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Dropkick Murphys Suckered Us!
Dropkick Murphys is not exactly reinventing the wheel with The Meanest of Times.
Musically, it sticks to its same formula from previous albums, which combines high-energy punk with Celtic folk. But its songs have strayed a little from the usual Dropkick Murphys subject matters: working-class roots, drunken debauchery and unsung heroes. This time around, the band takes a more serious approach with its lyrics. |
Dropkick Murphys gained some mainstream recognition after two songs from their 2005 album, The Warrior’s Code, were featured in major films. Oscar-winner “The Departed” included “I’m Shipping Up to Boston” on its soundtrack, and the horrible “Fever Pitch” used the thoroughly annoying “Tessie.”
Despite the success of these two songs, the album was weak overall.
The Meanest of Times’ first single, “The State of Massachusetts,” is a song about the realities and hardships of life in Boston.
It starts with a great banjo solo, but it shortly gives way to brutally straightforward lyrics: “She had excuses, and she chose to use them/She was the victim of unspeakable abuses/Her husband was violent, malicious and distant/Now her kids belong to the state of Massachusetts!”
If this song was done by another band, it might be a downer, but Dropkick Murphys makes it work with their knock-down, drag-out style of Celtic punk.
“Vices and Virtues” sounds like a typical punk-based Dropkick Murphys song until the lyrics start.
The music is familiar, but the subject matter is not.
Al Barr takes listeners through the tragic loss of a family’s four brothers with his signature raspy voice.
Like “The State of Massachusetts,” the music and the boisterous vocals overshadow the depressing lyrics.
“The State of Massachusetts” and “Vices and Virtues” provide genuine political and social commentary, but “Shattered” gets preachy.
Lyrics such as, “The ball players you loved as a kid are gone/They’ve been replaced by steroid-fed Neanderthals/Replaced by Neanderthals” are a bit ridiculous, although I did enjoy the jab at Mel Gibson: “Braveheart’s a racist.”
But Dropkick Murphys fans need not worry, as the boys from Boston have not turned into Bad Religion or Anti-Flag.
They still know how to write a song about having a good time. The album opener, “Famous for Nothing,” has plenty of churning guitars and Celtic trimmings to get feet tapping and blood flowing.
But it’s a shame more songs like this were not included on the album.
Of course a Dropkick Murphys album would be nothing without re-worked versions of traditional Irish songs. “(F)lannigan’s Ball” features Spider Stacy of The Pogues and Ronnie Drew of The Dubliners, two of the originators of Celtic rock.
“Fairmount Hill” is an updated version of Michael Considine’s “Spancil Hill” and is a mournful barroom ballad.
Despite the highlights, this album could have been much better.
More songs, such as “Famous for Nothing” and “Never Forget,” should have been included instead of ones such as “Shattered.”
It also seems as though the mandolin, tin whistle and accordion were added as afterthoughts on most songs.
And for God’s sake, where are the bagpipes? The Celtic aspects are not used to their full effect, and it shows.
It’s tough to admit, but Dropkick Murphys has been going downhill since their second album.
This album is more for dedicated fans, and if they are looking to get into Dropkick Murphys, start with their first three albums. Although this is not the band’s best effort, it is certainly better than The Warrior’s Code, and that’s a step in the right direction. |
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