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2, 4, 6, 8 We're the Kids You Love to Ha...

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2, 4, 6, 8 We're the Kids You Love to Hate [Digipak] * by Clit 45 (CD - 04/04/2006)

"2, 4, 6, 8 We're the Kids You Love to Hate [Digipak] *" (04/04/2006) Hardcore/Punk Clit 45, BYO Records

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The Young and the Hopeless by Good Charl...

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The Young and the Hopeless by Good Charlotte (CD - 10/01/2002)

"The Young and the Hopeless" (10/01/2002) Hardcore/Punk Good Charlotte, Epic (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Good Charlotte: Paul, Benji ?, Billy, Joel . For its second outing THE YOUNG AND THE HOPELESS, Good Charlotte gives any notion of a sophomore jinx a combative boot to the side of the head thanks to an abundance of chanting choruses and choppy guitar riffs. Like standard-bearers Blink-182, this Maryland quartet frolics in a land of teen angst peppered with snarky optimism that comes across best within the margins of the rebellious "Anthem," rambunctious "Riot Girl" (no doubt a cousin of the Dead Milkmen's "Punk Rock Girl"), and Green Day-flavored title cut. Balancing out rambunctious fare like the Iggy Pop-inspired "Lifestyles Of The Rich & Famous" and the chuggin "Movin' On" is such tasty fare as the soul-baring "Emotionless" and Social Distortion-like "The Day I Die." With THE YOUNG AND THE HOPELESS, Good Charlotte takes the next step towards pop-punk world domination.

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Cheer Up! by Reel Big Fish (CD - 06/25/2...

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Cheer Up! by Reel Big Fish (CD - 06/25/2002)

"Cheer Up!" (06/25/2002) Hardcore/Punk Reel Big Fish, Mojo Music (Independent)Reel Big Fish: Aaron Barrett (vocals, strings); Scott Klopfenstein (vocals, guitar, electric piano, trumpet); Carlos de la Garza (drums, percussion); Dan Regan (trombone, special effects); Matt Wong (bass). Additional personnel: Travis Werts (Flugalhorn); Tyler Jones (trumpet); Iki Levy (percussion, samples); Ryland Steen (percussion); Nic Tenbroek, Gordie Johnson. Producers: Aaron Barrett, Scott Klopfenstein, Gordie Johnson. Recorded at Sound Factory, Paramount Studios, Grand Masters, Hollywood, California, Jake's Place, Studio City, California, Brando's Paradise, San Gabriel, California and World Class Audio, Anaheim, California. Formed in Southern California in the early '90s, Reel Big Fish has slowly gathered a massive following by virtue of a combination of relentless touring and relentlessly peppy albums, following in the wake of such erstwhile ska/punk bands as No Doubt. While Reel Big Fish lack a front person with the obvious charms of Gwen Stefani, they plough an irresistible Bare Naked Ladies-type furrow with energetic frat-boy anthems such as "Ban the Tube Top" ("beautiful girl, ugly shirt--you are a fashion red alert") and the ska/R&B flavored "Suckers." There's no denying the attraction of sardonic lyrics set to upbeat rhythms, a formula the Fish stick to throughout CHEER UP! that hits home time and again, in songs such as "What Are Friends For," and "Dateless Losers," a self-explanatory frenetic excursion through many solitary Friday nights--("we're not so bad you know, but you won't give us a chance," they whine) that should find an echo in the hearts of dateless Reel Big Fish fans everywhere. With its refusal to take itself too seriously and its irrepressibly smart pop hooks, CHEER UP! is a joyous soundtrack to an endless summer.

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We're Not Happy 'Til You're Not Happy [P...

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We're Not Happy 'Til You're Not Happy [PA] [4/5]

"We're Not Happy 'Til You're Not Happy [PA]" (04/05/2005) Hardcore/Punk Reel Big Fish, Mojo Music (Independent)Reel Big Fish: Scott Klopfenstein (vocals); Matt Wong (bass instrument); Dan Regan, Aaron Barrett, John Christianson. Personnel: Aaron Barrett (vocals, guitar, synthesizer); Scott Klopfenstein (guitar, trumpet, keyboards, background vocals); John Christianson (trumpet); Dan Regan (trombone); Justin Ferreira (drums). Audio Mixers: Shawn Sullivan; David Irish. Recording information: Milano Recording Studios, Orange, CA; World Class Audio, Anaheim, CA. Photographer: John Halpern. Arranger: Reel Big Fish. When Reel Big Fish broke through with their 1996 record, TURN THE RADIO OFF, and its hit single, "Sell Out," the California ska-punk outfit poked fun at hipster culture and rock-star aspirations. Nine years down the road the band is in a reflective mood about their own fleeting fame, with the seemingly bitter WE'RE NOT HAPPY 'TIL YOU'RE NOT HAPPY. However, the group's collective tongue remains firmly in cheek for a cover of Morrissey's "We Hate It When Our Friends Become Successful," which RBF playfully redirects at No Doubt. WE'RE NOT HAPPY opens with a classic Reel Big Fish hook, featuring playful horns over the rhythm section, as the band mocks its own live show on "The Fire." From there, they take aim at the record industry and just about everyone else, as acidic lyrics gloriously clash with brilliantly bouncy music, a particularly potent combination on "Don't Start a Band" and "One Hit Wonderful." WE'RE NOT HAPPY closes on "Your Guts (I Hate 'Em)," capping off a record that continues the group's goofy-yet-existential form of pop satire.

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Unifying Themes Redux [Hydrahead] by Bot...

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Unifying Themes Redux [Hydrahead] by Botch (CD - 09/26/2006)

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In Memory Of * by Comin' Correct (CD - 0...

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In Memory Of * by Comin' Correct (CD - 08/27/2001)

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Stomping Ground [PA] by Goldfinger (CD -...

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Stomping Ground [PA] by Goldfinger (CD - 10/05/2001)

"Stomping Ground [PA]" (10/05/2001) Hardcore/Punk Goldfinger, Mojo Music (Independent)This is an Enhanced audio CD which contains regular audio tracks and multimedia computer files. Goldfinger: John Feldmann (vocals, guitar); Charlie (guitar); Kelly LeMieux (bass, background vocals); Darrin Pfeiffer (drums). Producers: Tim Palmer, Jay Rifkin, John Feldmann. Recorded at Media Vortex, Burbank, California; Foxy Studios, Marina Del Rey, California; Village Recorders, West Los Angeles, California. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Goldfinger is basically a ska-punk band, but it's not afraid to just be a punk band, either; in fact, it can sound disarmingly like both Husker Du (squalls of Bob Mould-ish feedback) and Green Day (engagingly melodic). It's not afraid of heavy metal either, as witness the ferocious riffing on "Bro," or lead singer/writer John Feldman's declaration in "The End of the Day" (a rant against an obnoxious speedfreak scenester) that "if I want to play metal that's all right with me." Feldman's lyrical persona throughout the album is that of somebody continually ticked off by the people around him. Incidentally, that small sub-species of humanity who clamored for a revival of the music of '80s New Wavers Nena will be pleased to learn that there is a respectful, if oddly Zepplin-esque remake here of that band's international hit "99 Red Ballons," including a verse or two auf Deutsch.

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I Love Metal by Various Artists (CD - 09...

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I Love Metal by Various Artists (CD - 09/11/2001)

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Hazen Street by Hazen Street (CD - 07/20...

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Hazen Street by Hazen Street (CD - 07/20/2004)

"Hazen Street" (07/20/2004) Hardcore/Punk Hazen Street, DC FlagHazen Street: David Kennedy (guitar); Hoya (bass guitar); Mackie (drums); Toby Morse, Freddy Cricien. Personnel: Toby Morse, Freddy Cricien (vocals); David Kennedy (guitar); Howard Benson (keyboards); Mackie Jayson (drums); Paul DeCarli (programming); Joel Madden (background vocals). Audio Mixer: Howard Benson. Recording information: Bay 7 Studios, Valley Village, CA; Sparky Dark, Calabasas, CA. Photographer: Vincent Soyez. Unknown Contributor Role: Mackie Jayson. As the second release on DC Flag Records, the imprint headed up by Good Charlotte's Joel and Benji Madden, HAZEN STREET more than lives up to the hype, thanks to a lineup that draws its ranks from seminal hardcore groups Madball, H20, and the Cro-Mags. With an unusual setup that includes two vocalists, Toby Morse and Madball's Freddy Cricien, Hazen Street romps through its self-titled debut with an approach that's far more accessible than its hardcore roots would suggest. Cricien and Morse both sing rather than shout, and the grooves laid down by the rest of the New York City band serve as a clothesline for the hooks that come with the rumbling "Sorry" and sassy shuffle "Trouble." The subject matter is as gritty as Hazen Street's rough-and-tumble world. The songs here touch on doing time ("Fool the World"), getting away from destructive childhood roots ("Crossroads"), and lying on a potential deathbed ("Tomorrow"). HAZEN STREET ends up in the kind of musical neighborhood that fans of punk with a pop edge would be well advised to visit.

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Sick Of It All [Single]

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Sick Of It All [Single]

"Relentless Single [Single]" (07/13/2004) Hardcore/Punk Sick of It All, Bridge Nine RecordsAudio Mixer: Dean Baltulonis. Recording information: Atomic Studios, New York, NY. Illustrator: Mike Pappa.

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Death To Tyrants [4/18] *

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Death To Tyrants [4/18] *

"Death to Tyrants [PA]" (04/18/2006) Hardcore/Punk Sick of It All, AbacusSick of It All: Lou Koller (vocals); Peter Koller (guitar); Craig Ahead (bass guitar); Armand Majidi (drums). Additional personnel: Kevin White, Tue Madsen, Freddy Cricien (vocals). Two decades of NYC hardcore aggression are celebrated on DEATH TO TYRANTS, the ninth studio album by scene stalwarts Sick of It All. With three of the original members still in the group (brothers Lou and Pete Koller on vocals and guitar, respectively, and drummer Armand Majidi), the demons they have been chasing since the golden era of NYHC are wrestled down here with extreme brutality. Gang choruses, rock-solid guitar leads, and a chugging rhythm section, all staples of the group's musical stance, have fortunately not given way. Given the group's tenacity in holding down their own sound, comparisons to Motorhead, especially in terms of being able to work on a singular, forceful sonic theme for so many years, are becoming more and more relevant. With no signs of slowing down, DEATH TO TYRANTS shows that Sick of It All is still handing out glorious musical beatdowns to its fans.

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20th Century Masters - The Millennium Co...

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20th Century Masters - The Millennium Collection: The Best of Sublime [Clean] [Edited] by Sublime (R

"20th Century Masters - The Millennium Collection: The Best of Sublime [Clean] [Edited]" (10/29/2002) Hardcore/Punk Sublime (Rock), MCA Records (USA)Sublime: Bradley Nowell (vocals, guitar); Eric Wilson (organ, bass); Bud Gaugh (drums). Additional personnel: Gwen Stefani (vocals). Producers: Miguel, Paul Leary, David Kahne. Compilation producer: Beth Stempel. Includes liner notes by Blaine Kaplan. All tracks have been digitally remastered. This is part of MCA Records "20th Century Masters The Millenium Collection" series. Personnel: Nowell Bradley (vocals, guitar); Gwen Stefani (vocals); Todd Foreman (saxophone); Duane Hartman (alto saxophone); Chris Hauser (trumpet); Nick Martin, Jon Blondell (trombone); David Kahne (piano); Eric Wilson (organ); Marshall Goodman (drums, turntables); Bud Gaugh (drums); Field Marshall (programming, turntables); Dave Aron (programming). Audio Mixers: David Kahne; Paul Leary; Warren Fitzgerald . Photographers: John Dunne; Josh Coffman. In something of a departure for the 20TH CENTURY MASTERS series, usually associated with classic pop performers, California ska-punk artists Sublime are here given the greatest hits treatment. A bridge between the late-1980s ska-punk revival and the later poppier efforts of acts such as Barenaked Ladies, the band split following the death of its singer Brad Nowell in 1996, but its influence and energy are still very much apparent in this collection. With only three albums to choose from, the compilation's 10 tracks are a fairly comprehensive overview of Sublime's eight-year career. The proceedings kick off with "Date Rape," a lurid yet oddly perky number that recalls the early days of UK ska rockers the Specials, both musically and in its social commentary. The rest of the release skews towards the band's pop-reggae output, including "What I Got" and "Santeria." Devoid of the flashy production tricks of many of its peers, Sublime's punky California reggae party sound wears well, and this BEST OF... is a good entry point for further investigation. One of the newer bands to receive the 20th Century Masters treatment, Sublime gathers most of their definitive singles and tracks on 20th Century Masters -- The Millennium Collection: The Best of Sublime. The collection covers the obvious inclusions like "What I Got," "Santeria," "Date Rape," "Doin' Time," and "The Wrong Way," and like 1999's Greatest Hits, weighs in only ten tracks. Indeed, this compilation is almost identical to Greatest Hits, except it replaces "Pool Shark" and "40 Oz. to Freedom" with "April 29 (Miami)" and "Greatest Hits" from Stand by Your Van. These changes put the emphasis more on Sublime's dub and pop aspirations rather than their thrashy punk side, but 20th Century Masters -- The Millennium Collection: The Best of Sublime is still a decent, if small, retrospective that is worthwhile for casual fans. [This version of the release is 'clean'.] ~ Heather Phares

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The Murder, Porn, And Fatherhood [EP] [7...

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The Murder, Porn, And Fatherhood [EP] [7/12]

"The Murder, Porn, And Fatherhood [EP]" (07/12/2005) Rock & Pop Zella Mayzell, Suburban Home

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The Warrior's Code [6/21]

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The Warrior's Code [6/21]

"The Warrior's Code" (06/21/2005) Rock & Pop Dropkick Murphys, Hellcat RecordsDropkick Murphys: Marc Orrell (vocals, guitar, accordion); James Lynch (vocals, guitar); Ken Casey (vocals, bass guitar); Matt Kelly (vocals, drums, bodhran); Al Barr (vocals); Tim Brennan (acoustic guitar, mandolin, whistle, accordion); Scruffy Wallace (bagpipe). Personnel: Laura Casey (viola, cello); Anders Geering, Doctor Charles Steinberg, Julie Cordeiro, Jeff Horrigan, Lance Burnett, Josephine Lyons, Tommy O'Connell, Tom Madden, Peter Chase, Bill Janovitz, Bronson Arroyo, Lenny Dinardo, Johnny Damon, Mark Rogoff (background vocals). Additional personnel: Dr. Charles Steinberg, Jeff Horrigan, Sara Stevenson, Julie Cordeiro (background vocals); Peter Chase, Bill Janovitz, Laura Casey, Bronson Arroyo, Lenny Dinardo, Johnny Damon, Mark Rogoff. Audio Mixers: Dave Westner; Jim Siegel. Recording information: Q Division, Somerville, MA (06/2004); The Outpost, Stoughton, MA (06/2004); Woolly Mammoth Studios, Boston, MA (06/2004). Photographer: Paul Harries. Like The Pogues before them, the Dropkick Murphys successfully combine traditional Irish music, (lusty, barroom choruses plus accordion and bagpipes) and punk rock (choppy guitar riffs, speedy drumming) into the kind of Celt-punk that's at the heart of their fifth album, THE WARRIOR'S CODE. Amid the folkie "Captain Kelly's Kitchen" and "I'm Shipping Up to Boston," (based around previously unreleased Woody Guthrie lyrics) and Australian troubadour Eric Bogle's anti-war anthem "The Green Fields of France," modern-day punk energy is a constant. Scruffy Wallace's aforementioned bagpipes fuse well with James Lynch and Marc Orrell's raging guitars on a title track dedicated to Massachusetts welterweight "Irish" Mickey Ward, while the raucous "Wicked Sensitive Crew" makes light of the DMs being "touchy feely sensitive guys." Most touching is "Last Letter Home," an homage to Sgt. Andrew Farrar, a die-hard fan who died serving in Iraq (the band played at his funeral).

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The Singles 1992-2003 by No Doubt (CD - ...

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The Singles 1992-2003 by No Doubt (CD - 11/25/2003)

"The Singles 1992-2003" (11/25/2003) Hardcore/Punk No Doubt, Interscope Records (USA)No Doubt: Gwen Stefani (vocals); Tom Dumont (guitar, keyboards); Eric Stefani (piano, keyboards); Tony Kanal (keyboards, bass); Adrian Young (drums, percussion). Additional Personnel includes: Lady Saw, Bounty Killer (vocals); Gabriel McNair (trombone, piano, keyboards); Stephen Bradley (trumpet, keyboards); Matthew Wilder (keyboards); Stuart Price, Sly Dunbar (programming). Producers include: Glen Ballard, Nellee Hooper, Matthew Wilder, Sly & Robbie, Jerry Harrison. Compilation producer: Cindy Cooper. Includes liner notes by Paris Montoya and Tom Lanham. Personnel: Gwen Stefani, Lady Saw (vocals); Tom Dumont (guitar, keyboards, programming); Melissa "Missy" Hasin (cello); Tony Kanal (saxophone, keyboards, bass guitar, programming); Andy Potts, Django Stewart, Eric Carpenter (saxophone); Don Hammerstedt, Phil Jordan , Stephen Bradley (trumpet); Gabrial McNair (trombone, piano, Mellotron, keyboards, synthesizer); Alex Henderson (trombone); Eric Stefani (piano, keyboards); Matthew Wilder (keyboards); Adrian Young (drums, percussion); Stephen Perkins (steel drum); Fabien Waltman, Philip Steir, Sly Dunbar, Stuart Price, Ned Douglas (programming). Audio Mixers: Jack Joseph Puig; Mark "Spike" Stent; Paul Palmer. Liner Note Authors: Paris Montoya; Tom Lanham. Photographers: Sonya Farrell; Nicole Frantz; Stephanie Hsu; Frank Ockenfels; Chris Cuffaro; David LaChapelle; Jeffrey Bender; Dan Arsenault; F. Scott Schafer; Joseph Cultice. No Doubt's strength has always been in its singles, from the band's early phase as a ska/punk-pop ensemble to their latter-day status as pop chart-toppers. This 15-song collection features all of the band's hits, which are sequenced remarkably well. Gwen Stefani and the boys kick things off in an appropriately energetic fashion with their breakthrough single, "Just a Girl." The 1980s-influenced keyboard line of this jaunty track leads wonderfully into the group's deft cover of Talk Talk's '80s-pop classic "It's My Life," which sports a muscular, fuzzed-out bass backing and seems tailor-made for Stefani's plaintive vocals. The mood shifts to a dancehall vibe with the ultra-catchy "Hey Baby," and the track listing continues like a giddy roller coaster ride, including the spry "Sunday Morning," the reggae-tinged "Underneath It All," the guitar-heavy "Spiderwebs," and the melancholy "Don't Speak." And as a fitting nod to No Doubt's long-time fans, this sure-footed retrospective closes with the rhythmic workout of "Trapped in a Box" from their self-titled first album, bringing the band's musical legacy full circle.

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Complete Discography by Minor Threat (CD...

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Complete Discography by Minor Threat (CD - 06/01/1993)

"Complete Discography" (06/01/1993) Hardcore/Punk Minor Threat, Dischord RecordsMinor Threat: Ian MacKaye (vocals); Brian Baker (guitar, bass); Lyle Preslar (guitar); Steve Hansgen (bass); Jeff Nelson (drums). Recorded at Inner Ear Studios, Arlington, Virginia between April 1981 and December 1983. Personnel: Ian MacKaye (vocals); Lyle Preslar, Brian Baker (guitar); Jeff Nelson (drums). Audio Mixers: Skip Groff; Jeff Nelson; Lyle Preslar; Minor Threat. Recording information: Inner Ear Studios, Arlington, VA (04/1981-12/1983). Photographers: Tomas Squip; Glen E. Friedman; Susie Josephson. The Washington, D.C. straightedge hardcore punk scene began with Minor Threat. The band recorded two LPs on its own Dischord label, plus an EP and the miscellaneous singles that are collected on this CD. Many of the early recordings on this collection seethe with teen-age angst and indignation. The songs rage against bullies, religious hypocrisy, and the herd mentality. Other songs, taken from later in Minor Threat's career, feature tighter and more sophisticated playing. Metallic flourishes tinge the guitar work, vocal harmonies abound, and song dynamics vary more than on the earlier record. On certain songs, Ian MacKaye's lyrics address the complexities of friendship, loyalty, and self-expression. "Look Back and Laugh," "Little Friend," and "It Follows" all incline more toward introspection and ambiguity; conveying loss and sadness in addition to outrage. This second set of songs seems to especially anticipate MacKaye's later work with Fugazi. The album also contains a few playful numbers like the sing-along cover of "Stepping Stone," and "Cashing In," a mocking dig at greedy musicians. Minor Threat believed completely in the power of its music, helping earn a loyal fan following and the respect of numerous other bands who emulated its style and credo.

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The Sufferer & the Witness [PA] by R...

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The Sufferer & the Witness [PA] by Rise Against (CD - 07/04/2006)

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Siren Song of the Counter Culture by Ris...

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Siren Song of the Counter Culture by Rise Against (CD - 08/10/2004)

"Siren Song of the Counter Culture" (08/10/2004) Hardcore/Punk Rise Against, Dreamworks SKGRise Against: Tim (vocals, guitar); Joe (bass instrument, background vocals); Chris, Brandon. For its third full-length, Rise Against side steps the pop-punk breakup music saturating the scene in 2004. Instead, the Chicago quartet channels classic punk-rock unrest, brandishing socially conscious lyrics in front of a backdrop of eager melody and tireless hardcore energy. SIREN SONG OF THE COUNTER CULTURE stretches itself stylistically, from the thrashy "State of the Union" to the compellingly melodic "Tip the Scales" to the acoustic ballad "Swing Life Away." Feverishly poppy and catchy, "Rumors of My Demise Have Been Greatly Exaggerated" captures Rise Against at their best, waving the punk-rock banner proudly for a new generation of fans.

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Everything Goes Numb by Streetlight Mani...

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Everything Goes Numb by Streetlight Manifesto (CD - 08/26/2003)

"Everything Goes Numb" (08/26/2003) Hardcore/Punk Streetlight Manifesto, Victory Records (USA)Streetlight Manifesto: Tomas Kalnoky (vocals, guitar); Daniel Ross (alto & baritone saxophone); Jim Conti (tenor saxophone); Jamie Egan (trombone, trumpet); Josh Ansley (bass); Paul Lowndes (drums). Personnel: Streetlight Manifesto (vocals); Tomas Kalnoky (vocals, guitar); Steve Ho, Jessica Davidson, Lico (vocals); Robbie Krieger (cello); Jim Conti (clarinet, alto saxophone, tenor saxophone); Dan Ross (alto saxophone, baritone saxophone); James Egan (trumpet, trombone, tuba); Josh Ansley (bass guitar); Paul Lowndes (drums); Chris Bailey, Shane Thompson (percussion). Audio Mixer: Jason Kanter. Photographer: Tomas Kalnoky. Streetlight Manifesto's competent, lively ska-punk debut sets jittery, usually very rapid tunes to singer/guitarist Tomas Kalnoky's ultra-fast vocals. (Kalnoky also wrote all of the material and produced the record.) It's much like hearing a hardcore punk singer supported by much cheerier melodies and varied rhythms than most hardcore punk bands could muster. The lyrics, too, aren't too far afield from hardcore, with their breathless narrative thrust and pumped-up vibes of prickly despair, uncertainty, assertion of individual identity against the odds, and fleeting images of violence. In truth, the actual lyrics Kalnoky's singing are, for the above reasons, often no easier to decipher than those heard on many hardcore punk records, though they're much less grating on the ear. And though they're helpfully printed in the sleeve, he's prone to jamming many words into very little time, so that some of them have to be reproduced in such small print that they're difficult to read. The band does prove itself able to concoct a variety of rhythms and arrangements within the ska-punk format, the accelerations and decelerations adding some drama, the horns adding some spy movie-like creepiness at times, and the frequent use of minor keys distinguishing Streetlight Manifesto melodically from some of the group's competition. ~ Richie Unterberger

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Revolutions Per Minute by Rise Against (...

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Revolutions Per Minute by Rise Against (CD - 04/08/2003)

"Revolutions Per Minute" (04/08/2003) Hardcore/Punk Rise Against, Fat Wreck ChordsContains an untitled hidden track following "Amber Changing". Rise Against: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Joe Principe (bass, background vocals); Brandon Barnes (drums, background vocals). Additional personnel: Chad Price (background vocals). Recorded at The Blasting Room, Fort Collins, Colorado between November & December 2002. Personnel: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Brandon Barnes (drums, background vocals); Joe Principe, Chad Price (background vocals). Audio Mixers: Jason Livermore; Bill Stevenson. Recording information: 11/2002-12/2002. With clenched fists in the air, boots to the floor, and anger swelling in their chests, the members of Rise Against return with their second album, Revolutions Per Minute. It's a two-pronged attack. From the north blows the fury of their hearts, swept up as they are in their passion for a girl who is "Like the Angel," but love that strong almost inevitably eventually engenders the opposite emotions -- and so it is with Rise. And even as they beg on "Amber Changing" to pretend that tonight will never end, the relationship sours, and even their "Last Chance Blueprint fails to change the emotional landscape, leaving nothing but hatred it its wake, reaching a paroxysm of viciousness on "To the Core," a ferocious, fever-pitched number written and delivered with pure vitriol. If that's the bitter northern wind, bringing with it blizzards of wintry emotions warmed only by the heat of anger boiling in their hearts, the gale from the south comes as no relief. This, to continue the metaphor, is the wind of political change that descended with hurricane force on 9/11 and left all of us, Rise included, reeling in its wake. Across the rest of Revolutions, the bandmembers scan the wasteland around them and see people running for cover, desperate to find a shred of security again. But as "Blood-Red, White & Blue" makes clear, safety is an illusion, and our bomb-laden reply futile. "Would God bless a murder of the innocents?...a war based on pride?...a money-hungry government? No." Desperate for a real leader, we are left with the blind leading the blind, where "every problem is solved with a fight." "Is this the point where we give up?...give in?...turn ourselves in?" they demand to know on "Halfway There." Railing against a government bent on revenge and friends blinded to reality, the band cries out for a revolution with "Black Masks & Gasoline." Like all Revolutions, this is an album filled with anguish -- spiritual, emotional, and political -- a roar against the tide of history washing over us, echoed by the wrenching pain of love lost. The music is as impassioned as the lyrics, rubbing emotions raw and minds numb. ~ Jo-Ann Greene

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