Florrie – Introduction EP (EP of the Week!)

“I’m a woman. Not a siren calling.” Indeed!

Florrie has managed crafting quite a pop record, and this is for the most part all by herself! Florrie’s vocals are very distinct, and the all the instrumentation and arrangements just seem to work in her favour. Being a singer-songwriter/drummer, I am not sure if she had any assistance in the songwriting, however she manages to write some very catchy lyrics. And it is worth mentioning that she is without a record label, by choice!

I have been listening to Florrie’s aptly titled debut EP for about a half-year now, and it only keeps on getting better. Each and every track is unique in its own way. From the very start it keeps the listener listening. “Call of the Wild” sounds like one may expect after hearing it, and especially with the lyrics starting: “Want you, need you. It’s the call of the wild. Something animal, more than physical. Satisfy me cos I’m falling apart.” And some howls in there too! It makes for an up-tempo pop song with nicely placed tempo changes. It also has an ingenious bridge with her almost scatting (okay, not really) before naming off times “tick, tock, ten to one”, “tick, tock, ten to two”, etc.

Being a drummer, it is a must to have a percussion heavy track, even though I am not sure if she played the drums on the EP. That song, “Give Me Your Love” was the first song I really started appreciating from the four track EP. The lyrics being very irresistible when sung by her, the song starts: “You’re playing with dangerous” which does not really make sense grammatically speaking, but sounds great! As does “Oh won’t be the one that got away.
You know it baby. Oh I’ve got you hooked this time and predator catches it prey!”

“Summer Nights” is probably the most ‘pop’ song in the more traditional sense of the word. And what makes it distinct is the very obvious kick/snare beat. There are other elements, guitar, synth, and bass starts up after a little while. My only complaint with the EP is maybe the bass could have been a little quieter in the mix. Despite that, the track, perhaps the kick/snare, along with the bass, and guitar snippets give it a small hint of a retro feel, albeit maybe unintentional. Although I did read on Wikipedia: “it’s going to be a big mixture: Kind of a sixties, organic feel merged with modern pop beats and electronics.” And that quote was from an interview with Florrie (see source below)!

“Left Too Late” is the definite throwback track, with synth and drum machine playing the pivotal roles. It actually reminds me a lot of the great old Bronski Beat track “Smalltown Boy.”

I mentioned above how she is without a label, by choice. The reason being she wants to artistically explore without any record label pressure, and find her sound/identity. This is what I remember reading. Read it in more detail at her website (I did not want to steal her words directly, hence not re-reading before writing this).

Florrie has been the in-house drummer for the Xenomania production team out of the United Kingdom, so she has drummer for the likes of Girls Aloud and Alesha Dixon.

And did I mention this EP is a free download!?! Her new EP, Experiments, can be heard for free online, and purchased from the iTunes.

Get it now, at the very least stream it a few times, at which point it will have to be downloaded!

Sources used:
Lyrics – Call of the Wild by Florrie
Lyrics – Give Me Your Love by Florrie
PonyStep: FLORRIE. She Bangs The Drum…

Alien Ant Farm – truANT (LP of the Week)

They are most known for their cover of Michael Jackson’s “Smooth Criminal”. Which is a great cover from their commercial breakthrough album ANThology. Also the first single from that album, “Movies”.

Only two years and a few months later, in August 2003, TruANT was released, however it definitely did not get the attention it deserved. Similar to ANThology, it is entertaining, catchy rock. However it is smart too, in that is very well crafted. The hooks are catchy, yet the choruses are just as entertaining. From the very first acoustic guitar riffs of “Glow”, all the way to the end it is a toe tapper. And it has an especially special chorus, including hand claps!

Although the entire album is not ‘fun’ per say (lyrically or musically), it still feels that way as a whole. “Never Meant” is slightly more serious with reggae guitar riffs. The next track, “Goodbye”, also keeps a serious feel. “Tia Lupé” brings it back up somewhat with a latin tinged number. By the end of “Tia Lupé”, the album is already winding down with only three songs left, making it an album that despite lasting just over 40 minutes, it goes by quickly.

All in all a solid rock album that stands up just fine today despite being released almost 8 years ago. A great record for summer listening, or anytime for that matter!

Lissie, Montreal May 31, 2011 (Théâtre Corona)

After having seen her at the Apple Store the night before, I was certainly ready to see Lissie’s proper show.

Ash Koley opened. Ash Koley is named after the lead vocalist, Ashley Koley, however they are a duo, also consisting of Phil Deschambault. Their set was very minimal, consisting of Ash on lead vocals, and Phil was backing vocals, guitar and a pedal that replicated a bass drum. They are fairly poppy, melodic, with a long list of influences that they draw on. They included a medley of some of their influences. They hail from Winnipeg.

Their set lasted around 40 minutes as Ash said as they were commencing their set. Along with the poppy music they had a good stage presence, talking with the audience, and making jokes on each other’s expense. All in all a good set.

Lissie took to the stage to very much appreciation from the fairly small crowd. Not too small, but there definitely could have been more people. Which goes to show, how great artists do not get the publicity they deserve.

Her setup was the same as at the Apple Store, Lissie on guitar, swapping between two Fender Telecaster Thinline between songs, as the stage manager (or touring manager, whatever he is called) tunes the one not in use between songs. Presumably to tune them a specific way. My musical knowledge is not deep enough (yet) to recognise the different guitar tunings. Also like yesterday she had another guitarist, and the drummer/bassist. I thought perhaps the drummer, or bassist just did not make the Apple store, but that seems to be their regular setup! I had the chance to see the drum setup closer this time, and he plays a mini snare with a pedal along with having a bass drum, and hi-hat with a tambourine mounted on top.

Her set composed of pretty much all songs from Catching a Tiger, and a few from her EP Why You Runnin’, including the Hank Williams cover of “Wedding Bells”. She also did a two song encore consisting of the awesome ballad to the Mississippi, “Oh Mississippi”, and a terrific job along with her band covering Kid Cudi’s “Pursuit of Happiness”, which had the drummer/bassist kicking out a hip hop beat while playing bass! As he did (minus the hip hop beat) on almost all songs performed.

Adding to her aresenal arsenal of covers, she performed again the old song I mentioned from the Apple Store show. It being Maxine Nightingale’s “Right Back Where We Started From”. As she described it, it is one she has heard in the Moline airport among other places. Her version is a tad more up-tempo than the original, adding a bit more kick. Another great cover!

Lissie seemed happy to be playing Montreal, even with the smaller crowd. She hinted next time once we tell our friends and family she can fill the place! I am sure she would have preferred a bigger crowd, but she said how it was almost nicer with fewer people, In that it was a more personal/intimate show.

With that in mind, Lissie very much seemed to enjoy interacting with the crowd. Ranging from stories about the songs, or reacting to random ‘I love you Lissie’s, and having the band jam while she tied her shoe. The bassist started playing “Rapper’s Delight” by the Sugarhill Gang (which ‘borrows’ from Chic’s “Good Times”), the guitarist jumped in, and Lissie started rapping with the “I said a hip, hop, a hippie to the hippie to the hip hip hop, you don’t stop”!

All in all a great show. Which, to steal from Eminem, had me lost in the music, the moment. I own it, I’ll never let it go.

Fefe Dobson – Joy (LP of the Week/review)

I try to avoid clichés when I write reviews, however I feel the following is true, Fefe Dobson is maturing as an artist and as a songwriter. She said at one point everything happens for a reason, about her cancelled second album, Sunday Love. The result is Joy being her second released album.

She can still make tracks that are a lot of fun, like numerous from her debut, and the singles from Sunday Love, and the aforementioned maturity comes through as well. As with her debut, Fefe Dobson has primary writing credits on all tracks.

Her vocals are just as great, from the staccato employed on “Stuttering” to the great pop of “Watch me Move” and “I Want You”. The latter could have easily been a pop classic from the fifties! Also adding to her genre CV, “I’m a Lady” is a perfect garage-y/punky song very much in the vein of The Donnas. (As a sidenote, I wonder if “I Want You” is channeling any Dylan!).

The only featured guest is Orianthi with a guitar solo on “Can’t Breathe”. Kevin Rudolf was one of the co-writers on “Ghost”, and played all the instruments save for drums.

I cannot think of too much else to say, besides this is a great pop/rock album and it is great to have Fefe back at the top of her game!

Flogging Molly – Quadruple LP of the Week! (Swagger, Drunken Lullabies, Within a Mile of Home, Float)

In honour of yesterday (many people will be celebrating all weekend though!), a very special, quadruple LP of the week. That being all four Flogging Molly studio albums. A fifth one, Speed of Darkness, is set to be released May 24!

Flogging Molly do not own the most storied history, yet they have been together now for right around 14 years, more counting the time they were not fully Flogging Molly beforehand, with four full length records to their name (and of course a fifth soon!), and a few other various releases including a live CD/DVD.

Flogging Molly are fronted by Dave King, who prior to playing Celtic punk, and the like, fronted a metal band with Eddie Clarke of Motörhead. He eventually set to work on a solo album that did not work out, however everything happens for a reason. He went on to form a band that would eventually become Flogging Molly. Before being Flogging Molly, they would play at a Los Angeles club every Monday for a while called Molly Malone’s. Hence the band’s name.

They released an independent live album in 1997 called Alive Behind the Green Door, and Flogging Molly were officially born. Fast forward to 2000, and their proper debut record, Swagger is released on SideOneDummy.

Swagger starts with quite the wallop that is “Salty Dog”. Instantly the Celtic influence is heard, as is the upbeat punk rock mélange. Mostly an uptempo record, with “These Exiled Years” slowing it down. “Grace of God Go I” is a track with just Dave King’s vocals, and coupled with the songwriting it works very well. If it was not evident enough from his vocal style, “Grace of God Go I” illustrates his Irish heritage, having been born in Dublin. Not to forget the emotional and spine chilling closer “Far Away Boys”.

The arrangements are superb, making it difficult to believe it is their first studio album. All the pub playing most definitely helped. The album definitely does not shy away from the Celtic instrumentation, which includes tin whistle, fiddle, accordion, mandolin and banjo to name most. “Black Friday Rule” takes the cake as it is quite an impressive track. It clocks in just over 7 minutes. Within, of course there is a fiddle solo section, preceding that earlier in the song is practically a rockabilly instrumental portion.

It sounds as if all instruments are equal in the mix, making the Celtic, and said arrangements all the more impressive. The album is very bass drum heavy, and “Devil’s Dance Floor” is a track centred and commencing with a tin whistle. “Sentimental Johnny” ups the ante, starting with a trumpet solo, and heavy on the accordion playing. The accordion player being former (I assume) professional skateboarder Matt Hensley! I believe he left the band for a little while, however it appears he actually has not missed playing on any of their releases.

No matter what time of the year, Swagger plays well, especially now.

Drunken Lullabies from 2002, and Within a Mile of Home from 2004, both continue in the vein of Swagger, only with Dave King et. al. showing their experience all the more.

Drunken Lullabies starts with likely a fan favourite, and for good reason, another great boisterous romp, the title track, “Drunken Lullabies” This continues to “What’s Left of the Flag” which starts off very traditional, and soon after is another up-tempo Celtic punk cut, Flogging Molly have come to do oh so well. Also very emotional knowing it is about his father who died at an early age, and yet it turns out, or sounds like for sure, to be a celebratory track rather than a sad one. To give an example of the lyrics, the chorus is as follows:

Walk away, me boys, walk away, me boys
By morning we’ll be free
Wipe that golden tear from your mother dear
Raise what’s left of the flag for me

“If I Ever Leave This World Alive” continues to expand their style repertoire, as an acoustic number, that continues to add layers of sound as it progresses. All the while, Flogging Molly continue to fuse traditional Celtic with folk, and of course punk in their own unique way, no more apparent than on “Swagger”. “Cruel Mistress” sounds like another one for the sea adding some Eastern European style to it as well. Both from Drunken Lullabies.

Within a Mile of Home starts nicely as well with a bang, with “Screaming at the Wailing Wall”. The party really gets going with another sea shanty that is “Seven Deadly Sins“. “Seven drunken pirates, We’re the seven deadly sins”, Dave King sings to close the chorus. The verses containing a pretty sweet drum beat. If one needed proof these guys (and gal) are good, Lucinda Williams is a featured guest on “Factory Girls”.

The songs on Within a Mile of Home can go from a quality drinking, celebratory song to the emotional, and still work together just fine. The former I am referring to is “To Youth (My Sweet Roisin Dubh)”, and the latter, the very emotional and moving “Whistles the Wind”. I do not know who “Whistles the Wind” in the wind is about, but it is a spine chilling song, that very near brought me to tears. Much of the most emotional music I know, is not labelled as emo (no disrespect to emo though, the good emo that is, the real stuff).

As I mentioned about Swagger, the arrangements dazzle again, look no further than “Tobacco Island”, that clocks at 5:17, the last 2:10 ending with a very nice banjo and fiddle instrumental. Once again, the drumming sounds great on the record. “Queen Anne’s Revenge” is a toe tapping romp, that has Dave King singing with a bit of a rasp, making it almost difficult to recognise him, yet, no surprise, it works!

Float, although it does have the Flogging Molly tracks one would come to expect, it is more of a somber, mature record. Mature in the sense it has a little less punk rock influence as Wikipedia refers to, and more traditional-ey. That is definitely not to take anything away from their previous three records. I still only have a handful of times I have listened to Float, so it is still very much growing on me. A few songs could fit well on Within a Mile of Home or Drunken Lullabies, however as a whole, Float is a great collection, and no doubt by this point, all the musicians are very proficient with their respective instruments. Perhaps that is the natural evolution that yielded this album for some deeper cuts. “Man With No Country” (worth noting) opens with a very nice bass intro, punk meets metal really, or vice versa. The title track “Float“, is an excellent track to illustrate my point(s).

Float, as with all Flogging Molly albums, most songs are pretty much credited to everyone. Well done, as everyone has an equal part, and as I mentioned earlier, all instruments are quite equal in the mix.

Flogging Molly are one of those bands that tend to shine with everything they release. I much look forward to Speed of Darkness. And in the meantime, go check out some Flogging Molly at your local independent record shop!

Jenn Grant – Honeymoon Punch review

“You look like a movie star, from this angle”, Haligonian Jenn Grant sings to start Honeymoon Punch on the song “Oh My Heart”. Right from the get go, it feels like a special album.

I cannot say I am too familiar with Jenn Grant prior to this release. I really only knew her by name. And usually I like to ‘bone up’ (if you will) on artist’s or band’s past music. However in this case I decided not to. I did listen to her first album since Honeymoon Punch came out. However for two reasons I will not comment on it, first I have not listened to it enough, and secondly, a lot of people reading this are probably also not too familiar with her, so this review is ideal for them to discover her (and everyone else who may or may not have heard it).

Honeymoon Punch is a very pleasant album, perfect sunny day kind of music. The music is well written, as are the lyrics, and in many cases very catchy, thus great hooks, but just listening to the songs, the verses are just as enjoyable. The music plays no tricks, and more than likely, it is all real instruments, guitar, drums and percussion, bass, trumpet, saxophone, etc.

“Walk Away” is a particularly good example, the chorus teeters between not walking away and walking away (“Don’t walk away walk away walk away don’t walk away…”), or rather sounds that way thanks to the clever wordplay even if it is all about not walking away. All of this on top of a great walloping drum beat.

“Getcha Good” starts off with riffs one would expect to come out of a Tarantino film (they actually sound like another song, but I cannot say as I know what it is!). It quickly changes to what is pretty much a perfect pop song.

Even the slower tracks (“Paradise Mountain” and “Star to Waves”, the latter which morphs into a marching up tempo coda to write home about) have a certain je ne sais quoi about them. As do the mid tempo tracks, with “All Year” throwing in the classic pop beat for good measure (not sure if it that beat has name, the one that goes clap clap .. clap, etc.).

10 tracks lasting just over 35 minutes, I do not think the album could have been a more perfect length as well. Not too long, not too short, yes, just right.

Bold prediction, but I feel very strongly about it, this album will be shortlisted for this year’s Polaris Prize (Canada’a Mercury Prize). Do quote me!

Honeymoon Punch is a delight of an album.

But don’t take my word for it, watch the video for “Getcha Good” (in 1080p no less!)

Catch her live (Visit her official website, http://www.jenngrant.com for the most up to date listings):

February 23, Waterloo, ON, Starlight Social Club
February 24, Montreal, QC, Le Divan Orange (I’ll be there!)
February 25, Wakefield, QC, Blacksheep Inn
February 26, Wakefield, QC, Blacksheep Inn
March 1, New York City, Rockwood Music Hall
March 3, Peterborough, ON, The Red Dog
March 4, Kingston, ON, The Grad Club
March 15 – 18, Austin, TX, SXSW
March 18, St. Catharine’s, ON, Brock University, Sean O’Sullivan Theatre
March 19, Mississauga, ON, RBC Theatre
April 13 – 17, Charlottetown, PE, East Coast Music Awards.

Lissie – Catching a Tiger review (and LP of the Week/2010)

Lissie, real name, Elisabeth Maurus, was born in Rock Island, Illinois, in the heart of the American Midwest. She plays folk tinged with country on occasion.

Catching a Tiger, Lissie’s debut has numerous down tempo tracks, yet as a whole it feels like a very upbeat record. After hearing her excellent EP, Why You Runnin’, released on Fat Possum, it took a few good listens for Catching a Tiger to fully grow on me. Now that it has, I can hear how good it is.

Lissie has a voice that is smooth, yet has a certain rawness to it that is teeming with Americana. It certainly helps when she sings about the Midwest and American places in general (“Appalachian farmer”, “Mississippi moonchild”, “By Georgia pinin’ declinin’”, “Fightin’ Illini”, “Gonna move to N’arleans singin’ psalms”, etc. all in the ingenious “Little Lovin’”. And of course a song about the Mississippi, “Oh Mississippi”). I am fortunate enough to say I know the Quad Cities (Rock Island Moline, IL, and Davenport and Bettendorf, IA), where she is from, as I have visited, so I know the role the Mississippi plays there. Where it flows from east to west (“But ’round these parts, you’re westward bound”).

The record (this album by the way would be awesome on vinyl) starts with the hauntingly good “Record Collector”. With a cacophony of interesting, fitting sounds. Similarly, “When I’m Alone” borders between a down tempo and a mid tempo track, at about 120 beats per minute and is in D Minor (had to look it up, I can’t quite pick out the key, yet..), making for a nice track, and it is bass (guitar) heavy. In fact, there is a quite a lot of tracks in minor keys, which actually suit her voice well (“Bully” as well). To be fair, her songs in a major key are awesome too (“Cuckoo”for one). “Everywhere I Go”, which is apparently in G Major, toes the line perfectly between major and minor. It is another song that is hauntingly good, many thanks to the simple yet very (very) effective concert bass drum accents, and plenty more in the mix, from the obvious electric guitar to the acoustic guitar, and Lissie’s overdubbed vocals. To borrow a term from a friend, it is very dense (he used it referring to another song). Unbelievably good song.

Lissie herself has writing credits on all the songs, and penned a couple all on her own as well. She also plays guitar. Musicians are not credited in the liner notes, so I cannot tell where she is playing to be certain, as “In Sleep” closes with a fairly significant guitar solo. And as mentioned above, I would love to see the credits for “Everywhere I Go”.

I cannot explain why exactly, but “Stranger” feels like a perfect song for the Quad Cities, perhaps not the lyrics. It is an impressive country tinged folk song with a great beat. As is the case for “Oh Mississippi” (song for the Quad Cities) even if it is more of a ballad for the Mississippi, yet does refer to the Quad Cities as I mentioned above.

“Little Lovin’” for a long time was my favourite Lissie song, and it is still great, with its great lyrics (“I’m gonna get to heaven, I’m gonna count to seven”), and simple beat derived from a bass drum pretty much the entirety of the song, to the spectacular coda. However, the entire album sparkles. it may me another cliché, but the album from start to finish is genius, while each individual track works great on its own.

Even though my quasi lists have been made for the best of 2010, and I did include Lissie’s debut, I’d have this in a one way tie for best album of 2010.

Highly recommended, no doubt about it.

More best of 2010

I knew I would forget some, so here is a few I missed, and honourable mentions. Honourable mentions for albums perhaps deserving the honour of being included in the best of 2010 list, however I have not listened to the releases enough to know if I would include them or not.

KT Tunstall – Tiger Suit

I am surprised I forgot KT Tunstall’s new one, as it is probably my number one if I had to choose. I wrote the review quickly after listening only a few times, and I have found it only kept getting better. It is a great album, fairly minimalistic, with less inclination to glossy pop she has done before, and more a folk approach. As KT calls it, “nature techno”! Of course, KT continues to write great songs too, some of this album being inspired by being a part of the Disko Bay Cape Farewell Project in order to witness the impact of global warming on the Arctic.

Sia – We Are Born

Sia’s first album that finds her foraying into pop, and staying there for most of the album, and it is good!

Honourable Mention:

Goldfrapp – Head First

The Roots – How I Got Over

John Legend and The Roots – Wake Up!

Laura Marling – I Speak Because I Can

Land of Talk – Cloak and Cipher

Caitlin Rose – Own Side Now

Best Coast – Crazy For You

Cassius – Au Rêve (LP of the week)

Much overdue LP of the week!

So, electronic music is not my forté, however I know what I like, and I know a good album when I hear it. Au Rêve is Cassius’ second album, it was released September 17, 2002.

“Telephone Love” is my least favourite track, in that the telephone ringing tone used in the track gets annoying fairly quickly. Otherwise, it’s a slower tempo electronic track. It would have definitely been better having omitted said effect. Especially since it is almost seven minutes long. By contrast, “Hi Water” is an excellent track making use of a sound effect that is almost sounding like lasers in television and film.

Very grooving upbeat album for the most part. This includes Ghostface Killah laying rhymes on “Thrilla”. And it sounds quite good. Maybe not as good as KRS-One rapping on Goldie’s “Digital” from Saturnz Return, but close! Nonetheless, it live up to the song title.

It states on Wikipedia how this album is a different direction that their debut, 1999, as it features more live vocalists, and less sampling. Many of the tracks with live vocalists do not necessarily need vocals, in that they are well put together on their own, however the vocalists do add that extra something making them all the more better.

A couple of the vocalists, Leroy Burgess (“Till We Got You and Me”) and Steve Edwards (“The Sound of Violence”) have excellent voices for electronic/dance. “The Sound of Violence” in particular sounds great with vocals. This was the track I remember hearing years ago, likely right around when the album was released, as a friend of mine introduced me to it.

The album closes with a few instrumentals, “Nothing” is almost Portishead like, perhaps house Portishead. “On” sounds like it uses a slightly modified backing from “The Sound of Violence” during the same time it also employs some souped up eight bit style gaming sounds for a short while. Not counting the opener, “Hi Water”, it is my favourite instrumental. The closing tracks are not standouts by any means, however they do a good job of winding down the album with a bit more of a house/electronic feel.

Choice cuts: “Hi Water” and “The Sound of Violence” (linked via Tinysong, a.k.a. Grooveshark).

Bad Religion, Against the Grain – 20 years strong

Bad Religion’s fifth album, and generally accepted as their best, and most people’s favourite, Against the Grain, is now 20 years old. It was released November 23, 1990. And, you have heard the cliché, like a fine wine, it only gets better. Thirty five minutes of punk rock bliss.

Music as a whole has Lennon/McCartney, punk rock has Graffin/Gurewitz.

I am not the list compiling type, however of modern era (mid nineties onwards) punk rock (Punk Revival if you will) that I grew up with, even if it feels like it is becoming almost old school of sorts (I’m really only into punk rock bands from that era that are still going, or that embody the true punk rock spirit), I would rate this up there with the most influential. Everything that is great about Bad Religion is on this album, lyrically, and musically. Lyrically, the problems with modern man in “Modern Man”, the uselessness of religion in “Faith Alone”, and “God Song”, society and its issues “21st Century (Digital Boy)”, and “Quality or Quantity”, the environment in “Unacceptable”, world issues in “Misery and Famine”, and of course the great vocabulary choices, making a dictionary obligatory (preferable the OED) (“lascivious, it’s all that I can think of as I drag my feet, searching like a diogenes” to start track three, “Get Off”), all while making the listener feel smarter (something I have felt anyway), and encouraging them to think for themselves. Musically, the melodic “Against the Grain”, the sonic (and lyrically confusing) “The Positive Aspect of Negative Thinking” and both combined in “Modern Man”. And the overly catchiness of “Anesthesia” and “Flat Earth Society”.

Although I did not grow up with punk rock right away (instead Fine Young Cannibals, Midnight Oil, etc.), and when I did start getting into punk rock, Stranger than Fiction was the first Bad Religion album I got to know, it did not take too long to eventually find my way to Against the Grain. Owning the vinyl did not hurt!

With the band at the time of course was Greg Graffin (vocals) and Brett Gurewitz (guitar). Second guitarist was Greg Hetson, Jay Bentley on bass, and on his final Bad Religion album, on drums, Pete Finestone. Against the Grain being the last of three albums with this lineup, I daresay, the classic Bad Religion lineup. Suffer (1988) and No Control (1989) being the first two.

From the opening of “Modern Man”, my personal all time favourite Bad Religion song, to the closing of “Walk Away”, what we have is a bona fide punk rock classic.

Read more about Against the Grain:

@ badreligion.com (included commentary from Brett on recording)
@ Wikipedia
@ The BR Page
@ All Music

Images courtesy of The BR Page.