You guys ready? I sure am. Let's Save Rock And Roll ladies and gentlemen.
First of all, I'm not going to comment, write my thoughts and pin them to every single song, but I will point out my favourites and the others that needs a little improvement. Secondly, don't take this review as seriously as I could be biased towards Fall Out Boy, but that doesn't make this review a meaningless one. I will review the album on it's own count, but a tight lid will still be closed on the fact that it is still a Fall Out Boy record.
This album had been in production over the past year and a half, hidden away in secret from paparazzi and fans, and came out releasing a solid statement with touring dates and a new single. Consider Fall Out Boy an ever-evolving band, with their album sounds changing almost every time. Infinity On High was rock-steady, one of my favourite albums while Folie à Deux was instantly encapsulating, delivering upbeat moments and expressions that lasts until this very day. Save Rock And Roll's best moments comes in the form of layers, textures, sounds and the always superb Pete Wentz's lyrics.
With Light Em' Up as the first single, Fall Out Boy made the right choice. Not only does the song light up an entire brigade of tunes, but it's resonance and above-par guitar riffs that instantly rips apart the track to shreds is one of the most standout tracks of the album, making it one of the harder ones to skip by off the album. It is also certified gold. Not to forget, so is The Phoenix, an irresistible combination of rock and pop and grunge, and maybe even mind tricking you into thinking that Fall Out Boy has changed. The truth is, they have.
Their days of pop punk and pop rock are almost entirely over, unless Save Rock And Roll's tunes do give two hoots. A number of songs on the album are more traditional to the previous albums, such as Rat A Tat and Young Volcanoes. The Courtney Love collaboration was an utter mess from the get-go, never a favourite to her verses (or intro). Yes, it was not the only exception on the album, and I'll tell you why later on. Thank goodness though, Pete saves the day along with Patrick, delivering one of the most memorable chorus from their early days, and writing which is not just straight punk, but also reasonable to a large extent. Young Volcanoes insisted on an acoustic touch, and with such effect it caused that the song was memorable and hip-heavy, including a drum and clap sound that closed the track. Not to mention the word 'asshole', which seems hard to come from one as bright as Pete. Still, it is a must listen.
However, as good things roll over, there are also songs which I felt didn't really groove me into setting up myself for it. One of those would be Miss Missing You. Occasionally it would be interesting and emotional at times, but rather, it was not poetic enough for me to really stick to it and makes it harder for me to listen for even a minute or so. It is a great effort nonetheless, and it is still reminiscent of their past albums. The Mighty Fall was equally disturbing. Despite the hardcore electronic guitars from Joe, the talented guitarist could not set himself up for what was to happen; Big Sean. Arguable better than Courtney Love's verses, still, his delivery and vocals sounded apprehended and tired, especially on a track with such enthusiasm and power that was built before, just crumbles into pieces. So with four featured artists on the track, I've mentioned the two that are not on my favourites list off this album, so let's talk about another one.
Foxes features on Just One Yesterday, with Adele's vocals almost slipping through the microphone through Patrick's lips on the first verse. That doesn't mean much, as Foxes's vocals and contribution certainly is better than what the former two have to offer, spreading her voice on the bridge with 'if I spilled my guts; the world would never look at you the same way'. Another standout track for me would be Death Valley and Where Did The Party Go. Especially the latter, sounding eerily like Dance, Dance, except this time, it's gone horribly groovy. The lyrics fun and advocating, along with the 'nah nah nah's that pumps up the song. Oh, and did I mention about Pete's bassline that was jaw-dropping as hell?
With all things said and done, we come to the final grand closure, entitled Save Rock And Roll featuring Elton John. And personally, it is the best track on the album easily. Fantastic chorus, emotional vocals, surprising lyrics, effective layering and mastering and Elton John's powerful, engaging singing just fit up for the perfect end of this album. I couldn't say more. This album served it's purpose - a highlight on a summer day and rock and roll, which seems ironic despite all the touches to this album. People could laugh at Fall Out Boy when their trying to Save Rock And Roll, but when it comes down to the grandiose tracks that makes up this album, they are insanely back. Welcome home boys.
10/10: There are some awful flaws, no doubt, but what the album lacks for, it brings up through on the other side. Fantastic layers, fantastic vocals, astounding tracks, reminiscing of the old albums, and a change of sound. This is Fall Out Boy at their best, and this is the 2013 Fall Out Boy. Patrick's slimmer, Pete's brighter, Joe's put on his afro and Andy's more matured. Save Rock And Roll is your global restoring attitude, and the one that serves where it's due. Well done, well done.
Benny Ong: Just your regular guy who likes soccer more than most people, and also a little downtime is pretty nice.