By Paul Bowers
The year was 1993, and Michael Jordan was the reigning king of professional basketball. He had shattered countless records and led the Chicago Bulls to three consecutive NBA championships. It seemed that his least logical course of action would be to retire, but that’s exactly what he did: He quit playing basketball and decided to give baseball a try. As any sports fan will recall, his AA Baseball stint was unsuccessful and short-lived. Fans watched in horror as Jordan batted a mediocre .202 and the Bulls lost the Eastern Conference Semifinals. Jordan quickly returned to basketball and led the Bulls to one of the greatest seasons in the history of basketball.
Fast-forward to 2003. MxPx, a successful pop-punk band that had been setting standards for over a decade, released a new CD. Expecting more of the band’s trademark raw, boisterous sound, fans rushed to record stores to get their hands on the new album, “Before Everything & After.” Much to their dismay, what they found inside that plastic packaging was a watered-down assortment of unimaginative, radio-friendly ditties. Disappointed followers bemoaned the death of MxPx in the wake of what could only be described as a sellout album. Now, in 2005, expectations are mixed with regards to their new CD.
Can MxPx make a comeback and regain favor with a disheartened fan base? Much like the legendary Number 23, it seems the three boys from Bremerton, Washington have rediscovered what made them great in the first place. After cutting their ties with A&M and signing with the smaller Side One Dummy Records, they’ve released a new album entitled “Panic.” With this latest CD, they’re ready to usher in a new era of punk rock revival. Or at least they can shake off the embarrassing stigma of “Good Charlotte clone band.”
Whatever the case, “Panic” is great news for opponents of the greater wussification of punk rock. Since the early nineties, when they went by the name Magnified Plaid, MxPx has gone against the grain of modern pop-punk and brought something edgy, powerful, and ultimately superior to the table. The new album is reminiscent of their older works such as “Life in General” and “Slowly Going the Way of the Buffalo,” but the innovation is what makes it great.
The first track, “The Darkest Places,” is classic MxPx: no gimmicks, no imitation, just pure, catchy, crank-up-the-stereo bliss. The renaissance continues to the end of the album.
MxPx has consisted of the same three musicians throughout its illustrious existence, but the tight-knit band has never sounded understaffed. Now, their sound is fuller than ever with background vocals from a host of guest singers and occasional B3 organ riffs, such as in the ninth song, “Grey Skies Turn Blue.” This song reflects the group’s classic sound, with corny lines like, “I didn’t mean a thing when I said nothing is fleeting / Or worth repeating / Or worth repeating.”
Other highlights include “Late Again,” a twangy anthem that sounds something like the Dropkick Murphys minus the drunken Irish drawl. With a full chorus of voices belting out the chorus, it’s hard to resist singing along.
Another personal favorite is “The Story,” with its cathartic vocals and hard-hitting guitars. This song is proof that an old dog can learn new tricks. The MxPx of yesteryear rings loud and clear, but with a new edge that will make your spine tingle.
“Wrecking Hotel Rooms” is a slower, bittersweet ballad of sorts, bringing to mind memories of broken hearts and lonely nights. It could be called sappy, but the emotion is genuine, and the quiet instrumentation is fitting.
Of course, no album is perfect, and the only major gaffe is “Get Me Out.” This song is completely out of place, with pointless verses and a screaming, irritating chorus. Some long-time fans would compare it to earlier works such as “Pokinatcha,” but this isn’t the same. A word of advice to MxPx: Play what you’re good at and stay away from hardcore music.
Lead singer Mike Herrera was never known for his profound lyrics, but he finally branches out from his standard themes of “chicks and stuff” in several songs. In “Heard That Sound,” he sings, “It seems like misery loves misery / But my favorite songs, they keep me company / So many memories come back to this / I may be lost, but I’m not hopeless.”
“Waiting for the World to End” is a thought-provoking song, something rare in the pop-punk scene. Amidst shredding power chords and clashing cymbals, the message is clear: “History is history, tomorrow never comes / Today’s the only day we have, and now that day is done.” Seize the day. Enough said.
One thing that has always separated MxPx from the pack is that, while their songs are full of youthful emotion, they take a totally different approach than the likes of Green Day and blink-182. The standard themes of alienation and rebellion are overpowered by feelings of hope for a better tomorrow. In the final song, “This Weekend,” the MxPx vibe is summed up by the words, “Times are good, and times are bad / But these are the best times that I’ve ever had.” These guys are in a punk band. And they’re okay with their lives. Imagine that.
Right when it seemed that a great band had become roadkill on the highway of pop culture, they got their act together and created something beautiful. MxPx is back, and they’re ready to play ball.