Rancid Albums (5)
'Let the Dominoes Fall'
Release Date 5/29/2009
Tracks 19
Label Epitaph Europe
See Album Tracklist and Review
What The Critics Say
Rancid's seventh album, 2009's Let the Dominos Fall, was released a full six years after Indestructible. In that time much changed in the world (and the band swapped drummers, with Branden Steineckert stepping in for Brent Reed) but not a whole lot changed with the band's sound. Sure, there were a few cosmetic differences here and there but the fire, spirit, and strength the band exhibited since their debut in the early '90s hasn't faded at all. The first four songs on the album showcase everything that's right about the band. The nostalgic punk fever of the opener "East Bay Night," the angry political burst of "This Place," the ska punk giddiness of "Up to No Good," and the uplifting singalong anthem "Last One to Die" flash past like their whole career in one six-minute medley of greatness. The rest of the album shows off their strengths (like Tim Armstrong's ragged and idiosyncratic vocals) and unveils some surprises (like sweet vocal harmonies on the love song "Lulu," and mandolins and slide guitar on the affecting story of a soldier's homecoming, "Civilian Ways") but ends up sounding uneven with a few surprising missteps along the way. Part of the problem is that the vocals are shared more than usual among the three singers in the band, and while their efforts are OK, there's just no way Matt Freeman and Lars Fredericksen can compete with Armstrong. The way they all trade off vocals on the Specials-influenced "I Ain't Worried" is pretty cool, though. The cleanly scrubbed sound of the record also is problematic, but only if you want the band to sound like they did back in 1993. For anyone else, there is still plenty of power and punch in the band's performance. Songs like "Dominos Fall" and "Locomotive" fly out of the speakers like demons, midtempo tracks like "That's Just the Way It Is Now" boom and swagger, and the whole record will swell the hearts of longtime fans with pride, and might just swipe some new ones too. Rancid's been doing this a long time and while they'll never recapture the exact same power and glory they exuded in the '90s', on Let the Dominos Fall they show they've got more than enough of each to get by in grand style. ~ Tim Sendra, All Music Guide
What The Critics Say
Rancid's sixth album, Indestructible, starts off with a melodic blast of punk intentions, "Indestructible," and doesn't back down until the last chords of "Otherside," a heartbreaking ode to the late brother of Lars Fredericksen, fade away. In between are 17 songs that live up to the glorious reputation of one of the great punk bands of any era. Yeah, there ain't nothing new going on here: a little bit of ska, lots of politics, lots of pissed-off vocals (speaking of vocals, Tim Armstrong just keeps getting better and weirder with each album), lots of passion, and lots of melody. Songs like the anthemic "Fall Back Down," "Memphis," and "Born Frustrated" are the kind of songs that make you want to throw your arms around your nearest comrade and belt out the chorus at the top of your lungs. Songs like the red-hot ska-fueled "Red Hot Moon"; the funky ode to the homeless, "Stand Your Ground"; and the spaghetti western-inspired "Django" show off the band's range. "Start Now" is the track that stands out from the rest; it has one of the band's best choruses and is a perfect blend of their epic and melodic tendencies. The only downside of the album is the slow ballad "Arrested in Shanghai," which is an admirable attempt at expanding their sound which nevertheless is a failure. There are also a couple of punk-by-the-numbers tunes, like the fairly plodding "David Courtney" and the silly "Roadblock." (It seems like the Lars-sung songs are the weak links on the album.) Overlook these small problems and this is still prime Rancid. If you know Rancid and love Rancid, you will love this record like an old friend. If you are new to the band, get this and then get And Out Come the Wolves immediately. ~ Tim Sendra, All Music Guide
What The Critics Say
Rancid never win any points for originality, but originality isn't their goal. Rancid want to be, to quote an old Clash slogan, "the only band that matters." Where the Clash earned that title by mixing genres, blending the old with the new, Rancid decide to be traditional, spiking the Clash's sound with ska-punk and hardcore. Musically, that might not make the group vital in 1998, since it ignores any musical innovations since 1978, but that doesn't mean the group is impotent -- far from it. Life Won't Wait, the group's fourth album, is a powerful slice of old-school punk -- as powerful as any of their records. Apart from a more pronounced ska influence, it actually sounds a lot like its immediate predecessor, And out Come the Wolves, complete with the fiery intensity and catchy hooks that set the group apart from the retro-punk pack. Life Won't Wait, however, also shares the messy, pseudo-epic pretensions that hampered its predecessor. Taken in small doses, the record is quite powerful, but since the group's attack is fairly predictable, even with the detours into ska/reggae and blues, the album becomes wearing when taken as a whole. Still, Rancid are head and shoulders above their punk contemporaries -- they have better songs, a genuine political stance, and raging energy -- and that makes such indulgences tolerable. Even if it runs too long, there won't be a better old-school punk album than Life Won't Wait in 1998. ~ Stephen Thomas Erlewine, All Music Guide
'...And Out Come the Wolves'
Release Date 1/1/1995
Tracks 19
Label Epitaph
See Album Tracklist and Review
What The Critics Say
In the wake of the Offspring's success, Rancid became a hot band, earning a dedicated cult and sparking a major-label bidding war. After flirting with a handful of major labels, the band decided to stick with Epitaph and returned with And Out Come the Wolves. While the title is a veiled reference to the attention the band gained, the album doesn't mark an isolationist retreat into didactic, defiantly underground punk rock. Instead, Rancid develop their own identity on the record, which ironically makes them more accessible. Although they continue to draw heavily from the Clash and the Specials -- and their roots in the ska-punk band Operation Ivy are quite clear throughout the record -- the band plays with such energy and conviction, it's easy to forgive their derivativeness. On the whole, And Out Come the Wolves is a little too long to make a major impact, but individual tracks are classic moments of revivalist punk, including the skittering 2-Tone tribute "Time Bomb." ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Whatever Rancid lack in innovation, they make up with sheer energy. The group rushes through Let's Go with an invigorating recklessness, sounding like a less-serious, party-ready version of the Clash. It's almost impossible to understand what vocalist Tim Armstrong sings at any given moment, yet there is no great meaning in what Rancid say -- the message is in the buzzing guitars and speeding rhythms. It doesn't hurt that the band can throw out the occasional memorable hook or melody, like the single "Salvation," as well. ~ Stephen Thomas Erlewine, All Music Guide
