Save Rock And Roll Review

artist: fall out boy date: 05/03/2013 category: compact discs
fall out boy: Save Rock And Roll
Released: Apr 16, 2013
Genre: Power Pop, Pop Rock
Label: Island
Number Of Tracks: 11
Fall Out Boy tear up their rule book and start reading everybody else's on their comeback.
 Sound: 5.8
 Lyrics: 5.8
 Overall Impression: 5.8
 Overall rating:
 6.7 
 Reviewer rating:
 5.8 
 Users rating:
 7.5 
 Votes:
 472 
reviews (5) 179 comments vote for this album:
overall: 6.3
Save Rock And Roll Reviewed by: takenthecannoli, on april 19, 2013
21 of 29 people found this review helpful

Sound: Chicago's Fall Out Boy came to the attention of a mainstream audience with sophomore LP "From Under The Cork Tree" and its just-emo-enough single "Sugar, We're Going Down". In a time when pop-punk was still riding the wave of Sum 41, Blink-182, and Green Day, Fall Out Boy were right at home altering the formula slightly for a heavier and more emotionally-driven sound. "Infinity On High" and "Folie A Deux" expanded upon the band's multi-platinum success; each received arguably less attention than the one before, though the latter especially was wonderfully received by critics. By 2008's "Folie", Fall Out Boy had evolved beyond its essentially pop-punk roots to a more vocally-driven, somewhat industrial-pop influenced sound. This opened the floodgates for the band's sonic future, though in 2009 the band broke from recording and touring indefinitely. None separated from the musical community, and singer/guitarist Patrick Stump (who was anxious to record "Infinity On High" months before it happened) kept the pace especially, releasing "Soul Punk" in 2011 under his name. Like "Folie", it was mostly well-received but received little attention otherwise. After weeks of persistent Fall Out Boy reunion rumors in late 2012 and early 2013, the band announced its comeback and new record, "Save Rock And Roll". Dismissing the title for the time being, this record is first and foremost most definitely not "rock and roll" (incidentally, one wonders when the "and" was inserted). Rather, as in the case of recent-reunited Blink-182, it is a continuation of its predecessor. Whatever expectations might have been reserved for a "return to the old sound", as fan communities continue to deceive themselves into believing in, are utterly she'd as "The Phoenix" fades in with strings more reminiscent of "W.A.M.S." or "Thnks Fr Th Mmrs" than anything before. Unlike "Infinity On High", however, the production is bombast and the instrumentation is enough to blow out iPod headphones that "Take This To Your Grave" barely fills. There are some similarities to "Soul Punk", especially with Stump's overwhelming presence from "The Phoenix" to the titular closer. This will almost certainly put off the fans of "Cork Tree" (now potentially well over the minimum age to drink away their disappointment) and thrill fans, both die-hard and casual, of "Folie" and "Soul Punk". Despite its placement firmly following Stump's solo work, there are marked differences, the greatest arguably being increased production value. Likewise, "Save Rock And Roll" is a vast departure even from "Folie A Deux" and its characteristically left-field experimentation - specifically, guitars are tuned down to a near zero. With the exception of a couple of solos and "The Mighty Fall" 's driving riff, the guitars are used about as much as any non-percussive instrument: a spice, rather than the meat. Though it certainly wasn't always a driving force, the guitar was at least twice as present on the very-electronic "Soul Punk". On that note, "Save Rock And Roll" ditches most of Stump's love affair with the electronic keyboard for the better. The resulting product is certainly more pop-and-bass-driven than Fall Out Boy's previous work (perhaps bassist/lyricist Pete Wentz stepped up when he realized Stump was just as good a writer as he), but not necessarily more electronic. Buyer beware: "Save Rock And Roll" isn't all happy reunions and violent pop-driven tunes like "The Phoenix". Beginning with "Alone Together", the distinct impression sets in that there's less to bite in this apple than Fall Out Boy typically advertises. The epiphany comes at a repeated "Yeah, yeah, yeah" effect near the end: it's a cut, rather than a distinct vocal repetition. This is the kind of silly production found all over 21st century pop airwaves, and it's somewhat disappointing that this is coming from the same band as "What A Catch, Donnie" and "XO". "Where Did The Party Go" is similarly light in the loafers, with plenty of very easy choices made in production and composition. Put lightly, it's just a pop song. It isn't until Stump takes the helm that "Save Rock And Roll" becomes exciting, as "Just One Yesterday" makes quite clear. If "Folie A Deux" had too many guest spots, "Save Rock And Roll" should take the cake for keeping them on mic for too long. "The Mighty Fall" begins with Big Sean exclaiming "Oh, God", and listeners may find a similar sigh on their lips. Though Stump's impassioned verses almost saves the track, the cameo is just too much. Where it certainly fits the genre, the jury's out as to whether random rapper appearances sit well on a release by a rock band, even if said release isn't exactly rock. Rap isn't your thing? Have no fear: Kurt Cobain's murderer I mean widow rants through "Rat A Tat" for... no apparent reason. Once again, the awfulness of the track's guest is introduced with Stump's unintentionally ironic "Are you ready for another bad poem?". Elton John is neither here nor there in the title track, though considering the content, one can't help but wonder if he was supposed to be the rock 'n' roll. Speaking of "Save Rock And Roll" (the song), the album is strangely devoid of an emotional core. Oh, this happens all the time with other acts, but the kings of pop-punk/emo/whatever singles? Surely, it's impossible. You'd better believe it: "Save Rock And Roll" is the one and only truly vulnerable track here. Sure, "Just One Yesterday" has a nice chorus and "Young Volcanoes" is terrible-but-sweet, but there's nothing mellow about "Save Rock And Roll" even when it's moving through the mud, it just won't stop. This is especially remarkable with "Golden" and "What A Catch, Donnie" competing from Fall Out Boy past. At times, it creates that "please like me" effect, though because of the record's own brevity this doesn't last for nearly as long as on "Infinity". Altogether, there certainly isn't anything wrong with "Save Rock And Roll", whether released by Fall Out Boy or competitors in the genre. When they do it well, they do it best "The Phoenix", "Just One Yesterday", and "Miss Missing You" are particular gems but when it falls flat, it's nothing short of uncomfortable. "Young Volcanoes" is weak, being the standard bright-eyed-bushy-tailed acoustic guitar pop love song. It's just one example of "Save Rock And Roll" exploring, perhaps, too much of itself: good and bad. "Folie" and "Soul Punk" each knew what they wanted to achieve, and certainly did. Fall Out Boy releases prior to 2008 had the same sense of purpose. "Save Rock and Roll" lacks this. The subject matter and musical composition seem to have little foundation apart from the genre into which they are placed. Some of it is great stuff, but the record as a whole fails in ways none of the band's previous releases do. // 7

Lyrics: I suspect that after "Soul Punk", Pete Wentz was faced with a concept utterly new to him: someone can write just as well, if not better, than he can. As a result again, all theoretical he really stepped to the plate with "Save Rock And Roll". Without a doubt, some of the old cliches (hearkening back to "Cork Tree") return, but with a grace and power neither "Infinity" nor "Folie" touched on. Whether it's simple revelations ("Sometimes, the person you take a bullet for is behind the trigger") or some of "Infinity"'s dark imagery ("See how dirty I can get them/Pulling out their fragile teeth/And clip their tiny wings"), the record hits a home runs on nearly every track. In fact, in some places the music actually gets in the way of some of the better lyrical moments; notably, "Alone Together" and "Miss Missing You" may have benefit from a step down from their grandeur in favor of Wentz's charming lyricism. Some moments are touching enough that listeners may find the music invasive, as fun as some of it is. Considering the flak Wentz has, on the occasion, received from more adult listeners, it is truly a shame that once he finally hits it hard, the music oversteps itself something the composition on these records rarely does at all, let alone to the detriment of the lyrical work. Anyone familiar with "Folie" and "Soul Punk" knows full well that Patrick Stump has stepped up as a singer; here, he does it in spades. "The Phoenix" and "The Mighty Fall" are triumphant; "Just One Yesterday" and the title track are moving; weaker tracks such as "Death Valley" and "Where Did The Party Go" are saved by the vocal work. The only criticism to offer Stump is that the tracks required saving in the first place. "Save Rock And Roll" is, for all intents and purposes, Stump's album. Wentz may have penned the words, but he delivers them with the confidence of Freddie Mercury and the bite of Michael Jackson's "Bad". Forget Adele and Ke$ha; this decade's pop voice is Patrick Stump. From the dull debut of "Evening Out With Your Girlfriend" and the chest in "Take This To Your Grave" to spectacular work on "Folie" and "Soul Punk", Stump's evolution is a marvel and so is his work here. The guest spots deserve a brief spotlight in the lyrical department, since their work is the weakest here. Whether Wentz could have used a highlight in "Alone Together" is the last question on mind when Big Sean comes into "The Mighty Fall". The appearance is utterly unnecessary, and the track's bridge could easily have been reworked. The album's worst line comes from Big Sean's rant (disregarding the man's comedic intent, it isn't a rap): "Hell yeah I'm a d-ck, girl/Addicted to you". This is the pinnacle of every dignified critic's disdain for Wentz, and it isn't even his line. It's a terrible pun, whether meant seriously or not (apparently Big Sean is a comedic genius). But it gets worse. "It's Courtney, b-tch" announces Courtney Love at the outset of "Rat A Tat". After that are (ironic) allusions to suicide, PowerPoint, and get this an emotionally challenged ambiguous "she" character. You don't say! The rest of the track is alright, but those monologues are pretty grating. Elton John is neither here nor there in "Save Rock And Roll"; it's a nice cameo in the same sense that Elvis Costello in "What A Catch, Donnie" was. Like much on this record, however, it is arguably unnecessary and risks compromising the record's identity, especially considering that the last note in the record belongs to John himself. // 7

Overall Impression: Before closing, there is an elephant in the room, and its name is "Save Rock and Roll". Skepticism of the title is not uncommon, whether taken seriously or in jest. Does the record save rock 'n' roll? Does it intend to? If so, how? If not, what does it do? The answer, perhaps, is in the closing track. Wentz has spoken on the subject, stating "... We do want to promote little-R rock 'n' roll, which is an attitude, a perspective on life." Astoundingly, he followed this up with "We feel like little-R rock 'n' roll is 2 Chainz and Kanye West and Lena Dunham and people like that." (As an aside, perhaps he really needed the lyrical image resurrection here, because his uncomfortable presence in the media sure hasn't changed.) That was about the impression left by the actual lyrical work on the title track. "Wherever I go, go/Trouble seems to follow/I only plugged in to save rock 'n' roll" is suggestive of a dying movement and its desperate followers. To some degree, perhaps that's what rock 'n' roll (or any musical following) can deteriorate to: a few emotionally attached survivors clinging to its survival. On the other hand, perhaps it's about something more profound than a musical genre: specifically, the ability of an individual (or group) to affect change, to dream, and to accept oneself despite failure in endeavors like "saving" rock 'n' roll. In any case, it's a fantastic track. "Save Rock And Roll" isn't necessarily a comeback album. Fall Out Boy never broke up; they didn't need a "comeback". It isn't their classic pop staple. It isn't saving anything. So what is it? Well... Not much. Sure, there are some hits. "The Phoenix" is their strongest opener, "Save Rock And Roll" is one of their most profound tracks, and "Just One Yesterday" had damn well better dignify Stump in the eyes of the critical community. There are also some misses and some moments that require a second listening to really remember. Where "Save Rock And Roll" succeeds because of "Save Rock And Roll". It also fails for the same reason. Suddenly dropping a profound message, as though this was the point all along (did M. Night Shyamalan produce this record?), feels misplaced on an album full of not-so-profound tracks about love and anger and whatever other mono-dimensional messages pop typically sports. After Fall Out Boy's generally linear construction of albums, it feels almost as disjointed as one might expect from a compilation. There isn't a singularly slow-breathing moment until the finale, which is also the most balls-out of the bunch. It feels purposeless. Every track on "Save Rock And Roll" is a dream of pop composition. Stump is a dream of pop singing. Wentz is even a real cut above here. But "Save Rock And Roll" is truly no more than the sum of its parts. Those parts are more than worth the wait, to be certain, but anyone looking for the next "Folie" (the next "Cork Tree", if you're still on that) isn't going to be left with much more than a pleasant listening experience and the triumphant feeling that their favorite pop/punk band is finally going to be taken seriously (or not). // 5

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overall: 6
Save Rock And Roll Reviewed by: UG Team, on april 16, 2013
9 of 23 people found this review helpful

Sound: If there's one thing Fall Out Boy deserve credit for, it's making sure that even their greatest enemies are talking about them. Love and hate defined their first wind as a goofy pop-punk outfit, but the conversation didn't stop when they went on hiatus in 2009 and as much as they'd hate to it admit it, everybody including UG readers was waiting with baited breath to dissect the title and circumstances of comeback album "Save Rock And Roll". Only unimaginative writers will grant that much attention to the title - those who know the band, and especially their propensity for silly names, will take the pinch of salt and focus on the music. As was foretold by the singles (or even further back, the soulful, camp and utterly divine "Folie À Deux") this is Fall Out Boy's emancipation from rock. The live band dynamic is dismantled, the trusty powerchord left behind, and in its place rises an assertive and occasionally callous take on mechanical mainstream pop. The most striking thing, besides the remarkable presence of Elton John on the title track, is that so much of it is electronic. Drum machines, processed vocals, chopped samples and synthesisers are all mixed into the palette of new producer Butch Walker. With credits including Taylor Swift, Avril Lavigne and Weezer's "Raditude", Walker has a history of sucking the soul out of established artists but the best he can do with Fall Out Boy is redraw their boundaries and see how they react. The boundaries are drawn liberally, however. Eleven distinct songs traverse sickly bubblegum ("Where Did The Party Go"), thundering powerpop ("Rat A Tat") and even rap ("The Mighty Fall" featuring Big Sean) to name a few. "Save Rock And Roll" is both diverse in its influences and all too ready to adhere to homogenous pop aesthetics in pursuit of the ultimate hook. They're not all winners by any means, but catchiness runs rampant through some of these tracks and that ought to be remembered while you're busy being offended by the changes on the surface. // 6

Lyrics: Singer Patrick Stump and lyricist Pete Wentz bear a lot of the responsibility to oversee these wholesale changes with tact and class; a catchy melody and smart set of lyrics can do a lot to ease the transition. The early signs aren't great, though they've had stronger rhymes than "I'm gonna change you like a remix/then I'll raise you like a phoenix," that's for sure. Wentz is tentative with his emotional content, unsure of how personal he can get before it starts to distract from the album's charisma, but he has reasonable success with everything else. Standout track "Young Volcanoes" is a neat little package of aspiration and youth idealism and is one of only a few occasions where Stump dials down the vanity and sings intimately. He is wonderfully talented and leads the line impressively but his bombastic melodies, especially coupled with the processed pop backdrop, do seem rather impersonal. // 6

Overall Impression: I always got the impression that Fall Out Boy were born popstars, but had to grow up playing in punk bands before they could figure out how to spread their wings. As it happens, their transformation has been a very public one but the advantage of coming back from a hiatus is that this can be a clean break. This is Fall Out Boy 2.0, but not everybody's gonna like it. The devout pop-punker will wretch at the sound but the oblivious radio listener will hardly notice the cracks as the four of them blend into the mainstream pop landscape. No matter the prejudices you bring to it "Save Rock And Roll" is still a postmodern-pseudo-ironic-avant-scene adventure in the end, and it has all of the confusion and some of the fun that Fall Out Boy made a name on. You can't say they don't keep it fresh, but have they got this one right? We'll know that they have if people are still upset about it in two years' time.

// 6


- Duncan Geddes (c) 2013

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overall: 1.3
Save Rock And Roll Reviewed by: daddywilkinson8, on april 19, 2013
5 of 29 people found this review helpful

Sound: Awful awful awful mainstream electronic rubbish! After being a fan of their catchy song-writing prowess on "Take This To Your Grave" and "From Under The Cork Tree" I was pretty much writing off Fall Out Boy as another band fallen under the spell of producing radio-friendly tat to the teenage Radio 1 generation. "Folie A Deux" was not bad - just wasn't what established the band as a popular force in the pop-punk world. After listening to "Save Rock And Roll" I can honestly say that Fall Out Boy should've stayed on "hiatus". Over-produced electronic nonsense with juvenile lyrics and no sign of any "rock and roll"! // 2

Lyrics: Poorly written teenage lyrics - Patrick Stump has excelled himself in mediocrity on "Save Rock And Roll" with a bunch of badly devised songs with some pretty awful rhetoric. The lead single is poor with barely any noticeable guitar and the drumming is very very poor and in place very difficult to pick out. What strikes me the most about the album is that Patrick Stump's voice seems to take on a lot of autotune and vocoder effect - something that again detracts them from their already established place amongst the pop-punk genre. I applaud originality but not in this case - I despise it. // 1

Overall Impression: As sad as it is for a fan of the first three albums to say - Fall Out Boy are dead. "Save Rock And Roll" is not an album that will continue the work put in by Stump and Wentz to establish the band in the pop-punk genre. Gone are the catchy verse-chorus-verse songs with enjoyable guitars and in their place is an album worth of mediocre, electronic rubbish. This review probably won't even get printed and the fanboys will be baying for blood saying - "why did you review something if you don't even like Fall Out Boy anymore?" The answer is simple - I used to love Fall Out Boy but on this performance they are best served in my memory and their back catalogue their only one in my playlist. // 1

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overall: 7.3
Save Rock And Roll Reviewed by: kenziethomas13, on may 03, 2013
2 of 3 people found this review helpful

Sound: When they first relesed the single for "My Songs Know What You Did In The Dark (Light Em' Up)" I was a little afraid of what the album was going to turn out like. Personally, I didn't enjoy that song, but I knew that they would pull through and be like the old Fall Out Boy. I will always appreciated their musical talents, and Patrick Stump's amazing vocal range. This album was more pop as well, and featured four different artists, three being R&B/Rap artists. Since the album is called "Save Rock And Roll", if it was going to feature anyone, I expected it to be Rock and Roll artists. Elton John was featured in the song called "Save Rock And Roll", and it's an amazing song! // 6

Lyrics: The lyrics to all of the songs are so catchy! Patrick's range is amazing, and he can hit all sorts of notes! There are a couple pretty cool bass lines as well. I really enjoy the song "Just One Yesterday", I think the instrumentals are fantastic and well as the lyrics. The song really has a lot of emotions in it. I do wish they had some breakdowns in songs, and more highlights of the instruments. In the song "Save Rock And Roll" the lyrics are really inspiring to go out there and save rock and roll. Rap and pop are taking over the classic genre of Rock. // 8

Overall Impression: My favorite Fall Out Boy album would have to be "Infinity On High", but all of the albums are their own style. The most impressive songs on the album would definitely be "The Phoenix", "Alone Together", "Just One Yesterday", and "Young Volcanoes". Those songs stand out the most to me for some reason, I really enjoy those a lot. I love that this album has a really nice flow as you're listening to it from beginning to end, but I don't like that it has so many songs featuring other artists. I know that some artists do that to gain popularity or to help the songs, but honestly, anything Fall Out Boy does, the fans are going to love it no matter what! I really don't think that they needed four songs with features. If this album was stolen or lost, I think I would get something else, or just burn it onto a disc because I have downloaded it onto my computer. But if my computer got stolen as well... Then yes. I would go buy it! I bought this album the day it was realeased, so I was pretty excited to see what FOB had to offer! // 8

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overall: 8
Save Rock And Roll Reviewed by: KingOfDaStrings, on april 19, 2013
1 of 3 people found this review helpful

Sound: Fall Out Boy had big expectations to live up to after there hiatus (2009-2013) was over. Rumors had been surfacing about whether or not FOB was "getting back together" or not. After watching countless interviews with the band, vocal/guitar frontman Patrick Stump has confirmed that the band never actually broke up, but took a break (side projects, relaxing, family, etc.) But when the band DID come back from there much deserved 4 year vacation, they announced a new album. However, the thing that nobody knew was that Fall Out Boy began writing this album way before they announced the hiatus over. In fact, the band had the album FINISHED before the project was announced. Little was known about that album at this time except for the release of the chart-topping single "My Songs Know What You Did In The Dark (Light 'Em Up)", the first single off the album. This song is very gritty and up beat and was the perfect song to announce the band as reunited. The next single released was "The Phoenix", which many will refer to as the "anthem" of the album (next to "Save Rock And Roll). Sounds range in this album about as high as Patrick's vocals go. Songs like "Rat A Tat" sounds about as close to old FOB as it gets. The guest spots on this record had me nervous, the band knew what they were doing. Big Sean's bridge on "The Mighty Fall" was better that expected. Elton John's vocals on "Save Rock And Roll" were quite odd (even though Patrick looks like a mini version of Elton). While the new album can be compared to "Picture Show" by the Neon Trees, FOB introduced us to a brand new sound for them, and while it's nothing like the "Sugar, We're Going Down" quartet you knew back in '05, its still the same band, just with a different taste. // 8

Lyrics: Lyrically this album is straight forward. Compared to past albums where people are still trying to figure out what they songs were about, this album gets right to the point. The lyrics seem to fit ALMOST perfectly with each note. This album has achieved the most cuss words ever on a FOB album, however, it's mostly by the guests artists. Another disappointment on this album was that the band ditched the whole "song title has nothing to do with the actual song" idea that they had on their first 4 albums, which was one of the things that made the band so interesting. Lots of repetitive chorus and hooks on the album. On a more positive note, there are more positive things to say about the lyrics then there are negative. "Young Volcanoes", one of my favorites off the album, would've been a great closer for the album if "Save Rock And Roll" was never written. It has a really great "we're young, wild, and free" message to it. The lyrics overall on the record aren't overly impressive. There are some really good ones, and some really weak ones. // 7

Overall Impression: This album was one of my most anticipated for 2013. Every morning, I'd wake up and check to see if it'd leaked anywhere. I couldn't wait to get my hands on it, and I was shocked when the first source of the songs came on Facebook right from the official Fall Out Boy page. Fall Out Boy has definitely started a new chapter in their career, and this is for sure not that last album we're hearing from them. The band is set to release a video for each of the songs, and is currently touring with the album in their set list. // 9

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More Fall Out Boy reviews rating latest review
+ Infinity On High 7.3 04/02/2013
+ Folie A Deux 7.3 03/19/2013
+ Take This To Your Grave 8.4 12/01/2008
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