Enema of the State
blink-182
blink-182 is a very special band to me. While not as influential today over my own musical pursuits or my listening habits, this band was the beginning for me. Without them, I'm not sure I would have made the decision to pick up an instrument. I'm not sure I would have wanted to start a band. I'm not sure I would have met the important people in my life that helped shape and evolve my musical taste into what it is today. It's a little frightening to imagine what my life would be like had blink-182 not put me on this trajectory. So in honour of this silly band who is entering their thirtieth year of existence, I will be reflecting upon each release in their discography, as well as maybe a few choice selections that are relevant to blink's timeline. In this segment, we take a look at the albums that skyrocketed the band to mainstream success and made them a household name.
It took a few albums, but blink-182 finally nailed it with Enema of the State. The band didn't get to this point without some intervention though. In the interim, Mark Hoppus and Tom DeLonge would part ways with drummer Scott Raynor, recruiting drummer extraordinaire Travis Barker to take his place. They also linked up with producer Jerry Finn, who's technical knowledge and meticulous tendencies helped guide the band in capturing tight, punchy, undeniably catchy sounds and performances that would hook the attention of the masses. Finn dialed back the distortion a little on the guitars and the result is a tone that still crunches, but now has a lot of more definition. Hoppus' bass always had a lot of definition with the tweaked treble, but with the help of Finn, the bass actually carries a great deal of low end that was missing up until this point. As for the drums, they have way more attack and they are sounding far more dynamic. Finn also had a great ear for layering that often resulted in truly epic conclusions. Techniques like reprising past guitar riffs, stacking main, secondary, and backup vocal lines, and incorporating additional instrumentation (auxillary percussion, pianos, synthesizers, and organs for example) turned the band's modest pop-punk songs into arena sized anthems. I could point to any of the album's three singles (What's My Age Again?, All the Small Things, and Adam's Song) to illustrate this.
Finn is not the only one who has made a huge impact on the band's sound. When Hoppus and DeLonge recruited Barker, they didn't just pick up another drummer, they picked up a superstar with boundless energy, power, and creativity. He's a brilliant musician and songwriter who's diverse influences and remarkable bag of fills contribute countless memorable moments. With album opener, Dumpweed, Barker shows us immediately how his playing makes a world of difference. The intro has an incredible guitar riff from DeLonge and to highlight that, Barker just keeps time with some open hi-hats, crashing explosively only when the guitar phrase turns over. Instead of playing straight beats in the verse and pre-chorus sections, Barker creatively employs double strokes on the snare, flails widely between open hi-hat wisps and ride bells, and actually uses rests (which for a drummer is crazy, I know) to create more intricate and interesting rhythms. When it comes to the chorus, Barker shows that he can get right down to punk basics as he launches into a blistering double-timed D-beat with an absolutely devastating drum fill. More than just the high level of technical skill - which is brought to every single track - Barker also experiments with instrument choice. A good example of this is Adam's Song where he incorporates nearly every kind of cymbal (China, splash, ride bell, open hi-hats) into the drum beat. I could also point to Dysentery Gary where in a brief cool down moment, Barker opts to go for a side-sticking technique that I'm pretty sure hasn't been used in a blink song by that point. Barker gave blink-182 so many unique possibilities. With the three of them working together, building off each others' ideas, the band became infinitely more fun and exciting.
Throughout Enema of the State, the band just doesn't seem to miss. I love Dysentery Gary for the great guitar riff, the start-stop verses, and the stark dynamics. The humour in this song also lands pretty hard as DeLonge goes in on the guy who stole his girl, going as far to emasculate him and make thinly veiled physical threats. DeLonge is so aggressive for the duration of the track that hearing Hoppus' most measured internal tantrum before the second chorus is actually hilarious. Speaking of Hoppus, the man's bass playing truly stands out on Mutt thanks to one catchy riff after another. We have the galloping power chords in the beginning and a great riff in the chorus that combines hammer-ons, pull-offs, more power chords, and some subtle sliding. As far as bass goes, it is one of the most active tracks on the record. Anthem is also super catchy right off the bat with the guitar's chord progression. I love the way DeLonge adds the major third in the second bar of the phrase, making it feel like the song has upward momentum while still staying on the same chord. The rapid rolls on the hi-hat that Barker busts in with kick this album closer off to a great start, and the energy only ramps up as the song kicks into double-time.
Lastly, I have to praise the vocals because there is not one moment in which Hoppus or DeLonge audibly stumble. DeLonge has proved to be a versatile singer on this record by giving powerfully angst-ridden, fried performances on tracks like Dumpweed, Dysentery Gary, and Anthem as well as more full-bodied performances on tracks like the wondrous and playful Aliens Exist. Hoppus is the perfect foil to DeLonge's more treble boosted timbre, and his understated delivery is often what makes blink's funnier moments really connect, like on the obliviously juvenile What's My Age Again? The two are vocally flawless and have so much vocal chemistry together that the only thing I really could wish for is to hear them swap leads on the same song.
Enema of the State was life-changing to a young, impressionable pre-teen. Probably to the dismay of my parents who forced their (I want to say) nine year old son to return the CD upon inspecting the liner notes. I continued to listen though despite this little set back and I would go on to try and emulate all of Barker's fills. Some of the first basslines and guitar riffs I learned upon picking up the instruments when I was in high-school came from this record. On top of that, hearing these incredibly simple, yet effectively catchy songs inspired me to start a band and attempt to write my own songs. When I say that blink was the beginning for me, I really mean it and this was the album that set everything in motion. Without it, I'm sure I wouldn't have gotten off the sidelines and fully converted from just a music listener into an obsessed musician. In many ways, Enema of the State was a new beginning for blink as well. The band, in my opinion, certainly didn't reach their peak with this record. They would continue to refine their sound, approach darker, more emotional territory, and write more thoughtful, relevant songs that would become timeless.
9.6
Standouts: Tracks one through twelve.
Pop-Punk (1999) MCA. Reviewed May 22nd, 2022
The Mark, Tom, and Travis Show
blink-182
blink-182 is a very special band to me. While not as influential today over my own musical pursuits or my listening habits, this band was the beginning for me. Without them, I'm not sure I would have made the decision to pick up an instrument. I'm not sure I would have wanted to start a band. I'm not sure I would have met the important people in my life that helped shape and evolve my musical taste into what it is today. It's a little frightening to imagine what my life would be like had blink-182 not put me on this trajectory. So in honour of this silly band who is entering their thirtieth year of existence, I will be reflecting upon each release in their discography, as well as maybe a few choice selections that are relevant to blink's timeline. In this segment, we take a look at the albums that skyrocketed the band to mainstream success and made them a household name.
I'm typically not interested in talking about live albums seeing as they are often times more novelty than artistic endeavour (there are exceptions of course). But I wanted to take a quick detour to talk about blink-182's sole live album for one reason in particular. The Mark, Tom, and Travis Show includes a significant amount of material pre-Enema and with the inclusion of Travis Barker, the zany energy, and the dynamic performances due to the live setting, a lot of that early material translates so much better than the studio recordings. In many cases, these are my favourite versions of those songs. Dick Lips, which I thought was a pretty mediocre cut from Dude Ranch, benefits from the bump in tempo and Travis' insane marching snare skills. I feel like this track finally has the power and emotion to help DeLonge convey his troubled past. The band totally stops the show right before the bass solo in Voyeur to help Mark Hoppus 'prepare'. You would think that delaying the song's climax for a cheap joke is a little annoying, but believe me when I say that hearing that crisp bass, Barker's powerful drum hits, and DeLonge's aggressive count-in, I can't think of a more electrifying moment during the set. Pathetic sees huge improvements as well. Not only does Barker absolutely go off with all the lightning quick rolls and rhythm switch-ups, but the vocals from both Hoppus and DeLonge sound so much stronger and passionate. I also love how they repeat 'belong' after the chorus together in perfect harmony. They also capture my heart with a rendition of Peggy Sue, one of Cheshire Cat's strongest songs. Even in this live setting, all the instrumentation is punchier and way more impactful. I love the extended bass and drum breakdown where Barker is given the floor to riff expertly with some tightly packed hi-hat rolls. When DeLonge sets the band off into the song's climax, Barker goes flailing making sure to keep every cymbal moving while also keeping up the militant crack on the snare.
Yes, when it comes to the older material, there's no debating which one I would rather listen to. It has to be these live versions. In the case of the Enema of the State material though, it's hard to improve on perfection. What I can say though, is that many of those album tracks can feel more lively thanks to the ramped up tempos, the improvised lyrics, and instrumental performances. Don't Leave Me for example, is already a fast song, but here it's played at an even more accelerated pace. It certainly doesn't phase Barker, who uses it as an excuse to play harder and even more out of control. Well not out of control, more like controlled chaos. I'm sure you understand what I mean. The queerbait-y line switch-ups on Aliens Exist are kind of comical, and hearing Barker flow in an improvised manner at the beginning of Going Away to College is a nice added treat.
Another large component to this record, for better or worse, is the banter. Either Hoppus or DeLonge once stated that on this tour, the two would try to one up each other on who could say the most disgusting or offensive thing and this record certainly documents that. At the rarest of times the jokes are humourous, most of the time they are embarrassingly bad, and occasionally the jokes are incredibly problematic. If there's any redeeming quality, it's that the repulsive duo do display a little bit of self-awareness. "Hey, why does every joke have to be about fucking, sex, masturbation, incest, or anything gross like that," DeLonge asks his fellow bandmate at some point during the eleven minute suite of horribly distasteful jokes. I say for better or worse because I commend the band for trying to give fans an authentic live experience and because hearing the band essentially bomb comedically is somewhat entertaining in and of itself. We do get a live rendition of Family Reunion, a promotional single for Enema of the State that of course couldn't be played on the radio as it is a riff on George Carlin's 'seven words.' Tracks like these - comparatively - are just mindless, harmless fun.
The Mark, Tom, and Travis Show perfectly captures a night of debauchery with blink-182. You don't have to like the jokes but you can't deny that these live versions either enhance past material or provide a different perspective to the band's newer material. On top of that, the collection includes the Enema outtake Man Overboard, a song about the band's unwillingness to deal with a friend's self-destructive behaviour (supposedly written about previous blink drummer Scott Raynor). This track is one of the best in blink's discography and just one of the many examples of the band relagating their best tunes to b-side status. I guess the last thing I can say is that, even though I don't subscribe to the humour these days, listening to this record is like opening a time capsule. It takes me back to a care-free time where I was just flying by the seat of my pants. With everything that's going on today, it's really hard to get back to that feeling. Therefore, simply by that virtue, The Mark, Tom, and Travis Show is a significant album.
9.1
Standouts: The queerbaiting.
Pop-Punk (2000) MCA. Reviewed May 23rd, 2022
Take Off Your Pants and Jacket
blink-182
blink-182 is a very special band to me. While not as influential today over my own musical pursuits or my listening habits, this band was the beginning for me. Without them, I'm not sure I would have made the decision to pick up an instrument. I'm not sure I would have wanted to start a band. I'm not sure I would have met the important people in my life that helped shape and evolve my musical taste into what it is today. It's a little frightening to imagine what my life would be like had blink-182 not put me on this trajectory. So in honour of this silly band who is entering their thirtieth year of existence, I will be reflecting upon each release in their discography, as well as maybe a few choice selections that are relevant to blink's timeline. In this segment, we take a look at the albums that skyrocketed the band to mainstream success and made them a household name.
For the band's follow-up to the wildly successful Enema of the State, the trio didn't really change the formula. Everything I praised the band for doing on that record still applies to Take Off Your Pants and Jacket. Although, I think the songs here are slightly catchier, more direct, and have punchier production. blink wastes no time at all getting right to it with Anthem Part 2. The militant shots of snare roll and palm muted chugs that interrupt a twinkling clean guitar lead make for a really epic introduction to the record. In the song's lyrics, Tom DeLonge revisits similar lyrical themes first explored on tracks like Dick Lips, that is, an appeal to parents to take responsibility for their kids' messed up behaviours. The band elaborates some more on one of their heaviest tunes, Stay Together For the Kids. Hoppus and DeLonge provide a young person's perspective on the confusion, disruption, and pain that manifests as a result of divorce. The bitterness and anguish in DeLonge's voice during those crushing choruses is palpable.
On a lighter note, we have tracks like Roller Coaster that are absolutely exhilarating; truly living up to its title. There's a quick intro that introduces a catchy guitar motif along with some really busy drums before the song settles on a single clean guitar playing a galloping riff. One can imagine riding up that initial incline during this section, anxiously anticipating the drop that follows. When it comes, the band does not disappoint. I get similarly exhilarating feelings on the following track Reckless Abandon, who's tales of being an ignorant adolescent, engaging in all sorts of debauchery without fear of consequences, feels truly freeing; especially with its presentation as a rallying cry. I love the peppy tempo, the fitting nursery rhyme guitar lead, and this track also features some of the craziest drum fills on the record.
Honestly, there aren't really any complaints I can levy on this album. Take Off Your Pants and Jacket was the peak of blink-182's ultra pop-punk sound. Insanely catchy, simple riffs, very relatable, endearing, and sometimes therapeutic song topics. Even the album's throwaways, Don't Tell Me It's Over and Time to Break Up are incredible and rank among my most favourite blink songs of all-time. With two undeniable pop-punk classics now under their belt, I imagine blink were placed in a bit of a conundrum. Was it time to move on and start exploring different sounds, or do they stick to this sound and try to top themselves once again. Fans didn't have to wait long for an answer to that question. In fact, they would get a pretty good idea the direction blink would take in less than a year's time.
10
Standouts: Don't Tell Me It's Over and Time to Break Up and they're not even on the album.
Pop-Punk (2001) MCA. Reviewed May 28th, 2022
