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You know when you listen to a Greatest Hits album from a band thatâs been around for a while, and you can pinpoint the changes in style, direction and maturity as you listen? âLet The Bad Times Rollâ, the newest effort from Cali-based rock veterans âThe Offspringâ, feels a little bit like a Greatest Hits album in that regard. Itâs easy to listen to each song individually and pinpoint a very specific era of song-writing from them; everything from the fast-paced beginnings of their self-titled right through to âDays Go Byâ, their last release before this. Itâs been a long gap in between that and this (nine years!) â but it doesnât feel like at any point that such a long time-lapse has done many favours for âLet The Bad Times Rollâ and this is where the Greatest Hits metaphor breaks down â itâs not their best work, even if it sounds a little like it sometimes.
Now, thatâs not to say thereâs nothing worth visiting here. Iâve no doubt why âThis Is Not Utopiaâ got to be the opener because I havenât stopped singing the chorus to myself since the album came out. âHassan Chopâ is the âDa Huiâ of the collection; a punchy, punky romp that almost feels like itâs over a little too quickly. But by far and away the pick of the litter is âWe Donât Have Sex Anymoreâ â the most âThe Offspringâ that âThe Offspringâ get on the whole record. Itâs a funny, catchy take on the always funny and catchy topic of the spark going out of a long-term relationship and thereâs one line I just love, âIf you wonât love me will you hate me, if you wonât violate me will you at least just aggravate meâ which smacks of that late â90s, early 2000âs period of songs that I do miss more than just a little.
There are a few non-starters here. âIn The Hall Of The Mountain Kingâ sounds like something youâd hear on the end of a song as a sort of secret track â not as a listed effort. Itâll get the crowds going when crowds come back (oh, happy days!), but at the length it is, it barely even qualifies as filler. The title track is harmless enough, but the political tinge to the lyrics isnât well handled. I could say the same about a few of the lyrical choices on the album, political or not, but Iâll save that reservation for my biggest gripe, âComing For Youâ. Itâs hooky enough, in that radio-rock sort of way, but the lyrics are an absolute mess. When it actually means anything itâs just hammered out phrases that sound sort of cool if youâre not listening. If youâll indulge the technical snob in me for a few sentences, I have to talk about "Army of One" as well â it sounds like they attached one mic to a shared wall, then all the band members had at it from separate rooms. There are guitars drowning each other out and vocals that are either a struggle to hear, or sound like lead vocalist Dexter Holland is 100 feet tall and booming them out over a small village; how this mix made it to release is a mystery.
The correction on Dexterâs voice also deserves a mention. The guy has been kicking ass and taking names for 30 years with such a distinct sound, itâs natural that his voice naturally canât maintain that consistency. Iâm not bashing him personally at all. But the correction is patchy and inconsistent and very, very noticeable at times. The lead track is clearly where his voice is most natural; but the re-recording of Gone Away sounds like it was sung by the ghost of Weird Al Yankovic (who at the time of writing is almost definitely not dead, for any future readers who think Iâve cursed him) and is way too far in the other direction.
To sum up - this is âThe Offspringâ reminding us they still exist with an album that doesnât do too much more than put a small, inoffensive sign over their heads pointing it out. There are a few bits of genuine quality here, but the complete product is far too inconsistent, musically and technically. If you liked every single Offspring album, youâll like this. If you only liked one particular Offspring album, thereâs going to be one song on here you like. Not a huge fan of The Offspring? This isnât going to change your mind.
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