“New Orleans,” the eighth track off Rancid’s latest release, Let the Dominoes Fall, is one of the best songs the band has ever written and recorded. The song works as eulogy, celebration, and welcome back to the city dismembered by Katrina some 4 years ago.
“She’s got a pride like a millions lions. She’s got a scar on her velvet face. She’s got a smile like a newborn child. She’s got a walk of stoic grace,” laments Lars Frederiksen with his trademark fiery vocals.
It’s a shame such a high point in their musical career is sidetracked by a few poppy, chest-beating songs where the band brags about being around a long time and tries to prove to the haters that they are here to stay. “Last One to Die,” the band’s first single, has Tim Armstrong boasting, “We only listen to the words that we sing, now a million are singing along.” And “We sit on top of the word and we’re proving it every night.” “I Ain’t Worried,” perhaps the single worst song in the bands long run, sounds like a reject off Armstrong’s Transplants side-project and has Armstrong, Frederiksen, and Freeman each contributing repetitive rhymes proclaiming the band’s longevity and prominence in the punk world. It’s a boast track any hip hop artist would be proud of. The problem is it comes from Rancid, a band that has always been a humble, from-the-streets, working-class band since is start. We don’t need to hear devil-voiced Freeman proclaim, “I’m Matt Freeman and I’m coming in quick…I don’t give a goddamn what they say, I’m born in raised in the East Bay.” Was anyone even dissing them? Did I mix a mixtape? It’s embarrassingly silly.
Like 2003’s disappointing Indestructible, there are several redeeming tracks. In addition to “New Orleans,” the band’s return to ska rhythms is a welcome addition. “Up to No Good,” featuring label mate Booker T.’s (yes, the Booker T. of the & the MGs fame, and yes, they are label mates) keyboard is a definite toe tapper that is destined to become a staple of live shows and the punchy “That’s Just the Way It is Now” fits nicely among the best grooves from Armstrong’s solo record. “Damnnation” is a welcome throwback to the hardcore sounds of Rancid’s venomous 2000 self-titled release. Battling for poignancy with “New Orleans” is “Civilian Ways.” While other punk bands rail against the war and George Bush with bullshit rhetoric (it’s a punk prerequisite these days, it seems), Rancid channels Woody Gutherie for a country-by-way-of-folk observation of a soldier’s return home. Armstrong’s warthog-like voice grows quiet and somber as he sings about his brother’s return from Iraq a changed man battling inner demons. It’s followed up by another tribute to the troops, “The Bravest Kids I Know,” a faster, more traditional punk rocker paying tribute to the soldiers fighting overseas. “East Bay Night” is Rancid at its most Rancidest (if that’s a word) showing love and respect for their beloved East Bay. It does make you wonder if the next album will see a similar tribute to new drummer Branden Steineckert’s hometown of Pocatello, Utah. “Lulu,” “Dominoes Fall,” and “Liberty and Freedom” are also solid entries is Rancid’s catalog. And “L.A. River” features Matt Freemanon boom-shaka-lakas and shimmy-shimmy-shakes and stand-up bace will make even the most cynical Rancid fan smile.
Also like Indestructible, there are the throwaway tracks. The finale on the album, “The Highway,” is just a retread of “My Life” of Frederiksen’s Bastards side project with the band singing about their life of clubs and hookers on the road. “Locomotive,” “Disconnected.” “You Want It, We Got It,” and “Up to No Good,” “Skull City” are instantly forgettable.
It’s not exactly the Rancid we grew up - they’ve mainstreamed the sound somewhat over their last two released - but they’ve still manage to crank out a few good tracks and continue to play killer shows despite being in their early 40s.
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