1994 In Review: The Offspring

1994 In Review: The Offspring - "Smash"

It's easy to diminish the impact that The Offspring's third album had on rock, just as it's easy to forget what a great story they used to be as a band. In the two decades since Smash dropped, they haven't exactly built a legacy of integrity; nowadays seen more as a novelty act than simply a good band that doesn't take themselves too seriously, they manage to underwhelm with every comeback attempt they make no matter how much I root for them.

However, in 1994, it seemed everyone rooted for The Offspring. An inspiring tale of grassroots success, Smash was a really good album by The Little Band That Could; signed to (at the time) up-and-coming punk imprint Epitaph, it was a minor coup to see the video for Come Out And Play shown on TV.

It's also easy to forget how fresh sounding this was twenty years ago. On Smash, The Offspring melded together punk, surf rock and alt rock into something much bigger. Rather than cater to just the punks, stoners or mall crowd, Smash extended a handshake to all, offering something for you no matter what level of crunch you were looking for. Want to break things? Bad Habit is a fine choice. Chillin' with a fat spliff? There's What Happened To You? Feeling angsty? Can I interest you in some Self Esteem? You get the idea.

With strong word-of-mouth and smart single choices, Smash became a, well, smash. Now, having a multi-platinum album in the mid '90s was certainly not unheard of, but for The Offspring to do it on an independent label was a pretty big deal. In fact, Smash still stands as the best selling independent label release of all time.

You don't make such big waves without waking up sharks, and The Offspring were highly sought after by major labels in the wake of Smash's success. They'd end up signing to Columbia and releasing the uncompromising Ixnay On The Hombre in 1997, pissing off indie hipsters and fairweather fans alike. It would go on to sell less than half the amount Smash did, leading some to call it a failure despite going platinum. In retaliation, they recorded the hokey, sunny Pretty Fly (For A White Guy). Released on 1998's Americana, it propelled the band to even loftier mainstream heights than Smash and practically (arguably?) ruined them in the process.

In the fifteen years and four albums since, they've attempted no less than three times to recapture the lightning in a bottle that was Pretty Fly's crossover success, with exceedingly embarrassing results. Maybe they'd be a much more relevant band today if they'd looked instead to replicate the success of Smash. It may not hold up quite as well as other albums of '94, but how much of that is due to the record and how much is due to the legacy of the band? Maybe bits of both, but it doesn't hurt to revisit and remember that, for a brief moment in time, The Offspring felt really important.

April 8, 1994 • Epitaph

Highlights Bad Habit • Come Out and Play • Self Esteem

Year in Rock 2025

Alright, I've got some explaining to do. By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but: a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2013 Nominee: Arctic Monkeys

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Year in Rock 2023: Album of the Year #10-1

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