Skip to main content

IN REVIEW: Teenage Time Killers - "Greatest Hits Vol. 1"

 


The growing trend of supergroup releases continues with Teenage Time Killers, the brainchild of Mick Murphy and Reed Mullin (members of Birds of Satan and Corrosion of Conformity, respectively). Having been recorded at Dave Grohl's studio, it's not surprising that he would lend a hand musically but, while he does technically appear on over half of the twenty tracks, it's only in the capacity of bass player. While it would have been nice to hear him belt out a vocal or give one of his world-class drum performances, there are plenty of other guests to distract us: Neil Fallon (Clutch), Randy Blythe (Lamb of God), Jello Biafra (Dead Kennedys), Matt Skiba (Alkaline Trio), Corey Taylor (Slipknot/Stone Sour), Mike IX Williams (Eyehategod), Tommy Victor (Prong), Lee Ving (Fear) and many others get turns at the mic over the course of the album. Then, there's the guests playing instruments, including Nick Oliveri (formerly of Kyuss and Queens of the Stone Age), Pat Smear (The Germs/Foo Fighters), Greg Anderson (co-founder of Southern Lord Records) and Brian Baker (Minor Threat).

The revolving door approach makes for an inevitably inconsistent listen, given the feeling of a punk compilation rather than a proper record; that said, the relatively quick runtime (its twenty songs zip by in just over 42 minutes, with nary a track reaching the three minute mark) lessens the fatigue that would have undoubtedly accompanied a release with longer songs. Plus, with a cheeky title like Greatest Hits Vol. 1, it's not like they don't know what they're presenting. Fun, fast and loose with a handful of great performances, Greatest Hits Vol. 1 isn't so much a supergroup effort as it is a love letter to punk and hardcore; as such, it's sincere and respectful, and I certainly can't fault it for its spirit.

July 31, 2015 • Rise Records
Highlights Crowned By the Light of the Sun • Hung Out to Dry • Egobomb

Comments

Popular posts from this blog

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 2014: And the Winners Are...

It's been a long year, and another great one for rock n' roll. While the pop charts were overrun with barely legals obsessed with their asses, rock soldiered on undeterred even as pundits (hell, in some cases even rockers themselves) mourned the genre. Sure, rock didn't dominate the money game in 2014, but that shouldn't evoke sad nostalgia and eulogies. Even for as little perceived impact rock music made, a hell of a lot happened if people had only paid attention. From grizzled vets adding jewels to their crown (Springsteen, Petty) to new beginnings (Against Me!, Antemasque) to happy returns (Faith No More, The Tea Party) and all points in between, rock continued to thrive, evolve and thrill in 2014. Enough talk. It's winning time. Your Year in Rock winners for 2014 are...

Headstones Are Getting It Right. And By "It", I Mean "Everything".

When Headstones announced they were finally getting together for a new record (a decade since they'd released one, as the band drifted apart and Hugh Dillon's acting career began to pay dividends), they did so by letting their fans get in on the ground floor. Headstones got self-promotion right. They started accepting pledges toward the funding of the new record on October 19th at their official Pledge Music site , with pledge items ranging from $10 (digital download of album) and $5,000 (a private Headstones unplugged show for you and your friends). Within a day, they'd reached 90% of their goal; as of this writing, they sit at 283% reached. Headstones got funding right. With a planned release date of March 26 looming, something happened. They messed around and got a record deal after a subsidiary of Universal Music (who had originally signed the band back in '92) loved what they heard, and wanted to release it worldwide. The logistics of these things tend to...