cheesy... even by Meat Loaf standards. The sharp breaks seems a bit contrived to me, but otherwise its fun headbanging rock. Infectious rock-funk groove? Check. Singalong chorus? Check. Job done.

What About Love's highlights are a great piano motif (which holds the song together brilliantly) and a truly inspiring chorus. It's perfect rock-opera, with a narrative that spans a lifespan.

Seize The Night has an interesting orchestral opening full of pomp, however it's a bit disjointed until it breaks out into that epic guitar riff. From then on, it features a fantastic driving energy, up until... well... in theory, arresting all that momentum for the pianissimo choir sections should completely undermine the flow of the song. But the genius is that somehow it doesn't. Then, as it winds up again, it transforms into a glorious amalgamation of rock band, orchestra and choir.

The Future Ain't What It Used To Be feels like the album is beginning to wind down, with nothing too strenuous on display here. Nonetheless, it is an enjoyable way to spend 8 minutes. Then things come to an end with Cry To Heaven, a nice lullaby to cap off an epic day.

Favourite songs

This experience isn't about mere concepts such as songs, it's far more important than that...

Fat Freddys Drop - Based on a True Story

Fat Freddys Drop are a reggae/roots band from New Zealand who formed in the late 1990s. However it wasn't until 2005 that their first studio album, Based on a True Story was produced.

My favourite dub qualities of subtlety, a gentle build-up and the calming re-assurance of phat bass are all wonderfully present in the opening track Ernie. Unfortunately it starts feeling a bit tired after about 4 minutes, and then the upbeat section disrupts the subtle mood.

Cay's Crays brings all the dub goodness with a great horn melody, a nicely minimalist chorus, a trance-like feeling throughout and occasional punctuation with the calls of "fire!". I also really dig how the song gently ebbs and flows along. It is a real art to keep a song engaging for over 5 minutes with just minimal subtle changes, but Cay's Crays is an example of how Fat Freddys Drop hits the nail on the head.

This Room is more drum'n'bass than dub, but I appreciate the variety it provides for the album. Ray Ray also lacks an offbeat, therefore I hate it of course... just kidding! The start features a great driving groove, although I find it quite disjointed in the middle, due to the staccato section and the relatively large changes thereafter. However, all is forgiven when it comes together beautifully for the climax.

Dark Days is a vocal ballad style, and it just doesn't speak. Also I think the song feels confused towards the end, due to an overpowering dub-style bass guitar (or double-bass perhaps?) and kick-drum that doesn't suit the style or insert any meaningful energy.

Roady features an infectious rocksteady groove A++

The reason we're here is Wandering Eye. Or more specifically, that incredible tip-toeing bassline. It carries the song for 6 minutes, yet feels like it could go on forever. The creamy horn line, the mischievous lyrics, the subtle increase in intensity for the chorus, etc are all wonderful... but in the end they're all just supporting actors for that legendary bassline. (In my book, this album ends when the bassline does.)

Favourite songs

Cay's Crays, Ray Ray, Roady, Wandering Eye

Final thoughts

I have a very narrow-minded view of this album, but it still brings much enjoyment.

The Hives - The Black and White Album

The Hives are a Swedish garage rock band who released their first album in 1997. The Black and White Album is their fourth studio album, which was released in 2007.

Hate to Say I Told You So from Veni Vidi Viscous kind of makes an appearance here in the form of the catchy opener Tick Tick Boom. The simple riff-rock style risks becoming monotonous, but the genius of The Hives is that they know how to quit while they're still ahead.

Try It Again another (relatively) slow-paced song with another great riff and another catchy chorus. A minor gripe is that I question whether the screaming girls in the background adds anything to the song. But that's easily overcome by the highlight of the song for me: the great interplay between the two guitars. Bigger Hole To Fill brings more of the same goodness.

You Got It All... Wrong is getting closer to a traditional Ramones err, sorry, Hives song. There aren't many musical ideas going on here, but the backing vocals does make the chorus stand out nicely. Also, the keyboard in the pre-chorus brings some good contrast to proceedings.

It's all been quite traditional up until this point, but Well Allright kicks things up a gear with a super-catchy groove. The overblown gospel-preacher style of vocals works a treat with the soul-influenced styling. It's simply great fun and I don't have much more to say...

Hey Little World features the timeless recipe of riff-rock versus perfectly contrasting a bouncy, singalong chorus. Won't Be Long is more of the same, but at slightly higher tempo (and with a great Animals reference at the start of the lyrics). The plastic strings and synths are terribly cheesy... it's wonderful.

As a quirky interlude, A Stroll Through Hive Manor Corridors works a treat. Actually, the song also works a treat in its own right. For me it brings up images of sneaking around a mansion in a Spy-vs-spy style. The tongue-in-cheek funk of T.H.E. H.I.V.E.S. also provides variety and much enjoyment. Finally, I have no idea what style Giddy Up is?? Regardless, it's also a wonderfully oddball addition to the album.

Return The Favour is old-school raucous (and sometimes harsh) Hives. It's a nice throwback, but the song also illustrates how much the band has developed since the first few albums. 

In Puppet On A String, the band have graded thundering guitars and drums for a piano and subtle clicks. The result shows that quality songwriting can be completely engaging without needing any window dressing. This is perhaps another "oddball" song (although perhaps so many oddballs actually makes it the norm here?), but it's also one of my favourite songs on the album.

Favourite songs

Try It Again, You Got It All... Wrong, Well Allright, Hey Little World, A Stroll Through Hive Manor Corridors, Won't Be Long, T.H.E. H.I.V.E.S., Giddy Up, Puppet On A String, Bigger Hole To Fill.

Final thoughts

Similar to Green Day and The Living End, I regard The Hives as a band that has evolved very nicely over their career (but with the tongue still firmly embedded in cheek the whole time!).

And this album is heaps fun.

Avantasia - Moonglow

Avantasia are a symphonic metal supergroup, whose first album was released in 1999. This is their eighth album, Moonglow, which was released in 2019.

The album kicks off with Ghost In The Moon, which strongly reminds me of Meat Loaf. Maybe it's just the piano? Or perhaps the 1980s-styled power-ballad choruses? Either way, it doesn't waste any time drawing us into the adventure, and I really dig it.

Speaking of epic, The Raven Child is a song that's almost as long as some Ramones albums! It ebbs and flows brilliantly, and each section perfectly dovetails into the next, making it a wonderful way to spend eleven minutes.

Book of Shallows somehow feels like a midpoint between Devin Townsend's Empath and Dragonforce's Inhuman Rampage. But where the latter is overdone to the point of absurdity and the former is intimidatingly complex, Avantasia could well be my Goldilocks album. It also has Meat Loaf's wonderful ability to make time melt away; the five minutes was over in a flash. Later on, Alchemy provides similar headbanging power-ballad goodness. And Requiem For A Dream Dragonforce at a tempo that I can comprehend. Brilliant.

Moonglow reminds me a lot of Nightwish. In other words, it's utterly brilliant. Moving on to quoting The Divynals (wow, I'm name-dropping a lot of bands in this post...), they believe that an uplifting chorus can single-handedly carry a song. Exhibit A in support of this theory is Lavender, which soars brilliantly.

Starlight is a nice, upbeat anthem that provides contrast to the album, but isn't memorable in its own right. Invincible is the same situation at the other end of the intensity spectrum.

Finally, Maniac somehow reminds me of Baby Animals and lyrically is quite an odd way for the album to end... but maybe it's a celebratory after-party for our heroine, following a successful conquest?

Favourite songs

Ghost In The Moon, Book Of Shadows, Moonglow, The Raven Child, Alchemy, Lavender, Requiem For A Dream

Final thoughts

Perfectly represented by its cover art, this album is a wonderful fantasy novel in a musical format.

The Avalanches - Since I Left You

The Avalanches are an electronica-chillout group who formed in 1997. This is their debut album, which was released in 2000.

We've been in this situation before, dear reader. As much as I try, electronica is often too far outside of my interests, so it's appeal usually just boils down to catchy pop hooks. 

The title track, Since I Left You, is a case in point. I kinda dig the soothing melody for background music, but it doesn't retain my attention for focused listening.

Then we have the slick, inoffensive corporate vibes of Radio (which reminds me of the band Madison Avenue) and a Beastie Boys-esque disjointedness in several songs, such as Close To You.

However, special mentions go out to A Different Feeling for its nice phat groove, and to Two Hearts in 3/4 Time for the contrast provided by its 6/8 time signature. Also, Etoh has a delicate and intriguing intro, which leads into instruments gently drifting in and out. It's quite dub-esque in its feel, therefore I'm a fan.

Frontier Psychiatrist is a cracker in my book, and the reason that I bought this album. Its references to mental health problems are probably in poor taste these days, but I really dig the whimsical attitude, complete with random horse sounds. The retro-styled groove is wonderfully entrancing (but its flow gets broken several times, which is very frustrating).

Live At Dominoes is a hidden treat that appears towards the end. With a phat groove and cheeky references coming in from all angles, it's a masterpiece. So despite all my whingeing above, I'd love to see The Avalanches in concert.

Favourite songs

A Different Feeling, Frontier Psychiatrist, Etoh, Live at Dominoes

Final thoughts

There's a few good times here, but it's another electronica album where I'm missing the point.

Reel Big Fish - A Best Of Us... For The Rest Of Us

Reel Big Fish are a third-wave ska band who formed in 1991. This mid-career Best Of was released in 2010, one year after the Fame, Fortune and Fornication studio album.

The reason that I bought this CD was mostly because I'd lost their Favorite Noise Best Of album, so there was an RBF-shaped hole in my CD collection. Interestingly (perhaps due to record company contract shenanigans), different recordings of the same songs are used on this more recent compilation. And unfortunately, the overly cheesy feeling I whinged about previously is even more obvious here. Enough whingeing... I best not ponder the audiophile intricacies of badly-recorded ska-punk (although that would be quite on-brand for me...), so let's skip the main disk and see what the bonus acoustic version disk holds.

Stripping away the distortion guitars, vocal effects and overdubs makes for a much more wholegrain experience and brings it a bit closer to ska's Jamaican mento roots, which I really dig. In particular, Take On Me works a treat as an acoustic version, and I dig the full-circle absurdity of an acoustic cover of a ska cover of Aha's original hit. (A quick note of trivia: the track list has Take On Me and Beer in the wrong order)

Another F.U. Song is comedic cold, both in punk-rock and acoustic guises.

Another part of the reason I purchased this CD was to get my hands on 241, and this acoustic version doesn't disappoint. The styling brings it closer to a rocksteady groove, allowing that timeless riff to shine even brighter. So I actually prefer it over the original.

Favourite songs

(not including originals which also appear on Favorite Noise)

Another F.U. Song (both versions), Brown Eyed Girl, Take On Me (acoustic), 241 (acoustic) Scott's A Dork (acoustic)

Final thoughts

Overlooking the main disk (because I already have most of those songs), it's a tough question as to whether the acoustic disk is worthwhile in its own right. I really dig the style as an interesting take on the songs, however it is lacking the frantic energy of the originals (FYI I never really got into the Dan Potthast style of acoustic ska), so both versions have their merits.

... however, the Take On Me and 241 are brilliant as acoustic versions, so in the end it's a resounding thumbs-up.