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DS Staff Picks: Dylan’s Top 10 Punk Rock Albums of All Time

February 19, 2023 | 3:16 pm

Hello, friends! My name’s Dylan, but you probably know me better as Dying Scene editor “Screeching Bottlerocket”. I’m sure you read “Top 10 Punk Rock Albums of All Time” and broke out your pitchforks before clicking the link. Settle down! This isn’t meant to be a definitive list by any means, I just thought it would be fun to tell you about some of my personal favorite punk rock albums. If you like the same shit I do, that’s cool. If you think my list is overly 90’s centric trash, that’s also cool. Enough formalities, let’s have some fun! These are my Top 10 Punk Rock Albums of All Time:

#10

RAMONES
Too Tough To Die

I’ve probably already lost some of you picking this record over the self-titled LP, Leave Home or Rocket to Russia, but it’s no secret that I love Too Tough To Die. The production is great, the songs are great, and Richie brought the balls back to the Ramones‘ sound. This is my all-time favorite Ramones album. Waaaaaa Warthog!!!

#9

NO FUN AT ALL
Out of Bounds

No Fun At All is one of the greatest skate punk bands of all time. If these guys were from the states they’d be much bigger. Nevertheless, the Swedish skate punk band has been chugging along for 30 years. Out of Bounds is a top tier 90’s punk album. No bad songs to be found, but some of my favorites are the first four tracks, “In A Moment”, “Invitation”, and the title track. This is a bad ass record.

#8

BAD RELIGION
The Gray Race

Though I’m sure most of you wouldn’t consider The Gray Race to be the pinnacle of Bad Religion‘s discography, I’ve got a major soft spot for this album. My introduction to BR was hearing “Them and Us” and “Ten in 2010” while playing Crazy Taxi. I love this record, Bobby’s drumming is awesome, my favorite song is “The Streets of America”.

#7

STRUNG OUT
Suburban Teenage Wasteland Blues

When it comes to 90’s skate punk, Strung Out‘s Suburban Teenage Wasteland Blues is the gold standard. This album seems to build as you listen to it; every song is better than the last. It’s a perfect record.

#6

NOFX
So Long and Thanks for All the Shoes

Picking a favorite NOFX album is a tough task, but ultimately I had to go with So Long and Thanks for All the Shoes. This is probably their most well-produced record and it’s got some of my favorite NOFX songs like “Kids of the K-Hole”, “180 Degrees”, “Eat the Meek”, and “The Desperation’s Gone”. Mike’s bass sounds awesome, too.

#5

FRENZAL RHOMB
Meet the Family

I seriously considered putting one of Frenzal Rhomb‘s two most recent records here; they’re both excellent. 1997’s Meet the Family prevailed on the strength of classics like “Mum Changed The Locks”, “Mr. Charisma”, and “All Your Friends”. Is this Frenzal’s best album? I don’t know! It’s my favorite though.

#4

BELVEDERE
Fast Forward Eats the Tape

Fast Forward Eats the Tape is a criminally underrated record by an equally underappreciated band. Every single Belvedere album is killer but this one’s the top dog. Steve Rawles and co. have always been head and shoulders above the competition when it comes to songwriting and technical proficiency. My favorite song on here is “All About Perspectives”. This is an essential skate punk record.

#3

MXPX
Life In General

MxPx is one of my all time favorite bands. Life In General is one of my all time favorite records. They were at the top of their game and captured lightning in a bottle on this album, delivering 40 minutes of 90’s pop-punk excellence. My arms get sore just listening to Yuri hammer away on the drums.

#2

GREEN DAY
Insomniac

Like most people my age, Dookie was my introduction to punk rock, but there’s something about Insomniac that strikes a chord with me. This album has a more aggressive, no-nonsense feel than its predecessor and it has my favorite Green Day song “Walking Contradiction”. If I’m pissed about something and wanna blow off some steam, this is usually the album I turn to. I can always count on ol’ reliable.

#1

LESS THAN JAKE
Losing Streak

I’m a Florida Man so naturally Less Than Jake is my favorite band. I love all their records but Losing Streak rules the roost. I listen to this a few times a week and will never tire of it. That seamless transition from “Happyman” into “9th At Pine” gets me every. fucking. time. Losing Streak is my all-time favorite record.

So there ya have it, those are Dying Scene editor Screeching Bottlerocket’s Top 10 Punk Rock Albums of All Time! Thanks for checking it out. I’m curious what your favorite albums are! Lemme know in the comments on Facebook, Instagram, Twitter, or on here.

by Staff Writer Screeching Bottlerocket

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Dying Scene Revisits: One Man Army’s “Dead End Stories”, an overlooked 90’s punk masterpiece

July 13, 2022 | 3:42 pm

One Man Army, in my opinion, is one of the most overlooked 90’s punk bands. Likewise, this album – their 1998 debut – is woefully underrated. Dead End Stories has the honor of being the first record Billie Joe Armstrong chose to release through his record label Adeline Records. And it’s easy for me to […]

One Man Army, in my opinion, is one of the most overlooked 90’s punk bands. Likewise, this album – their 1998 debut – is woefully underrated. Dead End Stories has the honor of being the first record Billie Joe Armstrong chose to release through his record label Adeline Records. And it’s easy for me to see what the Green Day frontman saw in the band; what isn’t easy for me to understand is why One Man Army isn’t held in higher regard.

Dead End Stories is one of the strongest debut albums I’ve laid ears on. Sure, some bands strike gold on their inaugural effort – the Ramones being one of the most notable examples. But let’s face it, more often than not, debut albums see a band getting their sea legs with an amalgamation of hastily produced, half baked songs. Having already recorded two EPs, One Man Army had their shit together when it came time to hit the studio for their first LP. I love everything about this record. The candid lyrics and jangly guitar of Jack Dalrymple, James Kotter’s infectious, busy basslines, and Brandon Pollack’s bouncy drumming – I love every bit of it.

The title track pulls you in right off the bat. Dalrymple makes a strong first impression with his unique, raspy voice, belting out sneering lines about being “just like the rest and part of the problem”. After that it’s full speed ahead, as the band reels off four more rapid fire punk rock songs. As Side A of the record winds down, we reach “Another Time”. This hauntingly beautiful song is without a doubt my favorite track. One Man Army takes their foot off the gas and delivers an uncannily somber story of two young boys who endure the untimely passing of their single mother. Jack’s simple lead guitar parts put an exclamation point on the song’s melancholy feel. This track delivers an unexpectedly powerful message that feels like a punch in the gut, yet it does not seem out of place in the slightest among all these rowdy punk songs.

And just as quickly as things slowed to a crawl, they rapidly accelerate once again. “Fate at Fourteen”, a cautionary tale of the pitfalls of growing up too fast, kicks off the record’s B side as the band launches into another 15 minutes of up-tempo punk. Other standout tracks include anthemic drinking song “Big Time” and the more bitter “Back Then”, in which Dalrymple expresses his contempt for an estranged friend who “used to be a punk back then”. The album culminates in “Downtown Lights”, a screenplay-like tale of a naive kid who moves to Hollywood to pursue his ill fated dreams of a musical career. A fitting end to a record called Dead End Stories.

This is one of those albums you can put on no matter your mood. If you’ve never heard this record, I can’t recommend it enough. If you have heard it but it’s been a while since you last gave it a spin, now’s the time. One Man Army kicks fucking ass.

by Staff Writer Screeching Bottlerocket

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adeline records billie joe armstrong Dead To Me green day Jack Dalrymple

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Dying Scene Revisits: Ramones – “Too Tough to Die”

October 1, 2022 | 11:28 am

What is there to say about the Ramones that hasn’t already been said? They were – and to this day, still are – one of the most influential punk bands of all time. Their 1976 debut was the spark that lit the fuse of American punk rock, and the two albums that followed stoked the […]

If you ask someone what their favorite Ramones song is, they’ll probably tell you they love “Blitzkrieg Bop”, or “Rockaway Beach”, or maybe even “Commando”. And there’s nothing wrong with that, but those who thumb their noses at the band’s output after Rocket to Russia are doing themselves a major disservice. From their iconic self-titled debut to their 1995 farewell Adios Amigos, everything the Ramones did in their 22-year career is worth a listen.

The 80’s are an interesting chapter in Ramones history. The decade began with the release of their controversial Phil Spector-produced album End of the Century. This record had some great songs – “Chinese Rock”, “Let’s Go”, and “Rock ‘N’ Roll High School”, to name a few. However, Spector’s over-the-top production just didn’t make sense for the Ramones, and unfortunately, this album fails to tickle my loins.

Pleasant Dreams is a pretty good record, but lacks the raw energy of everything pre-End of the Century. Subterranean Jungle had its moments, but was a mostly unremarkable album by the band’s standards. The neutered drum sound that even Marky Ramone hated is pretty hard on the ears, too. But great songs like “Psycho Therapy”, “Outsider”, and “Somebody Like Me” make it slightly easier to forgive the odd production and the fact that there are three cover songs on this record.

The real turning point for the Ramones was when Richie Ramone took over on drums in 1983. A year later he would make his studio debut on my favorite record: Too Tough to Die. Richie’s powerful style of drumming gave the band a much harder edge that revitalized their sound for a new era of punk. Songs like “Mama’s Boy”, “Wart Hog”, “Danger Zone”, “Human Kind”, and “Endless Vacation” proved the Ramones were, in fact, too tough to die.

For fans of the band’s poppier side, the trio of “Chasing the Night”, “Howling at the Moon”, and “Daytime Dilemma” offers up a healthy dose of bubblegum. The album’s closer “No Go” might be one of the catchiest Joey Ramone ever penned. If this song doesn’t at least make you bob your head, there might be something wrong with you.

Also noteworthy is that Too Tough to Die saw Tommy Ramone and Ed Stasium return to the control room for the first time since 1978’s Road to Ruin. Of the band’s fourteen LPs, this is probably the most well-produced. Gone are the synthesized drums, horn sections and violins; Tommy and Ed trimmed the fat and delivered a great, organic-sounding Ramones record.

Richie’s drum sound is big and the thumping kick of his bass drum makes my floor (otherwise known as my neighbor’s ceiling) shake when I put this record on. Johnny’s guitar sounds tough as fuck, and Joey Ramone turns in an excellent vocal performance, perfectly matching the tone of each song. And of course, Dee Dee shines when he takes the lead on two of the album’s most frenetic tracks “Wart Hog” and “Endless Vacation”. I think this is the closest the Ramones ever got to capturing their “live” sound in a recording studio.

My lone gripe about Too Tough to Die is that its track sequencing leaves a lot to be desired. Why would you start a Ramones record with the three slowest songs on the tracklist? Other people seem to share my opinion, and thankfully, someone made a Spotify playlist called Now Even Tougher to Die, with a re-sequenced tracklist that makes the album flow a lot better. I mean, come on, “Durango 95” just makes sense as the opening track.

So, go on, indulge yourself. That’s right, kick off your shoes… put your feet up. Lean back and enjoy the melodies of Too Tough to Die.

by Staff Writer Screeching Bottlerocket

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dee dee ramone dying scene revisits joey ramone johnny ramone Punk

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Dying Scene Revisits: Ten of Fat Wreck Chords’ Most Overlooked Releases

December 1, 2022 | 10:47 am

Few names loom larger in punk rock lore than Fat Wreck Chords. Started in 1990 by NOFX frontman “Fat” Mike Burkett, the label has stood tall as a bastion of independent punk music for over 30 years. Fat has been home to countless great bands; No Use For A Name, Lagwagon, Strung Out, Good Riddance… the list goes on. If you’re like me, a good chunk of your record collection is stamped with their iconic logo, like a punk rock Nintendo Seal of Quality. Today, we’ll be discussing some of the less heralded entries in the label’s extensive catalog. Come along for a magical journey as we dive into Fat Wreck’s most overlooked releases.

Zero Down – With a Lifetime to Pay

The name Jim Cherry is synonymous with Fat Wreck Chords for me. In addition to being a bass virtuoso, the man was one hell of a songwriter. He played an integral role in Strung Out’s success, with writing credits on classics like “Bring Out Your Dead”, “Firecracker”, and “Mind of My Own”, just to name a few. Then, of course, there’s his contributions to Pulley. Prior to his untimely passing, Cherry started a new band called Zero Down. Their lone album With a Lifetime to Pay is criminally underrated. This is essential listening for all skate punk fans. Zero skippable tracks on this one.

The Loved Ones – Build and Burn

Alright, this one might be a somewhat controversial pick; not because this is a bad album or anything, but I think Keep Your Heart is generally considered The Loved Ones‘ “best” record. But you know what? I don’t give a fuck, I think Build and Burn is better. I couldn’t get enough of this album when it came out. Many regard the mid to late 2000’s as Fat’s “lean years”, but they put out a lot of good shit that didn’t have the typical “Fat sound” during this period. There isn’t a bad song to be found on Build and Burn. The first three tracks alone are worth the price of admission. Everything else is icing on this Philly pop-punk cake.

Limp – Guitarded

Limp was a pretty short lived pop-punk band that released three records through Fat Wreck imprint Honest Don’s Records. Music critic types lazily painted these guys into a corner as a Green Day or Blink-182 imitation. I personally don’t think Limp sounds anything like either of those bands. Their sophomore effort Guitarded is a mostly midtempo pop-punk record with a little ska sprinkled on top. More than anything else, this album is melodic to a fault. “Decision”, “Ten Minutes”, and “Entertainer” are my favorite songs.

Cobra Skulls – Bringing the War Home

Now, I already know what you’re thinking: “Really dude, you’re including a fuckin’ EP in this list?”. Yes, yes I am. Cobra Skulls released two killer albums on Red Scare and were quickly snatched up by Fat Wreck. They made their Fat debut with 2011’s Bringing the War Home and immediately went out on tour with NOFX and the Bouncing Souls (yours truly saw them in Orlando). For many (myself included), this was their introduction to Cobra Skulls, and the band capitalized on that opportunity in a big way. Bringing the War Home provides the perfect bite sized snapshot of a band that was firing on all cylinders. The Bad Religion cover is pretty good, too.

Only Crime – Virulence

Fat Mike and Floyd used to host a podcast where they played songs off the label’s new releases at the time. I was introduced to Only Crime for the first time when they played “Eyes of the World” off their record Virulence. I was blown away, and instantly ordered the CD. Only Crime is one of the greatest punk “super groups” ever as far as I’m concerned. You’ve got Russ Rankin on vocals and Bill Stevenson absolutely killing it on drums, that’s all you need to know. This whole record kicks ass.

American Steel – Dear Friends and Gentle Hearts

A cornerstone of the Lookout! Records roster in the late 90’s, American Steel made a strong impression with the chaotic energy of their 1999 LP Rouge’s March. Over time, the East Bay punk band’s sound mellowed out quite a bit, culminating in 2009’s Dear Friends and Gentle Hearts. This record is full of great midtempo punk-ish rock songs with big choruses that invite you to sing along – the album opener “Emergency House Party” being a prime example. Other highlights include “Your Ass Ain’t Laughing Now”, “Bergamot”, and “Meals and Entertainment”. This isn’t the best American Steel’s discography has to offer, but it’s a fun listen nonetheless.

Big in Japan – Destroy the New Rock

Hailing from Reno, Nevada and featuring members of Zoinks! and The Gain, Big in Japan made their debut in 2001 with Destroy the New Rock. This power-pop punk gem is buried deep in the Honest Don’s catalog, which sucks because it is fantastic! The songs are catchy and the production is stellar, but that’s no surprise considering this was recorded with Mass Giorgini at Sonic Iguana. This record sounds like a mix of Squirtgun and Green Day. Highly recommended listening.

Swingin’ Utters – Here, Under Protest

Call it a comeback! After going eight years without releasing a new record, Fat mainstays Swingin’ Utters made their triumphant return in 2011 with Here, Under Protest. They had a new guitarist in Jack Dalrymple (One Man Army, Dead to Me), and a slightly more polished, melodic approach. Singer Johnny Peebucks’ voice lent itself nicely to the band’s renewed sound. Standout tracks include “Brand New Lungs”, “Kick it Over”, “Heavy Head”, and the album closer “Effortless Amnesiac”, on which Dalrymple takes the lead on vocals.

Love Equals Death – Nightmerica

If you’re a fan of anything AFI did before Sing the Sorrow, you will probably like Love Equals Death‘s Nightmerica. I won’t say frontman Chon Travis sounds exactly like Davey Havok, but at certain points on this album the resemblance is almost uncanny. “Bombs over Brooklyn”, “When We Fall”, “Voice of Change”, and “Numb” offer up a high energy blend of AFI and Pennywise. “Pray for Me” is a kinda corny, on-the-nose love song but in a charming way. “The Broadcast” is complete with all the George Dubya soundbites you’d expect from a mid 2000’s punk song. This whole album holds a special place in my heart, but “Sonora” is by far my favorite track on Nightmerica.

Teen Idols – Full Leather Jacket

The undisputed champions of Ramonescore, Teen Idols mastered their formula and stuck to it. Of their three albums on Honest Don’s, Full Leather Jacket is the one I find myself returning to most often. This is a quintessential pop-punk record. Absolutely zero duds to be found here, every song is great. And with Mass Giorgini at the controls you know the production is top notch. Big shoutout to whoever sequenced this album; “The Team” is a perfect closing track.

Thank you for coming to my TED Talk! I’m certain I pissed at least a few of you off for one reason or another. But hey, that’s to be expected when treading on sacred ground. If I introduced you to an album you’ve never listened to, or just gave you the little nudge you needed to check out something you passed on when it first came out, then I’d say my mission has been accomplished. Fat Wreck Chords has been a big part of my life for a long time now. They’ve introduced me to some of my favorite bands and records, and I’m sure a lot of you can say the same. Here’s to another 30 years of awesome music!

If you think we’re fucking idiots because your favorite record isn’t on this list, feel free to let us know in the comments. Maybe we’ll include it in Part 2! 😘

by Staff Writer Screeching Bottlerocket

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Fat Mike fat wreck Fat Wreck Chords Lists pop-punk

Kn0wDissent

December 1, 2022 @ 7:13 PM

Diesel Boy’s Cock Rock. they used to play “Titty Twister” sporadically on an old college Station. Great Album all the way through with “Saving the World” as the other stand out single.

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Dying Scene Revisits: The catastrophic failure of The Clash’s “Cut the Crap”

November 6, 2022 | 9:55 am

The Clash‘s 1985 death knell Cut the Crap has long been the subject of severe scrutiny from fans and critics alike. This album, the obvious black sheep of their discography, was recorded at a tumultuous point in the legendary band’s career. A few years prior, Joe Strummer and Paul Simonon made the decision to give […]

The Clash‘s 1985 death knell Cut the Crap has long been the subject of severe scrutiny from fans and critics alike. This album, the obvious black sheep of their discography, was recorded at a tumultuous point in the legendary band’s career. A few years prior, Joe Strummer and Paul Simonon made the decision to give longtime drummer Topper Headon the boot due to his increasingly problematic heroin addiction (though it’s worth noting that even Topper himself admits it was the right choice). The subsequent firing of founding member and songwriter Mick Jones dealt an even more significant blow to the Clash, ushering in a new era of the band, often referred to as “The Clash Mark II”. But Strummer and Simonon made their bed, and when it came time to record Cut the Crap, they got to lie in it.

Joining the duo beneath the sheets (along with new guitarists Nick Sheppard and Vince White, and new drummer Pete Howard) was manager Bernie Rhodes, and boy did he shit the bed. Rhodes, who was fired by the Clash in 1979 and soon after re-hired, supposedly at the demands of Strummer, handled production duties on Cut the Crap. One small problem: the guy had no fucking clue what he was doing. Unless you count his involvement in the recording of Vic Godard & Subway Sect’s 1980 LP What’s the Matter Boy?, Rhodes had virtually no experience as a producer before Strummer handed him the keys to the Ferrari (or Ford Fiesta, considering the present state of the Clash).

The lack of a competent producer becomes blatantly obvious within a few seconds of pressing play on Cut the Crap, as you are immediately greeted by the barrage of absolute bullshit that is the opening track “Dictator”. The first thing that is immediately apparent is that new drummer Pete Howard is not playing on the recording; Rhodes instead opted to use one of the cheesiest sounding drum machines you’ll ever lay ears on. Soon after, your ears begin to bleed from the incessant radio chatter, coupled with piercing synthesizers that seem to be 100 decibels louder than everything else in the mix. You can barely hear Strummer’s vocals or any of the guitars under the mountain of noise. And it’s a real shame because it sounds like there might actually be a decent song somewhere in there.

“Dirty Punk” is a major improvement over its predecessor, sonically at least. It seems Rhodes may have put down the psychedelics for a minute and let Strummer do his thing on this track. Unfortunately, while the synthesizers, horns, and general noise are not present, the lyrical content is disappointingly shallow and fails to grab me. We get it, Joe! You’re a dirty punk and you’re really excited to drive, drive, drive your big, big, big, big, big car up the boulevard. You don’t have to remind us a dozen times in the span of three minutes.

Another major misstep made in the production of Cut the Crap was the decision to use gang vocals on every. single. fucking. chorus. I’m not exaggerating – just listen to the album. Every chorus is shouted, full throat, regardless of lyrical context. As a result, all nuance is removed from the songwriting. The otherwise beautiful, heartfelt “This is England” is tarnished as Strummer is joined by a choir that can barely carry a tune, leaving little to differentiate the song from ultra-hollow tracks like “We Are The Clash” and “Are You Red..Y”. If scholarly source Wikipedia is to be believed, Rhodes is not to blame for this decision, as most of the band was in favor of the liberal use of “football-style chants” for the choruses.

Now that we’ve gotten all that negativity out of the way, let’s switch gears and focus on some of the more positive aspects of Cut the Crap. Let’s start with “Fingerpoppin'”! This groovy little number is without a doubt the crown jewel of Clash songs, with its funky slap bass and introspective lyricism – ah, who am I kidding? This song fucking suuuuuuuucks! It is awful. A lot of tracks on this album have the potential to be pretty good if Bernie Rhodes didn’t take a god damn baseball bat to their kneecaps; “Fingerpoppin'” is not one of them. This is an aggressively corny song that should be erased from existence. I listen to this record from time to time because I’m mentally unstable, but I cannot in good faith advise you to listen to this track.

All jokes aside, there are some very enjoyable songs to be found on Cut the Crap. “Movers and Shakers” is really, really good – one of the few tracks with a chorus that lends itself to the gang vocals (in fact, I can’t listen to this song without singing along to the chorus). “This is England”, generally considered the best song on the album, is excellent as well. “Three Card Trick” and “Play To Win” remind me a lot of Strummer’s later output with his other band Joe Strummer and the Mescaleros.

What frustrates me the most about Cut the Crap is that deep, deep down, under the many layers of horrendous production, there’s a solid album. That’s made abundantly clear when you listen to recordings of “The Clash Mark II” playing these songs live. There is a stark contrast between what this record was intended to sound like, and what was ultimately realized after Rhodes had his way with it. Take a minute to check out the live recording of “Dictator” below – it’s actually incredible how much better it sounds than the catastrophe of a studio version. This YouTube playlist with live versions of eight tracks from the album is a great listen, and the Out of Control demos also paint a very different picture of these songs.

Was Cut the Crap ever going to usurp classic Clash records like Give ‘Em Enough Rope or Combat Rock as a fan favorite? Of course not; I’m not that delusional. But I think it certainly deserved a much better fate, and could have made for a respectable sendoff for “The Only Band That Matters”, had there been a serviceable producer at the helm (or anyone not named Bernie Rhodes). If you want an idea of what that version of Cut the Crap could have sounded like, I recommend checking out the “Mohawk Revenge” remix of the album. This fan-made release does a masterful job of mixing some of the salvageable elements of the original tracks with fully re-recorded instrumentation. The cacophonous sounds of drum machines, blaring synthesizers, and the many other downright malicious production decisions are nowhere to be found. Even the most ardent Cut the Crap haters will probably enjoy this re-creation of the much-maligned album.

Ultimately though, Cut the Crap would be the final nail in the coffin of the Clash. Joe Strummer disowned the album, and after unsuccessfully threatening to sue Epic Records to prevent its release, he went into hiding in Spain. The band did not tour in support of the record; they broke up within weeks of its release (though Bernie Rhodes allegedly made a last ditch effort to replace Strummer and keep “The Clash” on the road). And with that, “The Only Band That Matters” was no more.

by Staff Writer Screeching Bottlerocket

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cut the crap dying scene revisits joe strummer the clash