Franz Ferdinand Album Review: Right Thoughts, Right Words, Right Action

  Kanye West once described the sound of Franz Ferdinand as "White Crunk Music".  I might as well pack my bags and go home because there's no better explanation for the music of the Scottish group, Franz Ferdinand.  The group released their first 3 albums in a span of 5 years, so it's no wonder that we haven't seen them in a while.  Well, all of a sudden, bam!  We have a new Franz Ferdinand album on our hands to enjoy.  Just hopefully it won't be another 4 years of waiting for the 5th studio album by the band, but I'm getting ahead of myself.  Alex Kapranos was quoted saying that he wanted to keep their new record on the down-low until after it's new release after what went through with their third album, Tonight: Franz Ferdinand.  Even though the band announced that they were working on a new album back in 2010, they didn't get around to announcing the title and the release date until May of 2013.  Now that Right Thoughts, Right Words, Right Action has been released, let's take a listen.

Track 1: Right Action
  Despite having the words "Right Thoughts, Right Words, Right Action" in the chorus of the opening track, only Right Action was deemed fit to be the title.  Perhaps Franz Ferdinand thought that it sounded stronger because if a friend asked what you were listening to and you replied back "Right Thoughts" or "Right Words", your friend could become perplexed and wonder if what they were listening to were the right thoughts or right words to listen to.  I'm probably just over thinking it, maybe Right Action fits more of a title because it seems cool, and cool is the perfect word to use to describe Right Action and Franz Ferdinand as a whole.  Honestly, if I had to describe the sound of the album, or heck, the sound of Franz Ferdinand, I'd say it's dance-punk-alternative-indie-rock-new wave-awesome sauce that's stuck somewhere between the 50's and 70's skipping the 80's for the most part and staying in the 90's and then skipping once more until 2004.  Why don't I just call it dance rock from now on?  If any song on Right Thoughts Right Words Right Action deserves that impressively long genre title it's... every song on the album.  My thoughts while listening to the record were, "How do I classify this" and, "Why am I so confused but yet so amazed?"  I could just say that about every song on the album.  As for just Right Action, here's what I have to say.  This is perfect.  Not just a perfect track on the album, the perfect song for just about anything.  You know the meme "Guile's theme goes with everything"?  I'm sure Right Action could go with just about anything, as long as it's physical.  It's such a physical song that it's nigh impossible to not get up and dance to this masterpiece.  It's also not too good and doesn't ruin the rest of the album for me by being the opening track the same that Holy Grail was too good for Magna Carta Holy Grail (though to be fair Holy Grail was one of the very few good songs on that album).  If this is the sound of a band coming back strong, then I can believe it and I am in awe.

Track 2: Evil Eye
  Evil Eye sounds exactly what would be on a soundtrack to an old school horror movie with all of the fake blood and gore and over-the-top death scenes.  Needless to say, the music video is beautiful for this.  Everything you would expect from a song called Evil Eye which sounds straight from the 60's is present in the music video.  Evil Eye is catchy, old school, and with each listen it just keeps getting better.

Track 3: Love Illumination
  Love Illumination should be a song that I would hate.  The lyrics are repetitive and mostly cliché's, there's very little change throughout, and the whole thing comes off as rushed to me at first.  However, I actually rather enjoy Love Illumination.  All of the factor's that would make this song normally one of the worst on the album instead add to the song's charm and even though the lyrics are the cheesiest on the album, it's still really hard to not dance along to it.  Fun, bold, and catchy, Love Illumination is another gem in Right Thoughts, Right Words, Right Action.

Track 4: Stand On The Horizon
  It should be apparent that Franz Ferdinand couldn't be more different than New Order if they tried.  How?  New Order almost never have the title of the song in the lyrics, which is the complete opposite of Franz Ferdinand.  Stand On The Horizon is no exception (except "stand" isn't in the song).  This doesn't make the songs of Franz Ferdinand any less likable, because I can appreciate the band for giving what you want and what you would expect.  Stand On The Horizon starts off as what would be a slow moving ballad and then suddenly everything is swept away with even more dance rock.  That's how several of the other songs are going to go: start slow and pay off.  Stand On The Horizon, like the rest of the album, doesn't disappoint.

Track 5: Fresh Strawberries
  Almost like Stand On The Horizon, Fresh Strawberries starts as what would be a slow moving ballad and ends up as more of a ballad for dance-rock if that's possible.  Comparing love to fruit is definitely not uncommon in music, but stating that you will inevitability rot away to obscurity is pretty deep.  Perhaps the theme here is that one day we will all be forgotten and as such we need to make everything matter in our lives or else we will have nothing to be remembered by.  Pretty deep Franz Ferdinand, I find this to be one of the more surprising tracks on the album.

Track 6: Bullet
  Ah, what a fitting title.  For a band who's not unfamiliar with pump-up rock songs, bullet fits with anything Franz Ferdinand has done in their repertoire perfectly.  When Alex Kapranos sings that he'll never get the person in question's "bullet" out of his mind, I feel the same way.  This however is not an actual bullet, but instead that in my mind bullet is Franz Ferdinand and how catchy their music can be.  Such a fun song from such a fun band.

Track 7: Treason! Animals.
  Well isn't that a song title.  Well to be honest, I have no idea what it's supposed to mean.  The only thing I can get from this is that Alex Kapranos is shouting that he's the king of the animals and that perhaps he's trying to prosecute someone for treason and wants the other animals to be on his side... I've got nothing.  There's too much going on here for me to make sense.  For a band like Franz Ferdinand who's best qualities aren't always their lyrics, perhaps I'm missing something here.  Anyway, the instrumentation is what truly shines here and is carried all the way to the end which I approve of.

Track 8: The Universe Expanded
  Here's where I think Right Thoughts, Right Words, Right Action changes completely.  For most of the rest of the album, the songs take an unpredictable space-themed change.  This is more apparent in The Universe Expanded as you can tell from the title that this will probably be other-worldly.  What I feel could be a metaphor for searching for others after a break-up seems to be muffled with too much longing over the past.  The Universe Expanded isn't a bad song, but it's probably the weakest song on the album, and seems like there could be so much more to it.

Track 9: Brief Encounters
  Carrying on with the space-theme from The Universe Expanded, Brief Encounters gives us an even-more other-worldly sounding song.  There's not too much more that I can explain from The Universe Expanded, however, between the two I much prefer Brief Encounters.  It seems that here is where Franz Ferdinand focused more on creating a space-themed track and it shows.  The instrumentation is done well here (as always) as well and the lyrics are more relatable this time to not just aliens but relationships too.

Track 10: Goodbye Lovers & Friends
  Gee, I hope that this isn't the goodbye of Franz Ferdinand.  What I do think is that this song is more of a person feeling paranoid and needing to leave constantly for fear that everyone will get him.  But, it's hard to feel to the character portrayed, as he's so picky of daily life.  Goodbye Lovers & Friends is a fitting end to a great album and really makes you think.

  They may not be back in their hay-day with their debut album and "Take Me Out", but Franz Ferdinand knows just how to stay fresh and keep making great music.  I will surely continue to be perplexed and amazed by their music for years to come and Right Thoughts, Right Words, Right Action is a fitting comeback from 4 years of waiting.  Everything  I love about Franz Ferdinand is present here.  The band is so catchy and so fun that it's hard to believe how anyone couldn't enjoy themselves as much as possible while listening to them.  Here's to the future, Franz Ferdinand.

Verdict:  Right Thoughts, Right Words, Right Action is dance-rock to its fullest and with every listen I like it even more.  Franz Ferdinand shines in what they do best and they bring all that they can offer in regards to musicianship on their newest album in 4 years.  Final Score: 9/10.

Kanye West and Jay-Z Album Review: Yeezus VS. Magna Carta Holy Grail

          

  Welcome back once again to King James and His Subjects, where we once again delve into the realm of rap.  This time we take a look at two artists who have well established their careers long ago and bring to us, the listeners, another reason to be praised.  One on side we have Kanye West's new bold take on music and producing, Yeezus, with its incredibly original album artwork and on the other we have Jay-Z's well received commercial success, Magna Carta Holy Grail.  For this album review I won't do what I usually do and review each song piece by piece.  Instead I'll quickly go through each song or most in order to contrast my final opinions against each other in order to decide which one of the albums I end up choosing as the best.  Why did I decide to review Kanye West and Jay-Z?  Well I don't know, maybe there could be some similarity between them?  (Sarcasm implied; I know that they've done like a billion songs together and an entire album and tour).  Let's not waste any more time and jump right in to Yeezus.

  Right off the bat, Yeezus begins with On Sight.  If there's one thing that you should know about this album is that there were a lot of producers.  How many producers?  Try more than 20 Producers which include Lupe Fiasco, Daft Punk, and even the legendary Rick Rubin who was allegedly pulled in to work on the album with just a few days before it was due.  The recording process was fast paced and even rushed.  Kanye West wanted originally 16 songs but settled on 10.  After all, he finished the lyrics and singing for some of the tracks just 2 days before the album was finished.  At times the album would seem almost done and at other times the album would be less than halfway completed.  Why am I saying this?  Because every song reflects the recording and producing process.  On Sight is very apparent at the start that this is an abrasive, edgy, and a hard to listen to album.  This works to the album's benefit for the most part actually, because Yeezus would only work if it was pulled off by someone like Kanye West.  If anything, Yeezus is a trip into the mind of Kanye West.  With every listen I feel I'm in a spaceship getting pulled in to the gravitational pull of Kanye West.  In fact, On Sight itself even comes off as what could be some robotic space battle (perhaps that's because On Sight is one of the songs that Daft Punk helped produce).  On Sight gives more glimpses of what is in store for the rest of the album as he at times randomly changes to smooth and sweet sounding samples in between his raging.  On Sight works as a great opening to an album because it demonstrates just about everything that the album has in store.

  On Sight doesn't last long and when it ends the next song abruptly comes on.  Track 2 is called Black Skinhead and is one of the loudest and angriest songs on the entire album.  Every line every word is spoken with such fury and rage that the listener feels like they're pinned up against the wall with Kanye West just looming over them ready to strike.  Strange as at some parts throughout Black Skinhead, Kanye says he keeps it "300 like the Romans" which doesn't apply to any historic battles but rather applies to the way that the Romans counted.  300 would be written as CCC to the Romans which Kanye uses to mean Cool, Calm, and Collected, which hardly sounds like anything to describe Kanye West; the man known for saying anything he wants any time he wants.  I know Kanye has extremely radical views on not just politics but life in general, but I won't get in the way with that or what he's saying with Black Skinhead, so instead I'll just move on as there's much more to go through.  Up next is I Am A God.  By the way, if you haven't found out yet, Kanye West is known as being one of the most arrogant rappers ever.  If there's any song to point this out it's well... you get the point and the message of the song is very clear.  Kanye West states that he's living the life of not just the luxurious, but the holy.  He's living large and enjoying it.  That's not the only part of this song.  I Am A God is perhaps the creepiest track on the album as the song is filled with random stops, abrupt sampling, and shrilling screams.  Funny story the first time I listened to this song I was in my basement getting ready for vacation and the song had just gotten to the screaming and I was getting pretty creeped out.  All of a sudden my dad jumped out of nowhere and made me spring back perhaps 10 feet.  That's what this album does, it shocks you, it appalls you, it makes you angry, and that is just what Kanye West is trying to do.

  The next song is New Slaves and is one of the stronger tracks on Yeezus.  New Slaves is yet another song where Kanye just lets out everything he has to say about everything really.  The titles go along very well with what the song is implying, which in New Slaves has to deal with how people keep spending more and more on just luxuries to show off how much they have and become new slaves to the companies that produce those luxuries.  Kanye himself does spend a lot on luxuries, however he always puts himself ahead of the game compared to how others are acting around him.  He's acting as if he's riling up an angry mob to take down every corporation dedicated to giving people the next big thing.  However, the best part of this song comes at the end where everything just breaks lose and it sounds amazing.  It's as if Kanye West has ascended into the sky above and has summoned a choir of angels to sing to him as he soars into the heavens.  New Slaves is one of the best songs on the album, mostly because of how satisfying the outro is after Kanye gives everything he has.  The next song is Hold My Liquor which is brooding for the most part and works well as a buildup from the rest of the album.

  The rest of the album works just as the rest of the beginning has.  More and more sampling, more of Kanye raging about what he believes in, more rough transitions, more of just about everything you can possibly fit into an album that's 40 minutes.  The rest of the album delves even more into the psyche of the man known as Kanye West.  Yeezus sounds like Kanye West' thoughts, as the name properly fits (Yeezy is an alias of Kanye West and he combines it with Jesus which I'll let you take that as you will).  There is one more track that I will talk about, and that is Bound 2, which is the very last track.  Bound 2 is an unusual song on a very unusual album.  In the background, the words "Bound to fall in love" and "Uh oh honey" are sampled and remixed constantly.  In fact, I'm pretty sure that 60% of the song is just those words over and over again.  The other 30% is Kanye West and the other 10% is a beautiful soul interlude from singer Charlie Wilson.  Bound 2 is one of the strangest but most likable songs in recent memory.  Everything in Bound 2 works to its benefit.  Excellent singing from Charlie Wilson, excellent use of sampling and editing, and bring Kanye in with it all and it turns into a masterpiece.  Bound 2 reminds you of everything that went on in Yeezus, just like On Sight worked to give you everything that will happen in Yeezus.  Bound 2 is a very strong end to a very strong album where hard work from many people really paid off.

  Up next is Jay-Z's newest entry into his Discography, Magna Carta Holy Grail.  Now, with an album that has a title like that, I'm pretty sure you could've called Yeezus the same name and it would've made more sense.  Sure Magna Carta Holy Grail may be one of the silliest names for an album this year, but surprisingly the album has nothing to do with old documents signed by Kings to limit their power or immortality.  I'm pretty sure that name was just given because it seemed to roll off the tongue.  Well, how does the album start then if it's by a man who doesn't have much left to prove to be that he's one of the greatest lyricists and poets of our time.  Well it starts off surprisingly with... Justin Timberlake.  Well that was unexpected.  Actually, not too much, because the two have been on tour this year and the opening song is the one that they open up their tour with.  The first track is Holy Grail, which is a fitting name, because this song is glorious!  I'm not even kidding, Holy Grail has been charting pretty well recently, and is one of the year's best songs so far.  It's a perfect opening to the album, which honestly... works to the album's disadvantage.  Both sing about the disadvantages of being famous.  Well, that's more true for Jay-Z who clearly states he can't get the paparazzi to get off his back when he's simply taking his daughter for a walk.  Justin Timberlake's verse is more about how cruel this woman that he speaks of is, which is strange knowing how romantic Justin Timberlake made his last album.  But hey, the combination of the two works amazingly and it's yet another song out of a few where you have both Justin Timberlake and Jay-Z.  Magna Carta Holy Grail starts off with such an epic masterpiece and then the rest of the album follows...

  Honestly, the rest of Magna Carta Holy Grail just seems to wane after Holy Grail.  To be perfectly honest, even though Magna Carta Holy Grail is much longer than Yeezus, there just isn't as much in it that elicits a response from me as much as Yeezus.  The second track is Picasso baby, and it's all about wanting even more than what you have.  Picasso baby is good enough, and then afterwards you have Tom Ford.  Tom Ford is a fashion designer, and it's another song about being rich and wearing fancy clothes and living in luxury.  In fact, a good chunk of Magna Carta Holy Grail can be summed up as it's Jay-Z doing the same thing he's done for so long.  The middle of the album is definitely the worst, as it dissolves into itself.  The middle of the album which is supposed to be the core of the album is almost completely passable.  The absolute worst song of the album is ****withmeyouknowigotit featuring Rick Ross.  It's not just Rick Ross is completely boring, it's also that Jay-Z is so much more capable of making something at least interesting and yet it is a colossal failure.  Nothing in this song does any more for me than perhaps bat an eyebrow in disdain.  It's utterly boring and makes you wonder why Jay-Z would do such a thing.

  Unfortunately, most of the middle of the album is just that, it's boring.  Saying that really is a pain, because Jay-Z has been many things, just never boring.  Some of the tracks aren't even a minute long, and others seem like they never happened.  Jay-Z seems to have been focusing on just doing what he knows best, which works well for some of the album, but the rest just falls flat on itself.  This was supposed to be an epic masterpiece hyped up so much through all of the Samsung advertisements that went on before the album's release, but it feels as through Magna Carta Holy Grail doesn't have any real strengths compared to so many other rap albums released this year.  Some songs on Magna Carta try to compare themselves to others, which often includes direct reference in the lyrics to other songs such as Smells Like Teen Spirit and Losing My Religion which comes off as really out of place and random.

  The strengths of the album include several songs like Part II and BBC.  However, Jay-Z isn't the only one on those tracks, especially BBC.  Not that other people are carrying the album when Jay-Z can't, it's just so refreshing to hear everything come together.  Magna Carta isn't a failure, it just is a disappointment, and in the end it surprises me how an album that's so much shorter than another can garner so much thought compared to the other.  Not much on Magna Carta is that notable to me and I feel like I can just skip more than half of the album when I listen to it.  However, the biggest strength of Magna Carta Holy Grail is by far the opening song which is an amazing track.

  Yeezus is where Kanye pulls out all the stops and creates something so harsh and brutal but yet satisfying.  There aren't too many albums out there that can spark so much anger, fear, regret, and content.  Not too many albums are released without the intention of having records with radio play and go gold, which surprises me.  Every time I listen to Yeezus I like it even more than the last time.  Magna Carta Holy Grail on the other hand falls so short of what it could be.  With so many disappointments in Magna Carta Holy Grail, it is only saved from being passable to me from a few very strong tracks.  Both albums come from two men who have earned my utmost respect and I do look forward to how they follow up in the future.  But, for now, I'm happy with what I've listened to even if I prefer one much over the other.

Verdict:  Yeezus is an amazing album that leaves me in wonder and awe with how much goes on, even if it is really hard to understand and listen to at times.  Every time I listen I enjoy it even more than the last and is a welcoming return for Kanye West since his last studio album.  Final Score: 8/10.
Magna Carta Holy Grail on the other hand is mostly disappointing with the exception of a few strong tracks and an amazing opening song.  Final Score: 6/10.

Jimmy Eat World Album Review: Damage

  Once again we take a look at another rock band, but this time we leave Fall Out Boy and enter the domain of Jimmy Eat World with their newest album; Damage.  Now I personally love Jimmy Eat World, so when I heard that Jimmy Eat World was coming out with another album, I immediately wondered what the album was going to be like.  Would Damage be much more like their old work and be edgier, or as fresh as say Futures or Invented?  Fans of Jimmy Eat World, young and old, fear not, for Damage is one of the best albums by the group and presents itself in a way that all Jimmy Eat World fans will enjoy.  With songs ranging from sweet and moving to bold and energetic, Damage is yet another great album by a great band.

Track 1: Appreciation
  Appreciation is the first track on the album, and it sounds like something that could've been straight from their last album or Chase This Light.  With Jim Adkins' vocals, Appreciation sounds almost arena-rock like and could be a big song to play live.  It's perfect for the entire audience to sing together with Adkins belting out how they build and they box and that they carry on.  The song brings such a, dare I say, appreciation for the future.  You might go through some heat breaks here and then. but you will go on and you will live your life.  Don't let yourself down; you have Jimmy Eat World.

Track 2: Damage
  Damage isn't just the best song on the album, it's one of the greatest songs by Jimmy Eat World.  Damage provides a very interesting and poignant question; are having high and unreasonable expectations for someone else damaging the both of you?  Is doing the same thing over and over again while expecting to become the best damaging your whole life?  Why are we living a lie where we keep damaging one another?  Well, I'm sure the song means something like that.  Even if Damage wasn't about anything, it just sounds so beautiful.  Beautiful would be one word to describe this album.  Damage as an album is full of pretty songs, but Damage as a song takes the rest of the album by storm.

Track 3: Lean
  Lean here is presented metaphorically, obviously.  It doesn't take a genius to figure that out.  It would be pretty funny, though, if Jim Adkins had to lean on somebody all the time, but that isn't the case.  Lean is like an alternative rock version of Lean On Me.  Once again, it doesn't take a genius to figure that out.  Lean comes off as somewhat of an unfortunate tale as the story of this man who pleads for this person to trust him like he trusts them.  Try as he might, he is neglected, but you know what?  He keeps on trying.  Nice touch, Jimmy Eat World, not a bad song at all.

Track 4: Book Of Love
  Gee, ain't that a cheesy title?  So I went from reviewing a song on an album called The Game of Love to a Book Of Love.  Well Book Of Love may have a cheesy title, but the song itself doesn't come off as too cheesy.  Book Of Love is more like a ballad of someone's life.  Perhaps cataloged into a book?  Maybe the person described is a story character.  Honestly, Book Of Love is more ok.  However, it does set up the next song nicely.

Track 5: I Will Steal You Back
  Oh boy is this a good one.  I know I called Damage the best song on the album, but I Will Steal You Back comes at an extremely close second.  I Will Steal You Back is a perfectly energetic jam that seems fitting coming from a new album.  Obviously I Will Steal You Back is direct, however I feel as if the track has another meaning attached.  It's a calling card to the fans.  Fans who might've lost faith in Jimmy Eat World.  It's not like Jimmy Eat World went on a hiatus; their last album was in 2010, but any fan who left them before upon hearing this will immediately become enthralled with Jimmy Eat World once again.  It's an amazing song that never ceases its amazingness.  What more do I need to say other than amazing!

Track 6: Please Say No
  Please Say No is a slower song played on an acoustic guitar (mostly) accompanied by soft vocals.  Normally a song that starts this way would seem boring, or even worse one of those four chord songs that drunk party guys only know how to play to get laid.  However, I much prefer Please Say No over those songs any day.  There aren't too many songs like this where the lead singer says that we shouldn't be together.  That's something you rarely hear.  A sympathetic and down to earth ballad where the singer wants to stay away from the person.  There are songs like these that amaze me.  You hear so many love songs that are about everything love can offer, but rarely do you hear love songs where the people aren't in love.  Where the people hardly even look at each other as acquaintances.  Perhaps Please Say No could be about distance between two lovers, but I feel that the two people in question here have no connection at all.  Just that they know each other and don't want to be around one another.

Track 7: How'd You Have Me
  How'd You Have Me is a question I'm sure many people will ask after a break up.  "I'm too awesome, how did someone like you ever get to be with someone like me?"  Is what that sounds like.  However, Jimmy Eat World turns this around by saying how his ex got to have him, but he didn't get to have anything else in the world other than his ex.  "How did someone like you get me, but I in return was only able to get you?"  Is more what the song is about.  At the same time you make them seem like they got ripped off and you got ripped off at the same time.  Brilliant.

Track 8: No, Never
  The start of No, Never sounds like the entrance a final boss would have.  If that's the case, then No, Never is probably a final boss that is only moderately upset.  But let me just state that I'm not a huge fan of emo, which is strange because I love Jimmy Eat World.  Emo has always been looked down upon by being portrayed by ridiculous looking individuals whining incessantly about everything and all along becoming more and more punchable.  Why do I bring this up?  Because I wanted to bring up the point that Jimmy Eat World can be emo, and when they are, they aren't preachy whining kids dressed in all black trying to scream how bad they have it in life.  What Jimmy Eat World does so well is make emo tolerable and not absurdly pretentious.  This is best presented in Damage in the song No, Never, which sounds so close to the point where it could become whinny pretentious garbage, but strays far away from that path and brings a more listenable and enjoyable experience.

Track 9: Byebyelove
  Byebyelove is like an even softer version of Please Say No.  However, the title might be even cheesier than Book Of Love.  The chorus doesn't help that much, as it's mostly just a lame way to end a relationship.  Just by saying bye bye?  You did so well ending this relationship on previous songs, and it just seems like the odd one out on the album.  However, Jimmy Eat World does make up for it with a very powerful and moving bridge.  Though it doesn't change much, it stays consistent enough to bring everything together.  The bridge alone makes the song worth it for me.  But in the end, Byebyelove is just more or less ok compared to the rest of the songs on Damage.

Track 10: You Were Good
  You Were Good is just one of those harsh but real and straightforward titles that tells you everything you need to know about the rest of the song.  You Were Good works like an opposite of Good Riddance.  Instead of hoping that the one you've broken up with had the time of their life, you're saying I enjoyed our time together, but we just weren't going to work out in the end.  The times may've seemed like they were meant to last, we just didn't have anything that would make us last... You Were Good.  Fantastic ending to an album for a band that constantly earns my respect.  I love this song, I love this album, and I love Jimmy Eat World.

  Damage may not be the album that more hardcore fans of old Jimmy Eat World were expecting, but Damage does bring fans of Jimmy Eat World and alternative rock a satisfying album that'll last for a long time.  I can expect a lot of these songs to be played on alternative rock stations in the future and I'm sure that Damage will acquire quite a following.  Though at times Damage might've dragged on or even gone a bit too far, or maybe some songs should've gone even further, I really enjoyed this album.  Some parts are beautiful, some parts are melancholic.  However I can say that Jimmy Eat World did steal me back and I am once again glad to be listening to their awesome music.

Verdict:  Damage might not be the greatest Jimmy Eat World album, but I'm sure all fans of alternative rock and Jimmy Eat World will find something to fall in love with on this album.  Final Score: 8/10.

Capital Cities Album Review: In A Tidal Wave of Mystery

  Welcome back for another album review.  This time the album is not from an artist coming off a hiatus; instead this album is the very first for this artist.  Let me introduce Capital Cities, an act first formed in 2009 when one half of the duo, Ryan Merchant, met the other half, Sebu Simonian, on Craigslist.  Merchant was looking for someone to help him with production, and the two became partners instantly.  After a few years with experimenting in music and making music for commercials, the pair released their self-titled EP in June of 2011 on their own record label, Lazy Hooks.  A year later, the duo signed on with Capital Records in order to create their first album, In A Tidal Wave of Mystery, which came out on June 4th, 2013.  

  Before I start reviewing the album, I would just like to say that In A Tidal Wave of Mystery has to have the coolest album artwork of any album that I'm going to review this year, or in that matter, any album I may ever review.  I mean, just look at it!  A flying yellow whale, Planet-sized Walrus,  astronaut tiger, one hip white elephant, and a hidden octopus all taking place in space has to be one of the coolest selections for album artwork I've ever seen.  The artwork was created by João Lauro Fonte, a Brazilian artist who you should definitely check out.  He made other artwork for Capital Cities, and is fantastic and very underrated.  Seriously, check him out, his artwork is awesome.  But without waiting any longer, here's what I think of the album.

Track 1: Safe and Sound

  Safe and Sound is the band's biggest hit yet.  Hitting number 1 in Germany, and since its inception into the Hot 100 it's only risen higher and higher.  This doesn't make me surprised as Safe and Sound is a fantastic way to start off the album, and it is by far the best track on the album.  Safe and Sound went through about 10 different forms until it was finished, and Merchant describes the addition of a trumpet as "one of our best decisions on the song."  Safe and Sound is amazingly catchy and a fantastic dance jam.  Interesting to note that through both videos released by the band for Safe and Sound, that Safe and Sound is sort of an "anti-doomsday song in some ways - expressing the idea that every generation thinks that the end of the world is right around the corner, but it never comes to pass" as described by Merchant.  We all think that the world is going to end, but that never happens and we're all safe and sound and should just dance is pretty much the meaning behind Safe and Sound.  It's also one of the few songs on the album with an actual meaning, but that's not a bad thing.  The trumpet is the real show stealer with Safe and Sound, and as we'll see later, the trumpet gets even funkier and there will be many more instances to dance to.  Safe and Sound is pure pop brilliance.

Track 2: Patience Gets Us Nowhere Fast

  A very eclectic feel surrounds Patience Gets Us Nowhere Fast as you realize the meaning behind Patience.  It's pretty obvious, Patience tells the listener that you shouldn't just sit around waiting for something to come to you, go out there and make something for yourself!  That may be one of the most common messages in songs, but it's a good lesson, and it works well.  Capital Cities weren't patient, because they went out there and they made a name for themselves and brought themselves up to making their first album.  It's a good lesson and a good song, however it just kind've ends at the end.  The opening and the chorus are catchy, albeit not as catchy as Safe and Sound, but sufficient enough for Patience.

Track 3: Kangaroo Court

  Kangaroo Court is the second single released by the band after Safe and Sound, and I can see why.  There's a nice feel to the song, and it's another dance jam.  However, Kangaroo Court has another time-old cliché; the describing a wild party by stating how everyone is acting like an animal.  However, as much as I am tired of this cliché, there are still songs that I like that are literally called Animal, and I'm thankful that Capital Cities takes this a step farther; by literally describing what animal everyone is acting like.  That animal is a... kangaroo, in fact, this wild party has turned into a wild kangaroo court party.  That sounds pretty awesome if I do say so myself.  It's nice to see someone once in a while take a spin on an overdone cliché.  Plus, there's even more trumpet action, which is always a plus.

Track 4: I Sold My Bed, But Not My Stereo

  What an interesting title and I will say that this opening is fantastic.  It gets you into the perfect mood for the rest of this song.  It also gives a perfect example of how well Capital Cities is with sound mixing.  As for the rest of I Sold, it has a very witty and clever meaning that obviously states that Capital Cities would rather give up what would normally be a necessity to keep their spirit of music alive.  Also, I feel that I Sold details a story of perhaps one of the band members scoring a hot date and when they bring them home they come to the shock that there's no bed and this is how they defend their actions.  A very funny and witty song, I Sold is perfect to listen to when you want to start blaring out music as you sleep on your floor. Oh, and there's more trumpet action.

Track 5: Center Stage

  No, this isn't a reference to the Neil Peart documentary, instead Center Stage is  a feel good song about finally living in the life.  It's about seizing the moment for your own hands and making the most out of being onstage.  Center Stage isn't just restricted about being on the Stage, it's more about being positive about everything you do, sort've like Patience Gets Us Nowhere Fast.  One of the more ok songs on the albums, but it still succeeds at what it tries to do, and that is give us some more Capital Cities.

Track 6: Farrah Fawcett Hair featuring André 3000 & Shemika Secrest and narrated by Frank Tavares

  Well this is a unique one.  I don't think I've heard anything like this in a while.  Let me just say right now that Farrah Fawcett hair doesn't really mean anything.  In fact, it's pretty much just Capital Cities just showing off what they can do with sound mixing, and what can they do?  Make a pretty good song as far as I'm concerned.  With all of the voices going in and out of the song with people just talking about what they like, it's pretty interesting, but it doesn't really mean much in the end.  Like I just said, Farrah Fawcett hair doesn't really mean anything, it's just a cool song with a lot of sound mixing.  André 3000 also has a verse, and it's really nice to see him back again.  Regarding the song and André 3000, Merchant had this to say, "We went into it with absolutely no rules. We tried to make it the most ridiculous song we possibly could. We had this middle section of the song and we wanted to get one of the most undeniably good rappers on there. We immediately thought of André 3000. I think it appealed to him because of its quirky sensibility."  What's interesting about André's verse is that it's once again just a list of things that he likes.  That's what this song comes down to, a list of what people like, and for that I would like to add Farrah Fawcett Hair to the list of things that I like.

Track 7: Chartreuse

  Color everywhere!  As the song practically explains.  Color me, color you, color as much as you can, color anything!  I honestly don't even know if there's any other meaning to Chartreuse.  Chartreuse is pretty much a fun song that I imagine Capital Cities recorded while painting.  Chartreuse is more or less ok, but it gives even more trumpet action and that makes me happy.

Track 8: Origami

  Origami presents itself as a more romantic track on the album, where the lyrics "I stole your diamonds and gold, what are you going to do?" probably refers to either Merchant or Simonian entering the life of whoever they're with.  As for why there's random times where the word "Origami" is shouted, I honestly have no idea.  I'm pretty sure that it works a lot more than shouting "Passtraammii" or something like that.  Origami may leave me a bit uncertain, but with as much trumpet action that I'm getting I am as pleased as I can be with this song.

Track 9: Lazy Lies

  At first thought, it sounds like something the beach boys would make if they used a lot more synths.  Lazy Lies sounds a lot like a 2 man version of a beach boys single with more synths.  The synths are very pretty and create a nice atmosphere for the song to build itself around, but it never really does that. Lazy Lies just kind've ends the way it starts without amounting much and is more or less a segue to the rest of the album.

Track 10: Tell Me How To Live

  Tell Me How To Live at the beginning sounds exactly like Another Brick In The Wall Part 1/ The Happiest Days of Our Lives by Pink Floyd.  In fact, if I had to describe Tell Me How To Live it would be a funk-pop-electric version of Pink Floyd's Another Brick In The Wall's bass line.  Tell Me How To Live is an ironic title as the chorus exclaims "Ain't nobody gonna tell me how to live."  Obviously Tell Me How To Live is exclaiming "I do what I want!" in a non-threatening way and I love it.  One of the more funkier songs on the album and a great way to express your self-freedom, Tell Me How To Live is catchy, enjoyable, and funky.

Track 11: Chasing You featuring Soseh

  Chasing You starts off as what an 80's arcade game would sound like when you thrust another quarter in to get an extra set of lives.  Chasing You sounds like what would be a stalker fantasy, but in the song the pursuer wanders into the person he's chasing and has no idea what to do when he does confront her.  Also, Soseh has a beautiful voice and tells him straight up that she's running too, but not away from the Capital Cities, no, quite the opposite really.  In fact, Chasing You is a story of two people chasing each other until they find one another.  Chasing You reminds me a lot of the movie Amélie, where both Amélie and Nino are looking for each other and when they do find each other they just don't know what to do.  Chasing You is one of the few tracks on In A Tidal Wave of Mystery that details a story and I'd like to see what more story-telling Capital Cities can bring us in the future.

Track 12: Love Away

  Love Away is a pretty upbeat song on a pretty upbeat album.  Love Away is a romantic version of Safe and Sound to put it bluntly.  Love Away is also taking a look at past upsets and ignoring them to embrace what you have now and in the future.  Love Away is an ok end to a pretty decent album.

  In A Tidal Wave of Mystery is the very first album for Capital Cities, and as such, does what an artist's first album should accomplish.  That is getting the listener prepared for what the artist will bring in the future, and with that being said, I really enjoyed In A Tidal Wave of Mystery.  Here's to the future, Capital Cities, and to you too, Lauro Fonte, because if it wasn't for Capital Cities, I wouldn't have been introduced to your amazing artwork.  In A Tidal Wave of Mystery succeeds at both being enjoyable and preparing the listener for the future of their work.  Here's to a bright future, Capital Cities!

Verdict:  In A Tidal Wave of Mystery is fun, memorable, upbeat, retro even, and is a nice taste of what is hopefully yet to come from the duo of Ryan Merchant and Sebu Simonian that is Capital Cities.  Final Score: 7/10.

Daft Punk Album Review: Random Access Memories

  King James here once again with an album from an artist whose coming off a hiatus.  This time it's not the pop star Justin Timberlake or the punk rock group Fall Out Boy, but the robot rockin' duo all the way from France; Daft Punk.  Random Access Memories is the first album from Daft Punk in 8 years, and has been received with perhaps the warmest of welcomes.  The album debuted at number 1 on Billboard's top 200; a first for the group.  The album's lead single has entered the top 5 on Billboard's hot 100 and debuted in the top 20, another first for the duo.  So far, Random Access Memories has become the second most successful album in 2013, right behind Justin Timberlake's The 20/20 Experience.  Random Access Memories, just like all of the other Daft Punk albums, brings a whole different sound for the group.  This time there is very little sampling, many different featured guests, and is a throwback to the late 70's early 80's disco and funk mixed with futuristic sounds and even classical music.  I myself had high hopes for this album.  Daft Punk is one of my favorite artists of all time and I wanted to see if they could even outdo themselves with Discovery; one of my favorite albums of all time.  So what do I think of Random Access Memories?  Let's take a look at each track first.

Track 1: Give Life Back To Music

  Wow...  All I can say is wow.  This is how you open up an album.  In my Ke$ha Warrior review, I stated that an album should open in a way that will get you interested in listening to the rest of the album.  Give Life Back To Music doesn't just do that; Give Life Back To Music exceeds that.  Give Life Back To Music exceeds all expectations when it comes to opening an album.  Right at the start, the album starts with a bang as Give Life Back To Music kicks itself into gear.  After being blasted by concentrated awesomeness in music form, the song then chills with an awesome 70's style riff.  Random Access Memories was heavily inspired by disco and disco rock, and boy, does Give Life Back To Music show.  Give Life Back To Music is amazing and one of the best songs on the album, gives a fresh taste to what is to come for the rest of the songs, and is perfect with how you start off an album.

Track 2: The Game of Love

  With as big of an opening as Give Life Back To Music was, The Game of Love is surprisingly slow.  In fact, it's probably the slowest song on the album.  Nothing really wrong with that, though, as I do enjoy a lot of slow songs, and The Game of Love is very enjoyable.  What I though was going to be a romanticized 70's disco funk version of a kung fu movie theme song ended up being a robotic and moving ballad of a love long lost.  It sounds just like a robot bar filled with all of the depressed droids drowning their sorrows in oil longing over their hard drives leaving them for a stronger cpu.  I have honestly no idea what that's supposed to mean, but as strange and out of place as it might be, it's surprisingly a nice relaxing and meaningful song.  Here is where the album's title seems to make sense. Random Access Memories is obviously a play on words of RAM, or random access memory for computer data storage.  However, memories may make sense for the title, because if any song on he album can bring up as many futuristic robotic memories then it's The Game of Love.

Track 3: Giorgio by Moroder

  The longest track on the album, Giorgio by Moroder starts off unlike any other Daft Punk song.  With somebody actually talking.  Who is talking and telling their musical life story in the beginning?  Why that's Giorgio Moroder himself!  Who is Giorgio Moroder?  Giorgio Moroder is a producer, songwriter, and song performer who's collaborated with many famous artists.  In the beginning of Giorgio by Moroder, Giorgio is telling his life story of how he got into the kind of music he wanted to make.  He also states that he wanted to "do an album with the sound of the 50's, the sound of the 60's, of the 70's, and then have a sound of the future."  Daft Punk brings his wishes to life with this 9 minute epic.  Daft Punk brings forth a futuristic sounding disco and funk clash which also sets the stage for the rest of the album.  If you're like Giorgio Moroder himself, then this song, and this album is what you've been waiting for.  Giorgio by Moroder is one of the best tracks on the album.

Track 4: Within

  Within starts off as a piano ballad which is an interesting find on an electro disco funk album.  Also, the chord progression somehow reminds me of 3 Doors Down's Here Without You.  That's what Within feels like to me, a robot playing the piano to Here Without You.  Fortunately, Within isn't without meaning.  Within tells the sorrow tale of a robot or someone looking into their past and themselves and all of that which they never did.  I have mixed feelings about Within and even though I don't mind it, it leaves an odd taste.

Track 5: Instant Crush featuring Julian Casablancas

  Instant Crush is the first track on the album to have a featured artist, and it's Julian Casablancas from The Strokes.  I expected Instant Crush to be an over-the-top song from having seen Julian Casablancas team up with The Lonely Island for Boombox, and I was surprised.  Instant Crush presents Julian's voice as more robotic, as many voices on the album are, but works well.  The opening may start off like many other 3 chord intros, but really builds up to a chorus that leaves a brilliant lasting impression.  It's also a song that has meaning and is something you can dance to.  How often is it when an artist decides they have something to say by making excessively loud and over the top electro and heavy bass music. Honestly, I'm rather pleased that Instant Crush takes itself seriously and isn't over the top.  It's like watching someone's life go by in which you can move to the beat of.  I'm really impressed and Instant Crush is one of the more powerful songs on the album.

Track 6: Lose Yourself To Dance featuring Pharrell Williams 

  Ahh Pharrell Williams.  It's so nice to see a man get so involved back into music, and it seems like he keeps popping up on my reviews.  First on my RDGLDGRN post, and now on a Daft Punk review.  As for Lose Yourself To Dance, I have similar views on this as Instant Crush.  While Instant Crush may be a bit more story-driven, Lose Yourself To Dance is funky, catchy, and demands you to well, Lose Yourself To Dance.  I'm just shocked that there's an EDM song that you can actually dance to, not have violent seizures to.  Sure it might be repetitive, but who cares?  It's funky and anyone can get down to it.

Track 7: Touch featuring Paul Williams

  Touch is where you can get a perfect introduction to the magic of Daft Punk.  The song starts off with a bizarre synth intro with Paul Williams' voice being mixed underwater as it sounds.  This video continues for about 2 minutes until Paul Williams' voice becomes more clear.  The ambience in the song fits well with his voice until the music starts to pick up until about 3 and a half minutes in when perhaps the best transition in the album and in recent memory happens.  The soothing trumpets, the jamming piano, the beating drums, all coexist perfectly to bring out the best in the song.  That's not all, in fact the song's not even halfway over.  A choir of angelic robots come to join the jam by singing "If love is the answer you're home."  Just listen as Touch conveys an unbelievable story filled with a beautiful sense of atmosphere almost entirely with music and occasionally Paul Williams' singing.  The song ends with Paul Williams joining back in the fray as you realize how moving this song is.  Touch is a good contender for my favorite song on the album and favorite Daft Punk song,, and never ceases to amaze.  Absolutely beautiful.

Track 8: Get Lucky featuring Pharrell Williams & Nile Rodgers

  Get Lucky is Daft Punk's first song to place in the top 5 of Billboard's hot 100.  I cannot agree anymore.  Get Lucky is amazing.  A few months ago, Daft Punk released a 10 second clip of an upcoming song (which was Get Lucky of course) for their upcoming album after singing with Columbia records.  I remember listening to that clip for hours, it was so catchy.  That's what describes this song, catchy.  Not just catchy, as Pharrell does some of his best singing yet, and with Nile Rodgers playing that smooth guitar riff throughout the song makes this song even better.  As for the meaning, it's pretty obvious.  Being up all night in the hopes of getting some... action if you know what I mean.  Also, it's another example of an EDM song that you can dance to.  Thank you, Gods of robotic jams, Daft Punk for giving the world this song.

Track 9: Beyond

  Beyond is just one of those titles that is an adjective that you can describe Daft Punk to a group of friends who have never heard of Daft Punk or EDM for that matter.  "Check them out, man, Daft Punk is the most Beyond group out there."  Aside from the fitting title, Beyond is another laid back disco and electro song on the album.  That's definitely not a problem, as I'd take this over most of Calvin Harris' ideals of blaring whatever you're trying to convey as loud as possible and remove all silent moments.  Beyond is a really cool song that doesn't change much, but doesn't need to.  It's fine the way it is.

Track 10: Motherboard

  Here I feel like I'm reviewing Justin Timberlake again.  This sounds very much like something he would do if Justin Timberlake was a robot of course.  It's laid back, smooth, and obviously disco inspired, much like the rest of the album, but that just makes me like Motherboard and Random Access Memories in general even more.  This song goes on for so long, but I can't have enough.  If Daft Punk made this song even 10 more minutes, I'd still listen to it and be impressed, I'm in love with the whole sound of this song and the album for that matter that much.  However, at about 3 minutes in the song shifts gears a little with what sounds like the track being haunted as it goes underwater.  Creepy.  Then all of a sudden the robot heavens open up and bring us back some more awesome electronic riffs mixed with some of what was just heard.  Motherboard stays mostly unchanged throughout the song, but still manages to evolve and continually sound refreshing which is amazing.

Track 11: Fragments of Time featuring Todd Edwards

  Wow, Todd Edwards really brings it to this song.  Fragments of Time is more of what has been brought already from the album, and still stays refreshing.  It's funky, it's disco-inspired, it's got a great singer, it's emotional, it's more of what I love about this album.  There isn't much to say, but Fragments of Time jams everything you've heard throughout the album and brings it all together to still be relaxing.  It's upbeat, it's meaningful, it's amazing and another fantastic track on Random Access Memories.

Track 12: Doin' It Right featuring Panda Bear

  Once again, there's not much to say about this song that I haven't said about other songs on the album.  It's funky, it's got a great singer, it's more of what I love about this album and really builds up.  However, this time Daft Punk bring their own robotic voices to add more texture with the vocals.  There isn't too much to say, but I enjoy it almost as much as the last several tracks.

Track 13: Contact

  This... Is... How... You... End... An... Album... Don't end an album in a boring manor, you want to leave almost how you walked in.  Contact is amazing, and I put it right up there with Touch, Give Life Back To Music, Giorgio by Moroder, and Get Lucky for best songs on the album.  It just sucks you right in and blasts you with everything you love about Daft Punk.  Contact literally sounds like a rocket launching off to not space, but to the outer awesomeness, and as the rocket sails away to venture onward, you can't help but cry as you know it will be back someday.  Also the ending sounds like the rocket is hitting warp speed or something.  Maybe the rocket crash landed, who knows?  The future is never certain.  That is what Contact leaves me with for a space voyage, the album, and even the future of Daft Punk.  Contact is an unbelievable ending to an unbelievable album.

  Not bad for an album that was recorded in 5 different studios.  Daft Punk proves once again that they know how to make Electronic Dance Music Electronic Dance Music.  EDM has been poisoned by so many who fail at provoking any thought or feeling but just jump and flop around on the dance floor.  Even though I love this album a lot, I may not have rated Random Access Memories as high if it wasn't for the fact that Daft Punk is giving life back to a genre so devoid of anything interesting for the most part.  Random Access Memories is full of surprises and knows exactly what the listener wants and delivers.  This is what I'd like to see for the future of not just EDM, but for music as a whole.  Daft Punk proves that there are still artists who pour every bit of talent that they have to make such a time-worthy album.  Lovers of 70's music, 80's music, Electronic music, and Daft Punk will find something to fall in love with in this album, and as for Daft Punk, they are Human After All.  Thank you Thomas Bangalter and Guy-Manuel De-Homem Christo.  Buy this album.

Verdict: Random Access Memories presents something for everyone, and not just that, but anyone can fall in love with this masterpiece.  Random Access Memories is a trendsetter and it deserves every bit of my highest rating for an album so far.  Final Score: 10/10.

Fall Out Boy Album Review: Save Rock and Roll

  Here I go again with another album review for an artist that's coming off a hiatus.  Unlike Justin Timberlake, Fall Out Boy's hiatus was a lot shorter and each of the band members still focused on their music careers.  Especially lead singer Patrick Stump, who released his solo album Soul Punk in 2011.  After the release of the band's fourth album, Folie à Deux, in 2008, the band went on a hiatus, but each member assured their fans that they would return soon.  Here almost 5 years later Fall Out Boy presents us with their newest album: Save Rock and Roll.  The title might be slightly ironic, because for the band's newest album, their music is much more pop oriented than rock compared to earlier installments in the band's discography.  Save Rock and Roll also has several guest verses and radically different messages.  But how is the album?  Is it as good as Infinity on High or Folie à Deux?  Let's see.

Track 1: The Phoenix

  Fall Out Boy begins their newest album with a triumphant call of returning from an almost 8 year hiatus with the power jam opening, the Phoenix.  Right at the beginning with the thundering sound of the violins and Patrick Stump shouting at me to put on my war paint, I become ready to make an attack.  Perfect to start off such a great pump-up song.  The chorus finally kicks in, and I am running a marathon in my mind.  This song makes me want to get up and do stuff; maybe even create a career out of robbing banks or take the world back from a heart attack as sung by Patrick Stump.  During the chorus, Stump calls out to the listener as "Hey, Young Blood!"  I'm not quite familiar with what he means by that, but for each of the 11 songs on the album, the band will release a music video for all.  These videos are known as the Young Blood Chronicles.  I don't know what he means by that, but maybe the members of Fall Out Boy are fans of comics.  Anyway, this is a fantastic start to the album, and can get anyone pumped up for anything.

Track 2: My Songs Know What You Did in the Dark (Light em Up)

  My Songs was the album's first single, and was the message in a bottle that Fall Out Boy fans  stranded on the deserted Fall Out Boy island needed.  Fall Out Boy was coming back, and here to sate your appetite is their newest song, one with a freakishly long title.  Fall Out Boy is a group that's not a stranger to weird and long song titles, however.  My Songs is the song with the longest title in the album, and honestly, after trying to figure it out I have no idea what Patrick Stump means by this.  Maybe it's a statement against pirating music, maybe it's a statement against editing music, maybe it's a statement about listening to music in the dark, I just don't know.  Despite being confused, I am impressed.  The song's chorus is one that anyone can easily sing along to, however I don't think many people are able to scream as loud as Patrick Stump can.  The single was released as a triumphant return from the dark, and maybe that's what the band was trying to say.  Honestly, since it is the highest charting single from the album so far, I may've overheard it a bit too much, but despite constant radio play, it's still a great radio jam.  One could make the interpretation that the band is embracing their new musical style and reveling in it.  My Songs, and the rest of the album for that matter takes a more pop sounding tone, and My Songs is the band's acceptance and realization that they have changed their musical style in the past and embrace it.  Or maybe the song is just about listening to music without the lights on, either way, I really enjoy it.

Track 3:  Alone Together

  Fortunately for me, Alone Together is rather easy to decipher.  It's as direct as it needs to be; "Let's be alone together, we can be young forever."  I don't need to add much more to that.  Patrick Stump did get married back in September last year, and Alone Together is a charming love song about being together with your significant other and enjoying every moment.  Now, Alone Together and the rest of the album might not be as romantic as the last album I reviewed, but Alone Together still cuts to the chase and makes itself apparent that it's good at what it's trying to do:  Be romantic.

Track 4: Where Did the Party Go

  If any song on the album cements Fall Out Boy in their new pop sound, it's Where Did the Party Go.  That's not a bad thing at all, in fact, I accept it fully, because I love this song.  It's great for when you have a real party, like getting a group of friends together to play Mario Kart.  Where Did the Party Go is also one of the most memorable songs on the album, especially when Patrick Stump sings "All the boys are smoking menthols, girls are getting back rubs" gives you a perfect situation that this party that is being described is obviously falling apart.  When your friends are so bored they're just going to either smoke menthols or give back rubs... you can tell that something's gone wrong with the party.  Which actually makes the situation seem straight out of a comedy.  Where Did the Party Go presents a situation in which the party has been falling apart, and Fall Out Boy is here to bring the party back to it's former glory.  Where Did the Party Go is one of the most fun songs on the album.

Track 5: Just One Yesterday featuring Foxes

  Let's get the obvious out of the way.  The beginning of this song sounds extremely similar to Rolling in the Deep by Adele.  To me, this makes the song even more awesome than it already is.  It's another song that's meaning is extremely direct.  "Oh, I want to teach you a lesson in the worst kind of way, still I'd trade all of my tomorrows for just one yesterday."  It's about reflecting on your past and realizing the mistakes you've made, but a longing to go back and right the wrongs to put an end to sorrow in the present and future.  Pretty deep I must say for a song that sounds like a more pop rock version of rolling in the deep.  Also, this is the first track on the album with a guest, and in this case the featuring artist works perfectly, because Foxes has an amazing voice and brings even more emotion to an already fulfilling song.

Track 6: The Mighty Fall featuring Big Sean

  Leave it to Fall Out Boy to get me to listen to a song with Big Sean that I don't hate immediately.  Now I, like most people believed that the title of The Mighty Fall was an allusion to the time old phrase "How the mighty have fallen."  Upon thinking that I immediately shuddered at the thought that this might mean that Fall Out Boy might be done forever, that this was their fall from success, as in their end.  This is of course not true, as The Mighty Fall stands for how the mighty fall in love.  Yup, it's another romantic song... sort've.  I wouldn't go that far, as it sounds more like a sex jam than an actual love song.  At the same time Patrick Stump calls himself mighty and awesome he states how he's falling in extreme infatuation with someone.  Perhaps this person can cause Patrick Stump to become less awesome and mighty and thus give another meaning to The Mighty Fall...  It's an interesting thought, and even though it's one of the lesser songs on the album, it still works on its own.  As for Big Sean, he's still stuck on being as narcissistic as possible, however he actually compliments the girl he's attracted to instead of just rapping about how he's only interested in certain parts of her body.  It's decent.

Track 7: Miss Missing You

  Once again, another song with an extremely direct meaning.  Miss Missing You is about someone tired of all the stress with a breakup and just doesn't care anymore.  Their ex is no longer a big deal to them anymore, and even though they've clearly been harmed in the past they won't deal with it anymore.  It's one of those stop whining all of the time and get over it songs, and I love those.  Also, Miss Missing You has one of the best lines in the album, "The person that you'd take a bullet for is behind the trigger."  That right there sums up the entire song and for that matter a lot of someone's life experiences for me.  Despite being lyrically fantastic, the music is more or less average compared to some of the rest of the album.  It's not as jam-tastic as some of the other tracks, and that actually might be in favor for Miss Missing You, however the song just screams for something a little more.  Just like before, it's another decent one.

Track 8: Death Valley

  This song has a fantastic beginning.  With Patrick Stump belting out calling to you to turn to your primal sides, and with a fantastic hook, I'm already interested.  However, this song falls a little bit in certain places.  For instance during rather slower parts of the song, Patrick Stump belts as loud as he can.  Not exactly fitting, and perhaps the worst part of the song is at about 2:45 minutes in when there is a... bass drop.  Fortunately the bass drop isn't AS annoying as I've heard elsewhere before, and it lasts for a very short moment when the song picks back up again for a fantastic ending.  Not the best on the album, but the song picks itself up again rather well.

Track 9: Young Volcanoes

  Young Volcanoes is a more acoustic sounding song on the album.  The lyrics are also a bit more personal, as it seems to be a portrayal of Patrick Stump's life when he was younger.  However the song's meaning is once again obvious, as it's basically an enjoyable version of Firework by Katy Perry. It's about living in the moment and feeling free-willing and being on top of the world while being young at the same time.  Not exactly the most original song on the album, but there's been many other songs that have given the same message in a much worse way.  It's once again a pretty good song on the album.  I wouldn't call it one of the best, especially since it kind've just ends, but it's very enjoyable nevertheless.

Track 10: Rat a Tat featuring Courtney Love

  Honestly, this is my least favorite song on the album, and no, it's not because of Courtney Love.  It's not terrible, it's just more ok.  The hook isn't as strong on other songs on the album, and it just leaves a bitter taste.  However, it does sound the most punk and angry compared to the rest of the album, which I know fans of old Fall Out Boy would enjoy greatly.  I have many mixed opinions on Rat a Tat, and the more I think about it, it's just one of the songs that I tend to skip when listening to the entire album.

Track 11: Save Rock and Roll

  Save Rock and Roll is the album's title track, and holy is it unbelievable.  Save Rock and Roll isn't just my favorite song on the album, but it's one of my favorite Fall Out Boy songs in general; up there with Thnks Fr The Mmrs and What a Catch, Donnie.  During the recording of the album, Fall Out Boy teamed up with several different recording artists, and saved the best for last; Sir Elton John.  Despite Sir Elton John getting relatively few lines, he still leaves a powerful lasting impression.  What makes Save Rock and Roll as a song work so well for me, is that it is so relatable.  It reminds me of what I'm fighting for and what I'm doing.  I'm doing what I'm doing so I can prove that hey, good music is still being made, but people are just too blind sometimes to see that and I'm here to change that.  Fall Out Boy is here to save rock and roll, and I'm here to save whatever I can.  It's a freedom-exclaiming, triumphant call for the band's return and is one of the best ways I can think of to end an album.  The album doesn't end on a slow note, no, the album ends on a calling card for all fans of music to rise up and make their stake.  "You are what you love, not who loves you" is one of the best lyrics I've heard in a long while and describes everything that I at least think I can do.  Save Rock and Roll as a song is brilliant as it calls out to everyone and is a perfect way to end an album.

Fall Out Boy's newest album after their hiatus is a triumphant call for home.  At some times I may be turned off from what Patrick Stump is belting at me, and I know others might be turned off at the start from his vocals, but other times I want to jump out of my house and join the band members on their path of glory.  Save Rock and Roll might be ironically more pop sounding, but it's unbelievably fantastic when it succeeds, especially at the end with one of the best songs that the band has ever recorded.  This is also a fantastic album to listen to when you want to go jogging or doing anything physical.  Save Rock and Roll as a song is so good that it raises my rating for the album and with that I enjoyed listening to this album the times that I have and I look forward to an even brighter future for Fall Out Boy.

Verdict: Save Rock and Roll may disappoint some Fall Out Boy purists as it is an obvious change to the band's style, but is very powerful where it succeeds.  Here's to a great return, Fall Out Boy, you were missed.  Final Score: 8/10