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.

Alex Lahey - The Best of Luck Club

Alex Lahey is an indie pop/rock singer who began performing in 2016. The Best Of Luck Club was released in 2019, two years after I Love You Like A Brother.

Let's skip my favourite aspects for a moment, and start with what probably represents more of the band's "natural" style...

Interior Demeanour feels a bit like Nirvana-lite to me, with brooding verses and a simplistic chorus functioning as the hook. I really enjoy the rawness and honesty of the lyrics, even if it isn't a song I'd look forward to listening to. Unspoken History perhaps illustrates the importance of said hook, since we are just left with nondescript melodies and painfully unimaginative rhyming. No thanks.

Isabella is another major offender when it comes to the rhymes. But all is forgiven thanks to the positive vibes, in particular an endearingly wholesome chorus. While on the topic of soppy ballads, Black RMs isn't particularly memorable musically, but the lyrics have a sense of sharing some very personal thoughts, which makes it an interesting journey.

The 80s synth-rock sound of Don't Be So Hard On Yourself (we'll get there soon, I promise...) makes a subtler appearance with I Need To Move On. Its chorus might be lacking the stadium-rock energy of its siblings, but the sparse atmosphere is very enjoyable in its own right.

Ok, now back to the start for I Don't Get Invited To Parties Anymore. Quiet self-reflection in the verses? check. Catchy singalong chorus? check. It's a simple recipe, but this example shows the timeless appeal when done well. The icing on the cake is the breakdown section, which slowly builds momentum thanks to wonderful layering of the vocals and guitars. It's my favourite part of the song. And although the chorus was beginning to wear out its welcome, this build-up into the grand finale version of the chorus is the perfect way to round out the experience.

Am I Doing It Right tells an engaging tale with great insights into the paradox of the lonely rock star lifestyle. But really, it's all about the legendary chorus, which becomes some kind of cult-like trance, as per emo stadium-rock at its finest. Some odd little highlights for me are the lines "I can f**k it all up in a million different ways" and the glorious offbeat snare hit at the end of each phrase.

Don't Be So Hard On Yourself is more of the feelgood melancholy vibes from I Don't Get Invited To Parties Anymore. Both songs have a strong 80s synth-rock feel to me, quite similar to Dragon (possibly due in part to the brilliantly cheesy saxophone cameo). Again, the chorus is wonderfully addictive, using a thousand watts of stadium rock power to describe the most fragile elements of the human condition. In one of the highest compliments I can give, it's like Millencolin at their finest.

Favourite songs

I Don't Get Invited To Parties Anymore, Am I Doing It Right, Don't Be So Hard On Yourself, Isabella

Final thoughts

I do really like it... but, much like Nirvana, probably for all of the wrong reasons.

Like a Version - Volume 16

Like a Version is a series of compilation albums, consisting of Australian bands covering famous pop songs. The series began in 2005, and volume 16 was released in 2020.

Ain't nobody got time for me to blather on about all 40 songs (myself included!), so here's some notable mentions...

Welcome to the Black Parade (by Alex Lahey): This song is single-handedly the reason that I purchased this album, and it delivers in spades. It takes a highly captivating song, strips away all the over-produced Hollywood nonsense, and trades the cartoon caricatures for a great sense of authenticity. Brilliant.

I Touch Myself (by Lime Cordiale): A quirky interpretation that trades nicely on the original's catchiness.

Say So (by Polish Club): I'm not familiar with the original, but this version has a nicely syncapated 6/8 groove.

Knowing Me Knowing You (by Angie McMahon): Nicely understated version of the ABBA classic.

Heart-shaped Box (by Hermitude): The sparse yet toe-tapping groove works a treat and makes me enjoy this more than Nirvana's original.

Dance Monkey (by Milky Chance): A quirky and captivating re-interpretation of the original... or maybe I'm just a sucker for anything with an accented offbeat...

Mr Brightside (by Hauskey): I really enjoy The Killer's original version (plus the added irony that it was written by the drummer who left the band afterwards), but this laid-back version feels flat and lacks the orchestration that makes the original sparkle.

Bags (by Dominic Fike): Another one I'm completely unfamiliar with, but the indie-rock groove kicks things off nicely. It goes off into the weeds each time after the chorus, but thankfully this doesn't last too long.

Love is in the Air (by Stella Donnelly): Initially I thought it wasn't a patch on the magnificent energy of the original, but slowly the beautiful vocals are working their way into my affections.

Get Free (by Northlane): Sadly, this adds very little compared to the original.

Don't Start Now (by Azure Ryder): Despite the lack of any particularly memorable moments, this is beautifully crafted pop perfection.

Righteous (by Stand Atlantic): This is probably my favourite r&b song (which is quite a short list) before cranking it up into a rock power-ballad.

California (by Japanese Wallpaper): Wonderful feelgood vibes, like cruising down the PCH on a perfect sunny day. Same goes for Mr Bluesky (by Alex the Astronaut).

When the War is Over (by Jarryd James): Too energetic for its sorrowful lyrics IMHO.

Unwritten (by Maddy Jane): I've forgotten the original, but judged in isolation this song perfectly blends emotion with pop catchiness.

Parlez Vous Francais (by Mickey Kojak): White Stripes (The Hardest Button To Button) meets Basement Jaxx. Brilliant.

Blackfella/Whitefella (by Bad Dreems): Generic styling ala Midnight Oil, but one can't complain when it works this well.

Don't Look Back in Anger (by Yours Truly): Re-interpreting an all-time favourite song of mine is always fraught with danger, but I also dig this more eclectic version. The pre-chorus's chord progression and chorus's lyrics are highlights, as per the original.

Forever Young (Tones and I): The whispy, directionless original holds no appeal to me whatsoever, but this cover has enough craziness make it an interesting experience.

Favourite songs

Welcome to the Black Parade, Knowing Me Knowing You, Heart-shaped Box, Dance Monkey, Bags, Love is in the Air, Blinding Lights, Lady Marmalade, Soaked, Don't Start Now, Righteous, California, No Diggity, Mr Bluesky, 1901, Unwritten, Parlez Vous Francais, Blackfella/Whitefella, Don't Look Back in Anger, Forever Young

Final thoughts

Before doing this post, I was slightly dreading having to pick through all 40 songs. But the list of Favourite Songs shows that there's plenty of wheat amongst the chaff here.

Nightwish - Showtime, Storytime

Nightwish are a symphonic metal band who formed in 1996. Showtime, Storytime is a live album released in 2013, two years after the Imaginarium album. 

So, recently I was taking the Dropkick Murphy's to task because I couldn't understand their lyrics. But... ummm... the inconvenient truth here is that most of the time I can't distinguish Nightwish's lyrics either. In my defence though, Ms Jansen's vocal's are a tad more musical than a bunch of angry middle-aged Irish guys...

Without further ado, Dark Chest of Wonders is an excellent, high-energy way to kick off proceedings.

Wish I Had An Angel has many great Nightwish ingredients, however the slightly uncouth male vocals are a letdown for me (this is compared with Ms Jansen, and living up to that standard is a huge ask). On the other hand, the male vocals work very nicely in I Want My Tears Back, and the pipes are also a good addition to inject some variety.

She's My Sin is a case of "don't bore us, get to the chorus" (thanks, Divinyls). It's verses aren't particularly memorable, however the immensely powerful chorus single-handedly carries the song. The extra intensity of the final chorus is the icing on the cake.

There's a nice contrast provided by the softer verses and bridge of Ghost River. Personally I find the breakdown at the start of the pre-chorus is awkward and disjointed, however it does serve its purpose by allowing the song to build nicely into the chorus. The instrumental Last of the Wilds also features a nice ebb and flow, has a catchy melody for the pipes and is a great way to lead us into the intermission.

Ever Dream kicks off with a wonderfully simple piano-and-vocals opening, which later blossoms into an incredibly powerful and catchy chorus. Speaking of choruses, the melody of Storytime's chorus is utterly infections. As for the other bits of the song... well, they do an adequate to fill in time before the next hit of that wonderful drug. Bless the Child also features an hugely powerful chorus, perhaps my favourite on the album. It's all quite simple, but with incredibly vivid and hauntingly beautiful imagery. The first half of the chorus wafts across the moors at night... before being joined by an army of rock angels playing at full noise. Also, I really dig the slow-burn build-up through the intro.

Romanticide kicks off with great energy through the verses, courtesy of some excellent guitar riffs. Unfortunately, the energy tapers off in the chorus and the latter parts of the song, however maintaining a Ramones-esque style for about five minutes would probably get quite monotonous. While I'm nit-picking, the second half of Ghost Love Score somehow seems a bit cobbled together. Before this, though, it settles into a nicely contrasting slow-paced feel once it settles in after the intro. And then it builds up perfectly into each chorus, thanks to powerful and haunting vocals.

Amaranth follows a familiar - but enjoyable - recipe, before exploding into another chorus for the ages.

Last Ride of the Day takes a while to get into its groove, and the chorus is very different to the others. But it's definitely worth persevering for, especially when it cranks up another gear for an epic ending.

Overall, this live album manages to achieve a mostly-crisp sound, while still capturing the sense of a grand occasion (complete with fireworks at various times). And while the kick-drum sounds a bit 'slappy', all is forgiven for the sublime sounds of the lead vocals. Speaking of the live concert, the banter between songs varies between endearing and awkward, but it adds to the feeling of a genuine, real-life event.

Favourite songs

Dark Chest of Wonders, Ghost River, Ever Dream, Storytime, Last of the Wilds, Bless the Child, Amaranth

Final thoughts

This album is an easy sell for me, since the style is a novelty for me that I really enjoy. This is a metal-genre take on Meat Loaf's sublimely overblown fantasy Wagnerian-rock (an official genre, apparently), and I can think of no higher compliment than that.

Dropkick Murphys - Live on St. Patrick's Day

Dropkick Murphys are a Celtic punk band who formed in 1996. This is their fourth album (and first live album), which was released in 2002, one year after Sing Loud Sing Proud.

Before we jump into the 26 songs(!) herein, I should note that a common theme is that I can't understand the damn lyrics. Maybe it's the noisy nature of a live recording, and it does seem worse when the lead vocals are sung as a duet. But I have a theory: sibilants, and the lack thereof. The shouted lyrics probably reduces them to start with, but also I think that this recording is missing the high-pitch vocal sounds. Unfortunately, this means that many of the songs are non-starters for me, for example Boys on the Docks, Road of the Righteous, Rocky Road to Dublin and Finnegan's Wake.

While I'm moaning, For Boston, Curse of a Fallen Soul and A Few Good Men seems like wall-of-noise thrashes without any structure, although I do like the half-time chorus of the latter. Adding a mandolin (Gang's All Here) or bagpipes (Spicy McHaggis' Jig) is a nice touch, but can't single-handedly carry the song. The Gauntlet reminds me a lot of the band The Dwarves, but verses are too blurry (beer goggles perhaps?) to speak to me.

Barroom Hero is similar to the wall-of-noise thrashes in many ways, yet somehow this tavern shanty perfectly hits the spot for me. Such is the mysterious subtlety of the punk-rock artform, I guess! It's a similar story for Bloody Pig Pile, which also features an uplifting sing-along chorus. Similarly, Which Side Are You On has a great bounciness and an addictive chorus (I just wish they'd let the chorus fully reach its potential within the song, by using a double-length version of it, as hinted at by the outro)

Upstarts & Broken Hearts is the first example of a more involved song structure than the earlier thrashes, greatly increasing my enjoyment. Also, the pre-chorus is a highlight. 

The bagpipes and whistle in the background of Heroes from Our Past adds a nice layer, but unfortunately it's another song let down my an inability to decypher what on earth they're shouting about. On the slower side, the addition of a whistle for the main melody of Wild Rover works a treat, adding an airiness and sitting beautifully above the vocals.

The Torch is probably a beautiful experience live, but it doesn't translate to my living room unfortunately. Nutty (Bruin's Theme), however, is a brilliant and unexpected interlude in the form of a saccharine TV series theme-song style. Fortunate Son is a brilliant raucous cover, brings a great working-class feel to the tale. And the main riff of Dirty Water reminds me of the theme from Sesame Street! Mixed in with some George Thorogood vibes, it all adds up to a great song in my book.

Saving the best until last, Amazing Grace is simply incredible- both as the original hymn and when pumped full of frenetic punk-rock energy. I bought the album specifically for this song, and it is even better than I could have imagined. There's also a great personal touch in the intro, with the singer's elderly grandparents being in attendance at this punk-rock gig. 

Favourite songs

Upstarts & Broken Hearts, Which Side Are You On, Wild Rover, Fortunate Son, Amazing Grace (times infinity!), Barroom Hero, Dirty Water, Bloody Pig Pile

Final thoughts

This album brilliantly portrays the live atmosphere, has very touching liner notes and the banter between songs adds to the sense of occasion... but many songs rely heavily on the storytelling, and I can't understand the lyrics. They could be the most beautiful expression of the human condition we've ever witnessed, for all I know. There are definitely many highlights of this album, but it's also quite a frustrating experience.

King Gizzard & The Lizard Wizard - Murder of the Universe

King Gizzard & The Lizard Wizard are an Australian psychedelic rock band who formed in 2010. This is their tenth album (of seemingly thousands of albums...), which was released in 2017, the same year as Flying Microtonal Banana.

Tale of the Altered Beast kicks off with a great bouncing energy and manic riff... but it soon wears out its welcome for me. Also I find the narration throughout the album, which considers the perils of disaffected monsters and cyborgs (or some such bollocks), to be quite grating. 

The Lord of Lightening vs Balrog brings a welcome slowing of the pace, which is much easier to get into the groove of. Until it jumps back to full speed, dammit! The lessen here is probably that prog-rock isn't really for me, even when it's on speed like this. Han-Tyumi and the Murder of the Universe backs up this theory, with the raucous riff-rock of the chapters Digital Black and Vomit Coffin being the highlight of this album for me, although unfortunately the latter includes a lot of the non-sensical spoken word stuff.

Favourite songs

Digital Black

Final thoughts

Maybe I didn't give this album enough time to permeate into my soul. Or maybe this style is just not for me.

Millencolin - SOS

Millencolin are a Swedish pop-punk band who formed in 1992. This is their ninth album, which was released in 2019, four years after True Brew.

The opening track SOS kicks off with solid verses, good progression through the pre-chorus and chorus, and then the nice novelty of the choir. But the lyrics let the song down, being unmemorable and strangely negative for Millencolin. How about For Yesterday then? Similar story, with riff-rock elements as good as anything on Home From Home, but the despondent lyrics are a downer.

Nothing is still a sad tale, but there's a much greater sense of empathy rather than negativity, so I quite dig it. Musically it ticks all the boxes too; maybe a metronome wouldn't show that it's actually much faster, but the thrashy opening establishes a great sense of energy that remains throughout the song.

The chorus of Sour Days makes it a bit of a pop ditty, with the drumming being a highlight (especially the double-tap section). My enjoyment of the song is for quite a silly reason: clearly the bridge with lines like "first time will taste like shampoo" reveals that this is a song about kombucha!

The rest of the album goes back to my earlier whingeing about the negative lyrics. Maybe I've got this bee in my bonnet thanks to the Armageddon-themed cover art, but is all just seems so negative. Which is a real shame, since Millencolin have got the whole pop-punk style down to a polished artform, so the instrumentals are all great. Yanny & Laurel is too pessimistic, Do You Want War is very judgemental, Trumpets & Poutine presents a bleak outlook for humanity, and the catchy chorus of Cavemans Land is ruined by the judgemental lyrics. Often when writing these reviews, I'm struggling to second-guess why a particular song is musical bliss for me but something else 99% similar fails to register at all. But in this case, it's very simple, the lyrics are a real downer.

Finally, Dramatic Planet kicks off with a pretty generic verse, which then builds up nicely... into... a vintage uplifting and singalong chorus magic. Ahhh, vintage Millencolin!

Favourite Songs

Nothing, Sour Days, Dramatic Planet

 

I Diggit?

For me, Millencolin is usually uplifting therapy session with a punk-rock backing track. So this album is not for me.

Dropkick Murphys - The Warrior's Code

Dropkick Murphys are a Celtic punk band who formed in 1996. This is their fifth album which was released in 2005, two years after Blackout.

Your Spirit's Alive opens proceedings with all the subtlety of a sledgehammer (possibly to weed out the faint-hearted?). In my book, it's not so much a song as an extended introduction to the album. Later on, Citizen C.I.A uses much the same style, and both are not really my cup of tea.

Things improve greatly with the quality riff (does one call it a "riff" on a bagpipe?!) in The Warrior's Code. I reckon it's a solid punk-rock effort with some nice hints of Irish influence. Take It and Run is quite similar and also highly enjoyable.

Cranking up the Celtic influence is Captain Kelly's Kitchen, which brings vivid images of pint-swinging in taverns while recounting (probably highly exaggerated) nautical shenanigans. It's a perfect punk-rock twist on the traditional drinking song.

Sunshine Highway strikes me as Millencolin-with-bagpipes-and-pan-flutes, mostly thanks to the wonderfully uplifting lyrics and a very catchy chorus. However it doesn't have a lot of musical ideas to sustain the song's length, so by the 3 minute mark its starts feeling like things are dragging out. Also exposing the band's gentler side is Wicked Sensitive Crew, where the unusual mixture of a punk-rock ballad style and bagpipes works a treat. It also has a wonderfully catchy chorus.

The Burden started off as a big "meh" from me, with the chorus being the lone highlight. But then it really shifts up a gear towards the end with a nice bridge and final verse, with the final chorus being the icing on the cake.

Last Letter Home also gets mixed thoughts from me. On the plus side is a great opening and the song is part of a wonderful event where the band performed at the funeral of a fan who was killed serving in the army. Unfortunately, I find the verses too thrashy to really get into it.

For the first listen of The Green Fields of France, I was expecting the band to break out into raucous punk-rock at any given moment. But thankfully the band restrained themselves, resulting in a beautifully heartfelt ballad (which also gives some nice contrast to the album). But the opposite is true for The Auld Triangle, where the beautiful piano and flute opening gets overrun by a punk-rock band at full noise. And the result is utterly fantastic. There's something about the chorus - possibly the bagpipes - that makes this probably my favourite song of the album.

I'm Shipping Up to Boston features a riff for the ages, courtesy of the woodwind and strings. It's the star of the show, and the rest of the rock band is merely filling out the sound in the background. Superlative.

Finally, Tessie. Wow. It's a brilliant synergy of a traditional drinking song meets modern rock song. The tale might be only about a sporting team mascot (or theme song), but the deep sense of comraderie still shines through. The honky-tonk piano and bagpipes fit in perfectly, and the sing-a-long chorus is perfectly executed. How I wish that my own sports team had such a brilliant theme song.

Audio quality?

Unfortunately the cymbals get completely lost in the mix. Aside from this, the album sounds great, thanks to crunchy guitars, powerful vocals and good distinction between instruments.

Favourite songs

The Warrior's Code, Captain Kelly's Kitchen, Wicked Sensitive Crew, The Green Fields of France, Take It and Run, I'm Shipping Up to Boston, The Auld Triangle, Tessie

I diggit?

On top of all the individual highlights, the overall impression I get from this album is a family-like dedication to one another. And as strange as it may seem, somehow owning this CD gives me a wonderful sense of being part of that family.

Oasis - (What's the Story) Morning Glory

This is the smash hit second album from britpop band Oasis. It was released in 1995, one year after Definitely Maybe.

Proceedings certainly kick off in a rollocking manner with Hello. The pre-chorus and chorus are very pop-friendly, but it all works well.

At the time of this album, the British press subjected us all to endless gushing comparisons between Oasis and The Beatles. However, Roll With It shows that they were true. Although the only engaging musical hook of the song for me is the line "you've gotta roll with it", everything else just sits around it nicely without leaving a lasting impression. Later in the album, Hey Now is similar but somehow doesn't quite hit the same heights. I still dig the style though, and the unusual sparse chorus is a nice twist.

For many years, I never wanted to hear Wonderwall again. But the fatigue has now worn off and I can again appreciate this rock ballad for the timeless classic that it is. Highlights include the opening guitar melody, the beautiful poetry of the lyrics and the (nicely retrained) use of strings to add an extra dimension to the sound.

Writing a pop hit is easy, all it takes is a catchy chorus and an chord progression thrown in somewhere. I know this is true, because I'm smitten for Don't Look Back in Anger. The five minutes always melts away in gentle bliss, and that chorus never fails to hit the spot. Cast No Shadow is very similar and therefore also brilliant. It scores a minor demerit for some twee backing vocals, but overall it's a nicely lingering lullaby which somehow also manages to have a real sense of progression through the song.

Some Might Say has wonderfully flowing verses which I find very catchy. But the chorus is a complete dog's breakfast, very nearly killing the buzz of a wonderful song.

Morning Glory is ridiculously overblown waffle involving helicopters, a thousand guitar overdubs and incomprehensible lyrics. I love it. It's like senseless excess in a musical form. And although fade-outs are usually my least favourite way to end a song, but here I can't imagine any other way to halt the epic-ness.

Champagne Supernova reminds me very much of Urban Hymns from The Verve. It isn't one of my favourite songs here, nonetheless it has me toe-tapping along and is a fine way to finish off this experience.

Audio quality?

Not good, and surprisingly varied between songs (which makes it hard to dial down the worst flaws using an EQ). But the consistent traits are vocals too loud which renders the instruments a jumbled mess in the background, loads of distortion and clipping, and drums which sound like they're halfway down the hallway. On the bright side, the tambourine and egg-shaker add a nice sense of lightness at times.

Favourite songs

Hello, Roll With It, Wonderwall, Don't Look Back in Anger, Some Might Say, Cast No Shadow, Morning Glory

I diggit?

When Oasis are at their best like this, time just melts away; next thing I know it's almost four minutes later and I've been thoroughly enjoying the song. So that would be an unexpected "yes".

Red Hot Chili Peppers - Californication

Californication is the seventh album from funk-rock band the Red Hot Chili Peppers. It was released in 1999, four years after One Hot Minute.

Around the World sure is a bombastic way to kick things off. Personally I find the gentle, singalong chorus to be an awkward fit for the heavy rock-funk groove of the rest of the song. But I really enjoy said rock-funk groove, so it's mostly good times here. And the outtro is headbanging trance-like goodness.

There's an incessant and driving groove that keeps pushing Parallel Universe along, thanks to some brilliant work from the guitar and bass. It reminds me a bit like Showbiz-era Muse and builds up to the chorus brilliantly. This album cops a lot of flack for its recording quality, but somehow the mono-ness works well here, somehow like a garage band thrashing away as a distant ball of focussed energy. Later on, This Velvet Glove follows a similar style, but fails to capture the magic.

Scar Tissue? No, sorry. I've just heard it too many times.

However, I don't think I could ever tire of the timeless guitar and vocal melodies in Otherside. Somehow it is both a highly polished pop song and a wonderfully understated ballad. Then the bridge is pretty weird... excellent! Capped off by a final triumphant chorus, this is pop perfection.

Californication follows a similar recipe, resulting in another wonderful pop-rock ballad. Highlights for me are the sense of musical progression through the song and wonderful lyrics such as "Space may be the final frontier, but it's made in a Hollywood basement".

Get on Top doesn't speak to me at all, feeling too staccato. Or perhaps I just can't handle the heavy funk... But on the other hand, add excessive cheese and I'm all over it. Exhibit A is I Like Dirt, complete with tongue-in-cheek lyrics, I love it. (perhaps the chorus is a precursor to Anchorman's "I love lamp"...) And Purple Stain is funk perfection with a brilliant chorus. I have no idea what's going on with the lyrics, but I still really dig them.

Is there any overall narrative to the lyrics of Easily? Even if not, each of the individual images is vivid and enjoyable in its own right. And it's backed by a solid and catchy groove throughout, with the half-time breakdown being an unusual treat. One minor gripe is that while the ending does serve its purpose, it seems a bit drawn-out.

Emit Remmus shows that psychedelic-rock isn't my cup of tea. I find it enjoyable at the time, but not something I'd look forward to. But then Savior shoots that theory to pieces with brilliant cigarette lighter-waving antics! Its contrasting section is totally weird and should stand out like a sore thumb, but somehow it fits in perfectly.

Road Trippin' offers us a beautiful ballad as a gentle landing back to reality. Its genius is the simple yet engaging instrumentals, which perfectly complement poetry like "Your smiling eyes are just a mirror for the sun". Road Trippin' is quite out of character for the band, but I think this is one of their best songs.

Favourite songs

Around the World, Parallel Universe, Otherside, Californication, I Like Dirt, Savior, Purple Stain, Road Trippin'

 

I diggit?

I don't actually remember why I bought this album, and had quite low expectations as I loaded it into the CD player. So it was a wonderful surprise to discover that Californication thoroughly deserves its reputation as a classic album.