[The Wind]

It’s been said, but Aaron is at his best when he collaborates and doesn’t restrict himself to fitting into the cookie-cutter ska genre.

I like it. The song writing is pretty solid, though not terribly interesting. It’s streets ahead of CCF, and is on par with the first half of Monkeys…
Although I hate everything about the bass on this album. Where it is in the mix (SO far back), the swampy, metallic tone, and Gibbs’ basslines. He’s a capable bassist but his lines are so uninteresting – quarter-note scales all the way through. He just doesn’t have a style, which is so far removed from how unique of a player Matt Wong is.

If Reel Big Fish is going to go full “Planet Smashers”, and Life Sucks, Let’s Dance! is an example of the band’s future… I’m okay with that.

[The Wind]

So I super dig this song (the actual recording). There’s nothing really hooky about it, but it’s got a really warm feeling. It’s not too long, it doesn’t have three bridges, simple but catchy melodies, not overtly angry lyrics (CCF lyrically sounded like someone trying to write Reel Big Fish lyrics). I hope the steady quality of this song reflects the rest of the record.

[The Wind]

Hmm. This is the single, huh? It’s a little dull actually.

[The Wind]

I wish I had because I need those sunglasses.

[The Wind]

Sounds like it could be good. My issue with their songwriting these past… six years isn’t the melodies or sounds or riffs themselves, but the structure.
So I’m going to have to hear the whole song to fully judge. I really don’t want another album of five minute songs, it doesn’t work for their sound.

[The Wind]

lol if only they guest voiced on that episode.

[The Wind]

It’s Aaron’s downfall, his inability to get past himself for the betterment of his self.
One or more members have definitely gone on record saying they have no real reason to do another record because there just isn’t any return – nobody is buying the music. And Aaron has stated years ago that he doesn’t write songs anymore, really, that he just uses old songs that never got produced in the first place (he said that about We’re Not Happy, which I think applies, but not so much for CCF).
They have, however, recently posted evidence of recording in the studio, but maybe that was just the horn section doing there appearance on that other band’s album. IDK.

Funky song though.

[The Wind]

Val Garay had a huge, huge hand in how Cheer Up! turned out. I think the band and the album is better from his input, despite how much they resent him.

[The Wind]

The contributions have diminished substantially over 20 years. I believe Aaron was the sole writer on Candy Coated Fury; conversely, looking at TTRO, I don’t think he has a single sole credit (maybe one or two, I don’t have the liner notes with me), though there isn’t a song without his name on it.
I don’t know about you, but I think it shows. Take a look at the non-rerecorded songs on Monkeys… I think there was only one collaboration there, with Dan on Cannibal. And it’s the best goddamn new song on the album by miles.
At that is Barrett’s fatal flaw. He’s a great creative force who is so significantly better when he collaborates. CCF had decent songwriting, but most songs lacked just a bit of an edge, a twist, something that an outside ear could have fixed. And holy goddamn fuck are those songs too long – he really needs another producer on his albums to tell him when to rein it in.
But I digress.

[The Wind]

RBF is more Forces of Evil than RBF at this point, anyways, both in terms of sound and band members. Three current RBF members were in FOE in 2003; one current RBF member was in RBF in 2003.
Candy Coated Fury sounds much more like a long-winded Friend or FOE than it does anything Reel Big Fish has released.

[The Wind]

Congrats fella, best wishes to you and your spouse!

[The Wind]

Maybe it’s because I’m a little high on otc muscle relaxants, but this latest Goldfinger record is Feldman’s best since Stomping Ground. Not a high bar, mind you, but hey, it’s worth a listen. Decent amount of non-generic ska.
Way to go, bonkers Johnny.

[The Wind]

I’m listening to We’re Not Happy… 12 years old this year. Goddamn this album got way too much flak when it first came out. It’s seriously great, it’s just got shitty horn tone.

[The Wind]

Someone come and talk to me. Literally nobody I know cares about this shit anymore.

I have to go back on my words. The Goldfinger single, The Knife, is very catchy. Been humming it all day.

[The Wind]

Yeah that’s what I meant when I said “producer.” Not an engineer or whatever, but someone who produces the album. Basically, CCF comes down to the fact that no one was around to tell Aaron that nearly all the songs were two minutes two long… that second bridge isn’t needed, you don’t need to do the chorus again, this song doesn’t need three guest vocalists just use Coolie and be done with it etc etc

They’ve never had a better producer than Val Garay. Those songs on Cheer Up! are tight as hell.

[Author]

Posts