The offspring (The offspring)
Most people are generally familiar with The Offspring’s later albums such as the catchy Americana and Smash, but before they broke their way into the mainstream, this punk band from the O.C. showed surprisingly well written and lyrical punk rock music. In 1989, The Offspring recorded their first self-titled later to be released on Nitro in 1995.
01 “Jennifer Lost the War” 2:35
02 “Elders” 2:11
03 “Out on Patrol” 2:32
04 “Crossroads” 2:48
05 “Demons (A Mexican Fiesta)” 3:10
06 “Beheaded” Holland, James Lilja 2:52
07 “Tehran” 3:06
08 “A Thousand Days” 2:11
09 “Blackball” 3:24
10 “I’ll Be Waiting” 3:12
11 Kill the President” (Does not appear on the 2001 or 2017 releases) 3:22
Total length: 31:23
Don’t you know how this album sounds? Listen to a sample:
Biography of The offspring:
The Offspring's metal-inflected punk became a popular sensation in 1994, selling over four million albums on an independent record label. While the group's credentials and approach follow the indie rock tradition of the '80s, sonically the Offspring sound more like an edgy, hard-driving heavy metal band, with their precise, pulsing power chords and Dexter Holland's flat vocals. Featuring Holland, guitarist Kevin "Noodles" Wasserman, bassist Greg Kriesel, and drummer Ron Welty, the Offspring released their self-titled debut album in 1989. Four years later, their second album, Ignition, became an underground hit, setting the stage for the across-the-board success of 1994's Smash. The Nirvana sound-alike "Come Out and Play," the first single from the album, became an MTV hit in the summer of 1994, which paved the way to radio success.
The Offspring were played on both alternative and album rock stations, confirming their broad-based appeal. "Self Esteem," the second single, followed the same soft verse/loud chorus formula and stayed on the charts nearly twice as long as "Come Out and Play." The group got offers from major labels, yet chose to stay with Epitaph. While they were able to play arenas in the U.S., their success didn't translate in foreign countries. Nevertheless, the band's popularity continued to grow in America, as "Gotta Get Away" became another radio/MTV hit in the beginning of 1995. The Offspring recorded a version of the Damned's "Smash It Up" for the Batman Forever soundtrack in the summer of that year; it kept the group on the charts as the bandmembers worked on their third album.
Ixnay on the Hombre Following a prolonged bidding war and much soul-searching, the Offspring decided to leave Epitaph Records in 1996 for Columbia Records. The move was particularly controversial within the punk community, and many artists on the Epitaph roster, including Pennywise and owner Brett Gurewitz, criticized the band. After much delay, the Offspring finally released their Columbia debut, Ixnay on the Hombre, in February of 1997. Expectations for the record were high and it did receive good reviews, but Ixnay on the Hombre failed to become a crossover hit on the level of Smash, and the group also lost a significant portion of its hardcore punk audience due to the album's major-label status. Americana followed in 1998, scoring the hit "Pretty Fly (For a White Guy)." In mid-2000, the Offspring made controversial headlines with their decision to offer Conspiracy of One free of charge via the Internet prior to the initial November release date. Sony Music did not adhere to such a move and threatened a lawsuit; therefore, the band nixed plans to release the album in such a manner. Individual singles, however, were made available on the band's official website and other music-related sites such as MTV Online.
SplinterThe Offspring returned in 2003 with Splinter. The album was released through Columbia, proving the band's flouting of the record biz hadn't soured the major labels. It also featured the single "Hit That," which returned to the smarmy, pop-referential feel of "Pretty Fly." The Offspring toured the world in support of Splinter, and in the process they hit nearly every continent at least once. They returned in June 2005 with a greatest-hits set; in addition to their major hits, it included the new track "Can't Repeat." In 2008, after several delays, the band returned with its first studio release in four-and-a-half years, releasing the highly anticipated Rise and Fall, Rage and Grace. While touring for their latest effort, the Offspring set to work writing new material and recording when they could. After three years of work, their ninth album, Days Go By, arrived in the summer of 2012.
Don't miss the other albums we have from The offspring:
With integrity intact and a hearty combination of poppy punk and wit throughout, the Offspring's fifth album is a raucous ride through America as seen through the eyes of a weary, but still optimistic, young kid. Riffs on political correctness, '70s radio fodder, and suburban disquiet are spread thick on Americana. If the band's targets seem a bit simple and predictable, its music rarely is. The SoCal roots aren't played to a fault, the blend of salsa and alterna-rock sounds natural, and the Offspring pretty much laugh at their culture, as well as themselves, the entire time. Best track is "Pretty Fly (For a White Guy)," which manages to bridge Def Leppard and Latin hip-hop (and the musical timeline they represent) and, in the process, disrobes Middle America's average white teen's quick fascination with and instant disposability of a once-regional heritage. With Americana, the Offspring are merely contributing their part.
|Conspiracy of one|
Contrary to the popular belief of music critics, listeners and artists alike, a band that doesn't deviate from its genre on its albums isn't musically limited. There are many layers to any given genre of music, and growing into it is just as much of an accomplishment as, say, experimenting with several different categories. What's wrong with sounding the same if you get better and better at it with each album? On Conspiracy of One, the Offspring do just that, resulting in their most musically mature collection to date. The tight arrangements, vocal interplay and refined guitar work on "Original Prankster," "Want You Bad," and "Million Miles Away" sound like Offspring songs, but don't all sound the same. The band departs from its SoCal punk roots at times -- a ballad called "Denial, Revisited" provides one of the album's slower instances. They also inject elements of hip-hop, rap-metal, and Nirvana-like grunge into a few songs, giving Conspiracy of One some musical diversity, but it's subtle; the album remains firmly planted in the world of punk. Each song features Dexter Holland's lead vocals and Noodles and Holland's crafty guitar playing, the group's two defining factors. The album also features some smart lyrics, though the Offspring do have some sophomoric fun on the party anthem "One Fine Day." Conspiracy of One is a solid and well-crafted recording and offers a fine progression from a band that has no qualms about doing what they do best.
|Days go by|
The Future Is Now, is a great way to kick-off the LP, delivering a fresh energy that amalgamates everything we know and love about them: breakneck tempos, catchy melodies and a fantastic vocal performance from Dexter; but theres an exhilarating rejuvenation at the base of a lot of the tracks here, which is why this feels like the best album theyve done in ages. The first half of the LP is more of a fan-pleaser; delivering a selection of signature sounds from the band, as well as songs like the title-track, Days Gone By, which has a Foo Fighters-esque, stadium rock vibe to it and Turning Into You for its continued use of Rise Against as a heavy influence.
Ignition is The Offspring's second full length studio release and their first released on a compact disc (Debut released on vinyl then reissued in 1995). It was released in 1992, two years before the release of the massively successful and breakthrough album Smash. This is also the Offspring's first album on Epitaph. Ignition was produced by Thom Wilson, who has done work with The Vandals and the Dead Kennedys. Ignition shows The Offspring in their most punk form (along with self titled) to attract fans of punk, but still has that catchiness and pop appeal to attract fans of pop punk, and some for both.
|Ixnay on the hombre|
Success can lead you down some pretty surprising paths. After the monster success of Smash, the Offspring were ready for their follow-up album, but ran into some issues with Epitaph, who had released their prior effort and seen it become one of the biggest selling independent albums ever. Before the album arrived, the band made the jump to Columbia Records, which led to a little bit of backlash from the fan base until the group pulled the veil back on what had happened.
|Rise & fall, rage & grace|
Probably The Offspring's best effort in ten years, but that's not saying too much.
It has been long enough since The Offspring released a new album. Its hard for me to believe that Americana is already ten years behind them and the pop punk piece of poo Conspiracy of One is a long eight. Since then, theyve come out with Splinter, a fair album that sported some good heavier punk songs but was ruined by crappy silly ones, and now, five years later, Rise and Fall, Rage and Grace
Perhaps the element which stands out to me the most after listening to the near 40 minute album is the energy that The Offspring display in virtually every one of the 13 songs. Smash's first track, Nitro (Youth Energy) is, as one would expect from a song titled as it is, both energetic and powerful and lays down the blue print for the tracks to follow. Through The Offspring's fast paced, high octane attack, each of the band members compliments each other rather nicely.
On Splinter, The Offspring scratch their super pop-punk tracks, seen on their last two releases, and replace them with heavy and punkier songs. Among these are Race Against Myself, Never Gonna Find Me, and Lightning Rod. These tracks consist of heavy riffs and fast, pounding drum work. Singer Dexter Hollands vocals are deeply serious and emotional throughout. Whats so great about them is their aggressive edge most notably on The Noose. The Noose has a classic, killer riff and fast in your face vocals from Dexter.