Murphy's Law Albums (4)
What The Critics Say
The act of frenetic head-bobbing comes back with a vengeance on The Party's Over, the energetic Artemis debut by hardcore punksters Murphy's Law. The underground New York City group has had a revolving lineup through the years and on this set, listeners find former D Generation guitarist Rick Bacchus, bassist Sal Villaneuva (Demonspeed), and drummer Eric Arce (Skarhead) joining forces with original Murphy's Law frontman Jimmy G and producer Daniel Rey (Ramones, Misfits, and White Zombie). The result of this 2001 collaboration is 15 tracks of blistering, rowdy, and fast club punk, something that diehard fans should truly savor. The Party's Over -- which refers to the Mayor Rudolph Guiliani's intense "clean up" of the Big Apple -- is also wisely flavored with just enough pop and contemporary appeal to get airplay on modern rock and metal stations, as well as specialty radio shows. Several musical departures on this predominately speedy punk set do add extra flavor to an already colorful disc. "Walking Alone" incorporates a bit of a reggae vibe, while a sexy and steamy saxophone line accents "Skinhead Girl," a song that takes the tempo down a notch to a swaggering groove (but true to punk form, the song ends with a rousing round of frenetic choruses). "C-Low," with its penetrating guitar licks, offers up the most contemporary of the bunch and is comparable to fare by such modern rock acts as 3 Doors Down. Hands down, however, "Woke Up Tied Up" is the raunchiest and most entertaining song of the set. With a spirited chorus that repeatedly shouts the track's title, this raucous song illustrates that the party is far from over for Murphy's Law. ~ Liana Jonas, All Music Guide
What The Critics Say
Despite the album's serious subtext of paying tribute to slain friend Charles Valle (the CD even comes with a petition, pre-addressed to the Los Angeles District Attorney Office, urging the judge to administer "the harshest sentencing" possible to Valle's killer), Dedicated is another collection of Murphy's Law's weed-obsessed, couch potato punk anthems like "Greenbud" and "Bag of Snacks." The catchier selections, like "Dysfunctional Family," make the album worthwhile, and longtime fans should be pleased. ~ Andy Hinds, All Music Guide
'The Best of Times'
Release Date 10/29/1991
Tracks 14
Label Relativity
See Album Tracklist and Review
What The Critics Say
New York '80s hardcore goofballs Murphy's Law usher in the '90s with a reinvigorated blast of their debauchery-laced brand of comedic punk. Stylistically, Murphy's Law makes quite a jump on The Best of Times. The band did dabble in skacore long before it exploded, but was always pretty much a flat-out hardcore unit in the '80s. The Best of Times finds Jimmy Gestapo and friends combining funk, reggae, ska, and hardcore into their own distinct brew, shedding any dogmatic restrictions applied to their ilk in the '80s. Production by Fishbone's John "Norwood" Fisher and Philip "Fish" Fisher lends authenticity and diversity to The Best of Times, as does the added instrumentation by several members of Fishbone. The result is a more versatile version of Murphy's Law at the prime of the band's fun-focused glory. Covers of James Brown and Stevie Wonder provide some insight into Murphy's Law's sometimes controversial and misunderstood affiliation with the skinhead faction, finally putting to rest any allegations that racism or fascism have anything to do with the band's outlook. Although the group manages to shed this stereotype and expand musically on The Best of Times, the subject matter doesn't otherwise stray too far from earlier work. Songs about pot, beer, girls, and cars showcase the glorious immaturity and quest for fun that pretty much define Murphy's Law. When the band does get serious, which isn't very often, it's in the interest of unity and friendship. The title track is basically a fan tribute, thanking a small but loyal group of followers for the support that's enabled Murphy's Law to continue the party. The ska-tinged but heavy "1%" revels in the outcast-minded punk rock ethos, giving nod to those who embrace the good and bad of surfing the fringe of culture and society. Classic Murphy's Law rage surfaces on "Harder Than Who," an attack on the mindless aggression and competition that sometimes rule the hardcore scene. On the whole, The Best of Times lives up to its title, with Murphy's Law celebrating its dedication to the band's fans, friends, and music, while maintaining the edge that gave the group its NYC hardcore credibility. ~ Paul Henderson, All Music Guide
What The Critics Say
The eponymous Murphy's Law debut is perhaps one of the most rocking New York punk releases to appear in the '80s. The manic tempos, masochistic vocals, and other hardcore signatures are toned down here to better suit the group's party message. Apolitical when compared to hard-line contemporaries like Cro-Mags and Agnostic Front, Murphy's Law shoots for an inebriated slice-of-life essence more aligned with Boston's Gang Green. The right-wing and skinhead references didn't exactly sit well with some '80s punk observers who mistakenly labeled the band as fascist. But even a casual study of "California Pipeline" and "Ilsa" reveals an allegiance contrary to the skinhead stereotype. Highlights include the Ace Frehley-inspired guitar work on Skinhead Rebel as well as the rockabilly "Wahoo Day" groove. A must-have for fans of the group and a strong recommendation for any '80s punk scholar, Murphy's Law is simply a fun ride. ~ Vincent Jeffries, All Music Guide
