Sum 41 Albums (6)
What The Critics Say
Sum 41 have always seemed like blink-182's baby brothers, right down to their nonsensical numbers in the name, so it's only appropriate that they're also attempting to grow up just like blink -- or better still, a bit like blink and a bit like Green Day, who have proven to be the standard-bearers for how latter-day punks can grow a social conscience and become mature, as evidenced by American Idiot. Sporting a similar-sounding but not as politically potent title in Underclass Hero, Sum 41's fifth studio album extends upon its predecessor Chuck's deliberate attempt at getting serious and relevant, giving the impression that they're telling a story, creating an anthem for the "underclass hero," the slacker who can't be labeled as an underachiever because he never attempts to achieve. The first couple songs here -- the fists-in-the-air wannabe anthem title track, the narcissistic self-loathing "Walking Disaster" -- hit as hard as processed pedal distortion can, but Sum 41 (now down to a trio after the departure of guitarist Dave Baksh) soon abandon any larger narrative as they start to stretch out with acoustic guitars, keyboards, and Queen harmonies uncannily reminiscent of My Chemical Romance's The Black Parade. Despite these flashy accoutrements, Sum 41 don't want to be emo, they don't want to be prog, they don't even aspire to the mock the U2 atmospherics of Angels and Airwaves; they want to be nothing more than predictable punk-pop. Like all Sum 41 albums, Underclass Hero is ingratiating and hooky enough to have momentum but not enough to linger in the memory. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Aside from their inherent love of metal, Sum 41 are -- let's be honest -- as close to a Canadian blink-182 in status and musical instincts as one is gonna find in the mid-2000s. Yeah, they tended to rock much harder where blink was more pop-oriented but, really, a comparison between the two isn't very far off. So it must be said that with a live album from Sum 41, expectations were keyed up for a boisterous punk rock show complete with obnoxious jokes, snotty remarks, and immature humor. And that's what listeners get...sort of. Recorded during April 2005, Go Chuck Yourself documents the band's stop at the John Labatt Centre in London, Ontario, in front of what sounds like thousands of adoring and shrieking fans. The album is well recorded -- along with the crowd response, you can hear the band almost as perfectly as in a studio release. Surprisingly, though, for such a ragtag team of toilet-humored guys, there's very little on-stage banter, the group instead blazing pretty steadily through its set. It's just as well, though, since the antics that do appear aren't that entertaining, even to one who can appreciate juvenile humor. All Deryck Whibley offers outside of songs, swearing, and diabolical laughter are charming comments like "I'm an a**hole!," "Who hates George W. Bush?," and various questions about the pot-smoking and drinking habits of the presumably youthful audience. If that's Sum 41's shtick, then OK, they do it just fine. The audience seems to be enjoying things thoroughly, though it's probably safe to assume he could say just about anything and they would react with unflinching and affectionate cheers. Overall, their set is fast, tight, and seems to draw mostly from their Does This Look Infected? and Chuck albums, though a few songs from other releases are sprinkled in as well. The energy of their live show pretty well transfers to the recording, and Sum 41 are no doubt an entertaining band live. Their snottiness isn't the problem, as snotty can be fun. But whereas the immaturity of blink-182 still contained an endearing quality that even non-fans (for the most part) could roll their eyes in amusement to, Sum 41 just come off as annoyingly immature on-stage. Fans will eat this release up, while everyone else can just steer clear. ~ Corey Apar, All Music Guide
What The Critics Say
In June 2004, Sum 41 was in Congo filming a documentary for charity when they found themselves caught in the midst of the country's ongoing hostilities. But a UN aid worker named Chuck Pelletier was instrumental in getting the band to safety, and a grateful Sum 41 named their fourth album in his honor. As they say in their liners, "Without him, we'd be dead. Chuck rules!" The experience also seems to have mellowed the group's sarcastic streak. From its aggressive metal and hardcore overtones to lyrics that rail against societal ignorance and a world gone wrong, Chuck is a few steps ahead of the smirking, jocular anthems that populated Sum 41's previous output. This suddenly sober outlook hasn't lessened the rock power, though. "Why is there no reason we all can't change?" Deryck Whibley wonders in "No Reason," but the cut also binds the rapid-fire pace of hardcore to a great chorus hook. Lead single "We're All to Blame" lashes out at greed with some vicious metal riffing, "Bitter End" takes its cues from the double-bass kicks and furious lead solos of Anthrax, and "There's No Solution"'s layered vocals, psychological fretting, and explosive chorus shift give it a Linkin Park feel. Sum 41 also avoids employing too many "serious" add-ons, such as string sections or synthesizers. Chuck does have a few passages of acoustic guitar (most effectively on the low-key "Slipping Away"). But like Sum 41's previous efforts, it's a concise album that clocks in at just over a half-hour, with a basic understanding that fast and loud is what the band does best. But this time around, Sum 41 has made sure to set its message at the same high volume. ~ Johnny Loftus, All Music Guide
'Does This Look Infected?'
Release Date 1/1/2002
Tracks 12
Label Universal India
See Album Tracklist and Review
What The Critics Say
Sum 41 album three, Does This Look Infected?, is much like Sum 41 album two, which was much like their lesser-known indie debut, Half Hour of Power. Which means, Does This Look Infected? sounds much like the work of Blink-182's snottier kid brothers, who are just in it for good times. Frankly, it's kind of a relief to be spared both the smutty double entendres and the self-pity, and while they still rely too much on processed guitar distortion and have sparkling productions, Sum 41 makes up for that cleanliness with vigorous performances and simple, catchy hooks. It's pretty fun, particularly since the whole affair is blissfully short at a few minutes over a half-hour, giving it a nice, punchy effect. There's nothing here that's unexpected, but it's delivered well, so it's a fun little record...but it's not much more than that, either. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
It would be a mistake to view Sum 41 as just another second-rate band cashing in on the early-'00s punk-pop boom, even if it did recruit Jerry Finn to produce All Killer No Filler. Just as Finn had done for both blink-182 and Green Day, he charges Sum 41's punk-pop with a razor-sharp edge, the sort of dynamic in-your-face sound that helps this music cross over to MTV and radio so well. Besides the notable production, a lot of credit should go to the band as well. Its songwriting is obviously more diverse here than it was a year earlier on its debut album, Half Hour of Power; for example, the group's rap and '80s metal influences rise to the surface more frequently here than on that first album and instill a fun sense of camp. "Fatlip" is perhaps the best example of how Sum 41 has made an effort to diversify the music with more than just power chords and melodic punk vocals. Judging from this album, Sum 41 still isn't quite on the same level as alt-rock peers such as Weezer or Green Day, but the band is obviously headed in the right direction. In the meantime, it's difficult not to enjoy this album for what it is, even if it's a bit derivative. ~ Jason Birchmeier, All Music Guide
What The Critics Say
The first track, "Grab the Devil by the Horns and Fuck Him up the Ass," is a time warp. For a minute and a half the group relives the new wave of British metal and cranks out an Iron Maiden style tune. After a brief trip down memory lane the album quickly morphs into pop punk. The songs are well crafted and the hooks are catchy on "Make No Difference" and "Summer." But in some respects that is problematic, there was a time in the pre-Green Day/Blink 182 years where punk defined itself by not being radio friendly. A good album, but essentially proof that turn of the millennium punk is just as much a corporate rock entity as adult contemporary. ~ Curtis Zimmermann, All Music Guide
