We are back with a new track-by-track review. Sam and I are dissecting the second Fall Out Boy album, From Under the Cork Tree as it came out a whole decade ago!
Jane - This is a pretty decent start to this album. It’s strong, energetic, and actually understandable (THIS WILL CHANGE VERY SHORTLY!). It’s moshy at times, dancy at others. It’s honestly never stood out to me as a song worth listening to over and over, considering FOB’s other hits. Still, a good jumping off point for the rest of the album.
Sam: While this is a great song, it’s not one I listen to on its own (only if I happen to be listening to the album). That being said, I think it works wonderfully as an opening track, and it nicely bridges the gap between this album and Take This to Your Grave-era FOB.
Jane: This song is totally fun, but again, I’m kind of just waiting for the big hits at this point. The bridge is pitch perfect, however, and it really makes up for my not really jumping up and down for the rest of the song.
Sam: I’ve always really liked this one, it’s kinda cute in a weird way, and I always end up singing along without realizing it. It does sort of get lost, though, between the punchy opening track and the “big hits” that are next.
Jane: HELLO FIRST FOB SONG! I feel like I’m in the majority of first hearing about FOB through this song (though I’m sure you, Sam, heard of them long before) and what a way to introduce me to the band. This song is still amazing ten years later. It hits all the right beats, all the right moments, knows when to slow down, and knows perfectly when to speed up. The song is the epitome of danceable, anthemic and everything I love about FOB. And no one can tell me that they don’t do that heart figure with their fingers when Patrick sing/whispers “Love.”
Sam: I can’t remember exactly what my first FOB song was, but it was probably this one (or “Sugar”, I’m not sure), and I think this remains one of their greatest songs. Maybe it’s nostalgia, maybe it’s just the comfort of knowing all the words, maybe it’s the fact that it’s been ten years and it still gets people moving, but it’s quintessential FOB and I love it.
Jane: AND THEN WE GO RIGHT INTO SUGAR, WE’RE GOIN DOWN!!!!!!!! SOOOOO GOOD! This is by far my favourite song off of the album. It still makes me excited when I hear those opening chords. This song also introduces us to marble-mouth Patrick, where you can understand maybe one word out of five. Honestly, that doesn’t even matter, this song is still so perfect.
Sam: Hahahaha, marble-mouth Patrick!! He’s so cute, you can’t help but love Patrick, even when you can’t understand him. Again, this is a song that gets people singing no matter where they are, and it’s amazing to hear a crowd screaming the opening lines at a concert. It’s basically pop-punk perfection.
Jane: We go from such epicness to total meh with this song. I don’t really have much to say about it except I can’t understand a goddamn word in it. I’m half-sure the song is not in English. Seriously, Patrick, what even is going on?
Sam: This is another song that I “sing” along to (I sing the words I think I hear, which are probably not the real words), but it gets lost in the mid-album shuffle.
Jane: This is about as close as we get to a slow song on this album, which is totally fine with me. I like albums that are all full-out energy. This song is better than Nobody Puts Baby in the Corner so we can at least be thankful for that. However, I’m ready to get back to dancing like a crazy person.
Sam: This song always throws me off because it doesn’t even sound like Patrick at the beginning (hello, really low register). His vocals are, as always, lovely, but it’s never been my fave. I agree that this album feels like it should be all energy, all the time, but FOB always has a least one “ballad-y” song per album, and this one fits the bill.
Jane: This song is the ultimate song that plays during the credits of a 90s teen movie. Just picture it. I’ll wait. RIGHT? That’s not an insult, by the way, it actually makes me like the song better. This song definitely ups the danceable ante and I’m finally in better spirits. However, I’m only waiting for the next one to go really crazy.
Sam: Yes, I can totally see that! It definitely brings some of the energy back, but I’ll also admit that I’ve always had a soft spot for it because of Brendon Urie’s backing vocals (in case you’re wondering, I’m about 99% certain Brendon sings the second “I keep telling myself, I keep telling myself, I’m not the desperate type” in the bridge, plus he harmonizes throughout most of the song.) If you ever need to know anything about Panic! at the Disco, I’m your gal. Honestly, I think you can only hear him if you’re a) keeping an ear out for him and b) you were obsessed with Panic! before you starting listening to FOB (which is totally backwards, I know, but that’s what happened to me).
Jane: AND WE’RE BACK!!!! This song is so damn good and it even has a cameo from baby William Beckett at the bridge. I’m back up to my full dance exertion. I want to both scream and head bang and also Carlton dance. This song brings up a lot of emotions for me, apparently.
Sam: Awwwww, William!!! I don’t necessarily dance, but there’s definitely a lot of hair-flipping and dramatic hand gestures when I’m listening to this song. Some great lyrics here, too.
Jane: This song is alright, and I really enjoy Patrick’s vocal range in the chorus, but altogether this song has never really done anything for me.
Sam: I often forget about this song. Again, one I know the words to, but not one that ever really stood out for me.
Jane: If this song stayed as it does in the intro, I would be so bored by it, but thankfully it does pick up. However, this begins the screamy part of this album which I really don’t like. I get that that was a part of pop-punk at the time but it just kind of pisses me off. I would much prefer this song without that.
Sam: When I was 17, I was all “I hate how screamy this is, why do people listen to ‘screamo’??” but now I’m all about the screaming in songs, so I guess this was the starting point for me? Either way, it’s so mid-00’s pop-punk to have a screamy bit randomly thrown in and, while it no longer offends me as much as it did 8 years ago, it’s nothing special.
Jane: Oh boy, do I love this song. Super bouncy and so much fun. It has a great beat and it makes me incredibly happy to listen to it. I really wish this song came off the back of Sophomore Slump, but what can you do.
Sam: THIS SONG IS MY JAM, I LOVE IT SO MUCH (sorry for yelling). The first time I saw FOB live, I completely lost it when they played this, and it was only the third song in, so, as you can imagine, I was raspy-voiced for the rest of the night. Good times. Incidentally, it’s also one of my most favourite videos of all time. William Beckett, Travie McCoy, AND my beloved Brendon Urie as vampires?? SIGN ME UP FOREVER.
Jane: Back into mehdom and screamdom. Pete even has this incredibly emo little spoken word jam at the end that just frankly bums me out. It does absolutely nothing for me and just makes me want to skip the song.
Sam: I can never take Pete’s spoken word bits seriously. I know he’s trying to say something (in a super melodramatic way), but I just can’t stop laughing so I end up missing his “message”. Also, I’ve never understood the title: why would I stop going to shows??
Jane: I guess this is an okay way to close the album but it wouldn’t really be my choice. It does remarkably improve as the song goes on, however, so it does have that in its favour.
Sam: It’s definitely a song that gets better the longer you listen. I usually end up stopping the album after “Sixteen Candles”, so these last two songs have always been a little “meh” for me. For some reason, though, after re-listening to it, I feel like this song would have been a better fit on Infinity on High.
Jane: All in all, I don’t think I really realized how unbalanced this album is until now. I knew there were some tracks I loved, and some I didn’t, but this album really could have better flow. I feel like FOB has improved in that respect as time has gone on.
Sam: And I agree that this album does seem a bit unbalanced, but I feel like a lot of pop-punk albums at the time had the same sort of “jumping all over the place” vibe.
That's it for today! Later days!