You Can Be My Wave

In my teens, I went through a lengthy ska-punk phase, and one of the bands I enjoyed the most was Reel Big Fish. Looking back, my deep affection for the band came down to a few distinct strengths. First and foremost, the band was composed of incredibly proficient players. They didn't just do the punk and reggae elements justice; they possessed a deep musical toolkit that allowed them to effortlessly incorporate elements from a whole host of genres. This versatility has been proven time again by their extensive catalogue of fantastic covers. They also have a longstanding live bit where they would perform the fan-favorite track S.R. in half a dozen entirely different musical styles.

Because their musical vocabulary was so vast, Reel Big Fish excelled at crafting genuinely exciting, dynamic arrangements where every instrument and voice got ample time in the spotlight. In addition to the strong musicianship, the songwriting was just plain fun. Frontman Aaron Barrett's lyrics were equal parts witty and silly. The band never took themselves too seriously, a trait that has ironically allowed their catalogue to age gracefully in a time where ska-punk isn't exactly viewed with a high level of critical reverence. While their 1996 breakthrough Turn the Radio Off remains their most popular release, thanks to the inclusion of Sell Out and Beer on numerous video game and movie soundtracks, it isn't the one I find myself coming back to most often. Instead, I return to its more polished and grand 1998 follow-up, Why Do They Rock So Hard?; a record that is stacked with many of my personal favourites.

The band hits right off the bat with Somebody Hates Me; a track that examines the strange social phenomenon where two people simply cannot mesh. This isn't due to any malicious action, but rather due to some sort of inexplicable, cosmic friction. Staying true to the album's title, the song busts in with a hard rock edge brought on by dramatic pick scrapes, flashy pull-off licks, and arena-sized tom fills. When they eventually flip into ska mode, the horns lock in tightly to an agile, staccato melody that is as fun as it is technically impressive. The chorus is supremely catchy with the backing group vocals, and I love the bridge which builds from a smooth bassline into a rush of instrumentation that is ushered in by a primal scream.

The Set Up (You Need This) similarly delivers on the commentary and lively arrangements. Thematically, this song depicts the deceptive practice of appearing emotionally detached to reel in a romantic interest. With each passing chorus, the protagonist drops another morsel in the breadcrumb trail until they decide they are ready to be truly honest about their feelings. This one also starts with some raging hard rock riffs that are accompanied by sour horn squawks before downshifting into a passage with regal horn melodies. The chorus is unexpectedly understated with vocals delivered primarily in falsetto, but it makes the return back to the main riff punch that much harder.

On Thank You For Not Moshing, the band turns a critical lens towards their own scene. It's a jovial anthem for the crowdkillers; aggressive concertgoers whose sole objective is to inflict violence on the unsuspecting participants. While the music remains incredibly upbeat, the lyrics clown on the practice, painting these pit-warriors as brutish, insecure neanderthals who peaked in high school. Musically, the band is going back to ska-punk basics; accelerated three-chord rock for the chorus, half-time grooves with those sharp, off-beat upstrokes on the guitar in the verses. The band kills it on the bridge once again with a great trombone solo as ska ad-libs litter the stereo field. This later leads into a dub section where guest vocalist Coolie Ranx is drenched in delays and reverbs.

It's a real deep cut, but I'm Cool endures as one of my most favourite songs in the Reel Big Fish catalogue. It's a gorgeous, downtempo ska tune defined by aquatic delays and a remarkably feel-good, chill vibe. It serves as a great showcase for the horn section, featuring everything from gentle, atmospheric swells and heavenly trumpet solos to playful call-and-response tag-teams.

Even when the musical arrangements aren't as engaging, some songs remain entertaining because of Barrett's comedic storytelling. For example, She's Famous Now is an ironic tale about a protagonist breaking up with a girlfriend, only to watch her skyrocket to superstardom. I Want Your Girlfriend to Be My Girlfriend Too is another one where our protagonist shamelessly plots ways to weasel his way into his best friend's relationship. Schemes range from explicitly psychotic (murder) to subtly progressive (polyamory).

There's many more examples of great songwriting and arrangements, more than enough to fill out a full-length album. Therefore, it's a tad frustrating that the band pads out the end of this fifteen track, fifty-two minute record with some duds. Everything Is Cool is a severely bi-polar track that violently flips between chaotic bursts where Barrett attempts an unhinged Johnathan Davis-styled (Korn) vocal, and sedated ska passages. It's a tad too overbearing to land effectively. It gets worse on Big Star, a boring acoustic track laden with incredibly shallow lyrics about the burdens of being rich, famous, and lonely. While it is clearly designed to parody the self-absorbed nature of celebrity culture, the satire lacks any real poignancy or insight, and when the full band clumsily crashes in for the climax, the song only becomes more awkward.

The band, unfortunately, reaches an insufferable low on We Care. Intended as a meta, passive-aggressive swipe at their critics and a tongue-in-cheek 'thank you' to their fans, the track oozes with cringeworthy, self-congratulatory smugness. Even with the understanding that the track is deeply satirical and not a genuine reflection of the band's feelings, the execution is so aggressively irritating that it is still an incredibly tough listen. These tracks (and maybe one or two more) could've easily been cut and Why Do They Rock So Hard? would've been a stronger album for it. Even with these skips though, the high points within the first ten tracks are numerous and immeasurable. The humour translates and the music is still expertly performed and arranged. I think it's a perfect entry point into their catalogue; it just might require some extra curating on your part.