u/JetPackFuture104

WARNING: I talk a lot.

--------------------------------------------------------------------------------------------------------------------------------------------

Like most people I assume, my intro to Jimmy Eat World was through hearing The Middle on the radio during a car trip. And while sure, it's not their cream-of-the-crop track, I'll still always hold a reverence towards it (plus, Jim's guitar solo goes incredibly hard. It's the PERFECT gutiar solo where it's not super shreddy, tappy or crazy, but it's by no means an easy play either. Lots of hammer-ons and tremolo picking is still needed).

And since my junior year of high school when I listened to Bleed American for the first time, I've gradually gone throughout their discography, and they've since become one of my all-time favorite bands! So I figured I'd share my brief thoughts on them from the perspective of a Zoomer:

____________________________________________________________________________________________

Self-titled debut: by no means bad, but in the grand scheme of things, not a good representation of what the band's true essence would eventually be. Still has great rough, speedy punk energy, and I really dig the opening and closing tracks (Chachi and Cars, respectively). While there's no qualms with it being their decided weakest effort, I do still wish they made it available on streaming. But hey, thank God for Youtube and fanrips at least.

Static Prevails: fun fact, this album was produced by Wes Kidd of indie Chicago 90s alt-rockers TripleFastAction (Cattlemen Don't is a dope-ass album btw, check it out). Anyway, this seems to be a fan-favorite, and while it's a definite improvement over the previous, idk, I find it to be overall serviceable as an indie alt-rock album. That said, "Digits" is an absolute highlight, and a sign of things to come where the band nails bittersweetness, sincerity, and earnesty through soft clean guitars, and just ripping it up. I ADORE the outro. Anderson Mesa and Claire are other standouts.

Clarity: honestly? No qualms here: it's freaking Clarity! Among one of their most beloved releases, and deserving of it too. Lucky Denver Mint is a 10/10 rare song that I don't think I've EVER gotten bored of relistening to. There's an ethereal, spacey, open-chorded sense of serenity and even comfort that I've yet to find in any other band. Table for Glasses is nothing short of grandiose and majestic, the slower middle chunk of the album works great for them embracing more subdued and non-brash elements, and it closes off with the triumphant title track (which I feel is one of the few tracks they play with standard E tuned guitars) and Goodbye Sky Harbor which is just such a mighty statement. While the 16 minutes of it I love not just for the novelty, but for the sense of relaxation and meditation it brings, I must say, the live version of Harbor where they go HARD on the "I am but one small instrument" part with big guitars is unlike anything else.

Bleed American: a "return to basics" album, sure, but then you still got a song like "Your House" which spiritually speaking, is a Clarity track (and is also fantastic. I like the 2007 rearrangement they did so it could be easier to play live, but dammit, the official, original album recording hits harder. The 2007 live version is more introspective and firm, whereas the original 2001 version feels like you're outside in the grass at dusk feeling a strong breeze hit you and it feels so freeing beyond belief). But aside from some outliers, it's a more traditional power-pop-punk-alt record. And I love it! Not only is it a great accessible gateway into the band (as it was for me), but the slick production and mixing is also immaculate (which is something this band will continue to show off). Also, Zach's snare sound in this is phenomenal, as it'll be for most Jimmy albums going forward (one nitpick is that even on Clarity, the snare drum could've sounded better. It sounded more "constricted" whereas here, it's allowed to resonate a lot more, and I think it suits the band's sound better). Sweetness is an enduring emo classic, Hear you Me remains a lovely heartfelt ode to Weezer fans Mykel and Carli, Authority Song is endlessly relistenable (and also how I found out about John Mellencamp's actual Authority Song), and My Sundown is another underrated gem like Digits. Sundown would make, like, the PERFECT "graduation" type of song, you know? Like, I really think it's up there with Sky Harbor and 23 for JEW's best closers, period. I want this to be the last thing I hear before I die type of powerful. Overall, BA is probably my personal favorite.

Screw pitchfork. Anyway...

Futures: another rightfully beloved album, I feel this has the best blend of Clarity's grandiosity, but with the focus of Bleed American. As a more mature follow-up, and with most of the tracks being in lower tunings (save for 23), you see this mood reflected in the video for Work. It captures that uncertainty of young adulthood, responsibilities, and transition. Like the angst of Static Prevails but again, more tighter and demanding greater respect. Highlights include the World you Love, the aching Drugs or me, Polaris (one of their all-time best), the searing Nothingwrong which pummels you like a bunch of rocks, the sensual and intimate Night Drive, and of course: 23. The Bm/Drop-D masterpiece of this album, and of the band's career. The twinkling piano and bells during the chorus, that ethereal guitar solo, Jim's vocal deliveries, the harmonies, how fully layered everything is (thanks to conductor David Campbell (Beck's dad btw, which is a W) getting real live strings), how empowering it is....it's 23.

And I'm actually turning 23 next year, so needless to say, this closer's gonna continue to hit me like bricks.

Chase this Light: ok, I'm gonna be honest here....I'm not super crazy about it. It's still a damn solid album, with Big Casino being one of their all-time best singles, and Electable having great energy. But honestly, most of the tracks are just fine to me, and not much else. I haven't really listened to Let it Happen enough times to really feel connected to it, despite it seeming to be a live staple. The title track is pretty, but just aptly rated rather than some mindblowing composition. And probably my biggest hot take of all: Dizzy is ok. I know people love this closer, but idk, good as it is, there's countless others I prefer. Despite all that, it's still a fulfilling listen as a record, and like BA, I feel works as a great intro for any newcomers. Also, that signature Butch Vig production is clean as F**K! It almost sounds too polished and brightly clean and tight that it feels illegal. Similar to Green Day's 21st Century Breakdown, which Butch also did. The grit isn't lost on stuff like Big Casino, but I guess it's a little too overwhelmingly good for me, if still palpably admirable.

Also, I can't be the only one who thinks this, but does anyone else associate CTL with animals and zoos? Like, the cover is a peacock feather, the Always Be video is about a school trip to a museum, and the color green just suits the album's aesthetic incredibly well. I feel like I am or should be at the San Diego zoo whenever I spin it, and I just envision a silhouette of a rhino.

Invented: likewise, I'm gonna be honest here.....I unexpectedly REALLY ended up loving this album! It's apparently the quote-unquote "mid" album of their discography, but I would've never guessed that just by listening to it. "Evidence" has such a monolithic, locked-in, powerful wall-of-sound of distortion (like Live-in Skin by Foo Fighters) that I adore. Simple, but perfectedly simple. My Best Theory is also super danceable and groovy, similar to what they started experimenting on Chase this Light's "Here it Goes", but with a more darker, searing twist. Movielike and Coffee & Cigarettes are solid C and F major jams, and last but not least........the title track.

I think this might be one of my favorite Jimmy Eat World songs of all time. It rivals 23 when it comes to closers, imo. Sonically, it reminds me of Wilco's Misunderstood or Barenaked Ladies' masterpiece Call and Answer: a midtempo, intimate, introspective and even explosive D major ballad where Jim sings of desire, wishfulness....all culminating from sober acoustic guitars to a heavy distorted drop of "THERE'S A CINEMATIC END!" that's goosebump-inducing. That buildup makes that feel like the heaviest track Jimmy have ever done! 7 minutes of time very well spent, and the last hurrah is the bittersweet and melancholic Mixtape. Which makes me feel like I'm on a beach in broad daylight with healthy blue skies, trying to wrestle or contemplate with loss.

One nitpick is that "Littlething" sonically speaking, just kinda feels like 23 again. I mean, it's still good, partly because 23 is that damn good, but I need to relisten to it enough times to see if it's enough to stick more. As such, while I do really like it, I don't really go out of my way to listen to it either.

Damage: this album feels more like an EP than a fully-realized LP. Like some of their other works, I haven't really given these tracks enough spins to form stronger opinions of (though the fantastic opener Appreciation is an exception). To my knowledge, this is kinda like Jim's breakup album where he airs out his relationship problems. Which honestly, the rougher, less polished production serves well (like how Reel Big Fish's "We're not Happy...." mixing, even if you hate it, does sincerely purposely work for the bitter tone that album wants to express). Again, sorry that I don't have a ton to say about it, so any better insight would be appreciated.

Integrity Blues: while an improvement over Damage, and also seen as a fan-favorite, I only listened to it for the first time back in May of this year, so again, I need more time. Fortunately, this is the most dreamlike and experimental they've gotten in a while, with Pass the Baby being moody great territory for the band, the reverb of Sure and Certain, the thunder of Get Right, and the transcendent Pol Roger. It flows well as an album, but I think these songs sliiiigggghhhtttlllyyy work better individually than grouped together more (kinda like BNL's Maybe you should Drive).

Surviving: lastly, their most recent album, 2019's Surviving. And holy hell, this album's AWESOME! Once again, a more "return to roots" effort where it's just the four guys rocking out. One Mil and Recommit are both anthemic as hell, I love the opening title track, and even amidst all this, you have a more experimental, electronic based track in 555, which feels like it easily could've been off IB. It's great when they sprinkle in outlier tracks like this. And hot damn is Congratulations a home run. Up there with Invented not only in terms of crunchiness, but even hints of anger and most of all, defiance. It just keeps going into a crunchy outro of guitars and pounding drums that leaves you overwhelmed, but in a good way.

And that's pretty much it! Thanks for reading all this, if you did! Hope I didn't bore you! Comments welcome as always.

Bless this band.

WARNING: I can't shut up. I apologize in advance

__________________________________________________________________________________________

This is a pretty outlier opinion I figure, but dammit, there's something I just love about Reel Big Fish's debut album. It gets understandably overlooked in the band's history, but in my mind, thinking about the band feels incomplete without acknowledging that funny cover of Matt Wong's little sister and that dog.

Is it really raw and rough? Yes. Are the performances on-point? Not always (the horns struggle a little on the original version of I'll Never Be, for example). Do the later re-recordings of most of these songs blow their original recordings out of the water? Most do.

But idk, in spite of that....hell, maybe even partly because of that....it's still in my top 3 albums of theirs.

And now mind you, I'm a Gen-z'er who only got into them 2 years ago (October 2024 when my older cousin said he used to listen to them). And somehow, I just have a strong attachment to it. It's punk rock in that homely, relatable, D.I.Y., "just a bunch of dudes messing around with guitars, drums, and even horns" essence. Even if you mess up a little, that adds to the endearment factor. Like "heh, I could do this too!" And that's the initial spark that makes you pick up an instrument, mess around on it, and hone your skills over the years if you find you REALLY mesh with it.

They were super young (we're talking late teens), but there's a very organic, almost idk, "Earthy" energy when I listen to these early recordings. Like you're right there in the studio watching them play and work these demos out. Aaron's scruffy, rough guitar is great (though his ska bar chordings could've still used work), and although he sounds drunk most of the time, it's still fun in a "fan at a show yelling the lyrics at the top of your lungs" way, like on the original version of Beer and I'll Never Be. It's pure.

And hell, even early on, you have horn lines like on Big Fuckin Star that are immensely satisfying to hear (I get weirdly melancholic whenever they come on). I love that sharp, meaty pluck Matt's bass does on Fuck Yourself (All I Want is More), Andrew's drumming is arguably still as solid as ever imo (only difference is better gear for the next two albums), and the guitar solo outro on I'll Never Be is just...mmmmmmmmm!!!!!!! for me. That shredding Aaron does continues to be a giant eargasm for me.

Straight-up: I'll Never Be feels incomplete without that guitar solo. I dunno, it's like the song felt made to be a pseudo setup to that climax of a solo. The TTRO version is much better played overall, but listening to the earliest version where Aaron is singing about being a kid dreaming about making it big, and showing his legit talent as he starts ripping a tasty, super relistenable solo...I feel like it'd make a great banger to play during an encore or something.

Which means that I suppose the definitive version of I'll Never Be would be the Live 2006 recording from the We're Not Happy/Our Live Album era: a confident, tight lineup, the peppy energy is still there, and of course: dat solo. While not a big deal these days since it's the streaming age, I wish it could've been included on the original CD release instead of being a digital-only bonus track.

Now, tracks like Beer and Trendy I can easily agree are immensely better on Turn the Radio Off. The energy on Trendy's re-recording is off the charts, and it's no doubt commendable how much the guys grew in confidence since their last album, and settled on a more defined lineup. Not to mention how tight and locked in they are on Beer compared to how primitive the ES demo was. Those added horns brighten it up.

But then you take a goofy song titled "Why do all girls think they're fat?" And honestly, I VASTLY prefer the original over the Monkeys & Chimps re-recording. That later version is well-performed, but idk, the original is slightly faster, and I think that raw, young speedy energy suits that track much better, and the result is me having a blast whenever I put it on. The Chimps re-recording is 12 years older with more profession behind it (and I do love the effects put on Matt's bass solo in that version), but for a bunch of hyper teenagers having punky, tongue-in-cheek fun...I can only get that from the Everything Sucks album. Like, I can't help but want to jump around and get stupid waving around and partying to it. Check out them playing it live in Seattle 1998 where Aaron and Dan are just flailing around. It's infectious.

Fuck Yourself (the original version of All I Want is More) is similar: that spite is captured better in that version, though the re-recording is still great, just in a more paletable, almost jovial way.

I also really love "Boyfriend", which is technically a cover written by Ben Guzman, one of the original members of the Fish. Aside from the "she was fourteen and looking pretty" line, I can't help but smile whenever I relisten to it. Such a simple, effective guitar riff. And to the band's credit, again, they were pretty young when they wrote and played this stuff, so I can give it leeway. Though I can understand why they pretty much never played it live other than the ES release show.

Lastly, I wanna show some love to Big Fuckin' Star. Like I'll Never Be, I always felt like this would work great as a closer. The reworking of this track on WDTRSH is also damn powerful, and in that arrangement, it starts off as introspective and melancholic acoustic track where Aaron is a big shot celebrity who's depressed as shit, and all the riches in the world give him nothing, ironically. Then the "I CAN'T, MAKE YOU, LOVE ME!!!!!!!!" punches in, and the final section brings in all the big distorted guitars, and even some piano where the celeb wails about how "I'M SO FUCKING COOL!!!!!!! NOBODY CARES AT ALL!" Like he's sitting at his desk and grabbing you by the collar with giant tears in his eyes yelling in you. And as the wall of sound continues, it's almost like a stage musical where there's dancers doing flips right before the ensemble cast poses for the final note. Nailed it.

And yet, despite that greatness....then you have the original version of Big Star, and like I said: those horns. Those HORNS....that D to A to G to F# they do just hits me RIGHT, man! It's a more traditional ska-sounding arrangement and a full step up (the WDTRSH version is in C), but rather than depressing, it's more cheeky. And yet, I still feel bittersweetness in it too.

And even then, the energy of an insecure celebrity desperately grabbing you by your shirt wanting you to love him is still felt, albeit, in a more primitive way, but it's still there. This part is essentially the same as the reworking.

Or hell, sometimes, I like pulling up Big Star first, and then Big Fucking Star after the showtime-esque flashiness, almost like the celeb finally accepted himself as the douche he is. Yet even in the original version's outro, that same assholery and insecurity is still ever present. RBF songs can be a very sobering experience (hell, Drunk Again exists and is a fan-favorite for a reason).

And every second of it is fun and bittersweet to listen to. Matt's underrated bass lines carry Aaron's ska playing, and Andrew's snare sounds commanding. Also, props for Adam Polakoff's alt sax solo as well.

In conclusion: I feel they should've played Big Star more than they did. Only real footage of it live is the ES release show. But hey, I'll take it.

Whoo! That was a lot. There's just a homely charm to this record I can't get from their others. Though granted, WDTRSH and Cheer Up I'd say are their best albums: the former being their definitive work as a peak third-wave ska act (Down in Flames is a contender for my favorite RBF track. I have rarely ever gotten bored of that song, if at all!), and Cheer Up being their most eclectic, especially in the second half. And both with excellent production, musicianship, and vocals from Aaron and the Dork to boot.

__________________________________________________________________________________________

If I had to rate the albums from best to weakest:

1.) Why Do They Rock So Hard (their mangum opus where they were at the peak of their powers. Victory Over Peter Bones almost makes me tear up sometimes, won't lie. Likely because I associate that track with when I was almost done completing Gintama, but even so, still hits either way)

2.) Cheer Up (their most varied and expansive)

3.) Everything Sucks (it's this high out of favoritism)

4.) We're Not Happy Til You're Not Happy (raw, dirty, and earnest. Understandably not everyone's cup of tea, and even I can admit a big issue is it can overstay its welcome. But I appreciate this as them "exorcising" frustrations. "Drinkin'" is top tier).

5.) Turn the Radio Off (THE quintessential RBF record. It's only not in the top 3 because I simply enjoyed the other albums more).

6.) Candy-Coated Fury (didn't expect to enjoy it as much as I did)

7.) Life Sucks...Let's Dance! (it's above Monkeys and Chimps for being more cohesive as an album. Though the production is noticeably lower than CCF)

8.) Monkeys for Nothin' and the Chimps for Free (some great stuff on it like Cannibal, Party Down, and the stellar bonus track Bang! The Mouse Explodes, plus is better mixed than their previous work....but idk, it's also a pretty safe, unambitious sounding outing from them. It's like baby's first Reel Big Fish, sonically speaking).

I've heard some of the "Best of Us" re-recordings, and they're fine. The only one I'd really go out of my way to listen would be Take on Me, but that's about it.

Haven't listened to every cut off of the fan-favorite "Our Live Album", but I've still heard plenty, and make no mistake: they're tight recordings.

Aaaaaaaaaaaaaaand that's about it! Hope I didn't bore you all. But I can't help but yap about stuff.

(Part 1 here)

WARNING: I talk a lot. Like, it's not even a joke. So again, get some Oreos or something as I sit you down and have you listen to me ramble on.

Assuming you've read Part 1, here we arrive at the 2nd volume of the Busted story: the 10+ year long or so hiatus, to today.

The Hiatus: (2005-early 2015)-

Welp, Busted was no more now. Charlie would spend the next 10 years redefining himself as the frontman (alongside Alex Westaway) for hardcore metal band Fightstar. Very much the opposite of the commercially-friendly Busted. "Paint your Target" off their debut (Grand Unification) is an absolute FIRE track, and it really does feel like Charlie is at home with himself. That anthemic chorus man. Sidenote: apparently Fightstar's music was inspired a lot by Evangelion (idk, I really got into EVA this year, so I just thought I'd share that-with bassist Dan Haigh apparently being the most responsible for bringing in the influence). I haven't actually listened to any of Fightstar's full albums, but out of the songs I have heard, they really do bring a great sense of dread and power to their songs. Fightstar would go on to be more beloved by critics, giving Charlie the credibility of being a "true" musician now. Metal is just a genre that definitely just feels bred for live settings, and I feel they definitely had a great run as a live band (just sucks that at first, Charlie would have to go through some heavy booing at shows just because he used to be in Busted). They'd go on to release several albums during this time, with Charlie also releasing some solo albums (which from I've heard, have a more softer, Jeff Buckley-esque tone to them). Overall, Charlie was free, but still couldn't entirely escape the shadow of Busted. As mentioned before, there was a lot he deeply resented about it, but some other interviews show him at least admitting it was still pretty fun while it lasted. But chances of any sort of reunion he was very adamantly against.

Matt meanwhile would also go on to try and do the solo thing. "Don't Let it Go to Waste" was released in 2006, under Mercury Records. The album's singles would go on to be a decent success, with all 3 cracking the top 20, and a cover of "Crash" by the Primitives which was for Mr. Bean's Holiday, but overall-not really amounting to too much. Matt was ultimately dropped by Mercury in the end. He also would go on to enter the world of TV and acting (mostly presenting and taking part in reality shows and stuff). Sadly, another thing about Matt was that he had a history of being kind of a huge junkie. Addicted to weed at 13, ended up going to rehab several times, 1st time a few months after Busted ended for drinking, and the 2nd for more drugs. Was recruited as a Scientologist for a bit, but left to be with his now-wife. Overall, the guy had kind of an unfortunate history, but he does thankfully seem to be doing a bit better nowadays.

As for James, he would spend the 1st few months post-Busted as any of us would do: eating chocolate and gaming a lot. Eventually, he started a new band, Son of Dork. With Steve Rushton on bass, and Chris Leonard (who toured with Busted during the Ticket for Everyone tour) on guitar, and others. "Welcome to Loserville" was released in 2005, produced by Gil Norton (Foo Fighters, Jimmy Eat World, etc.) and the opener/lead single, "Ticket outta Loserville" reached #3. But that was as much as they really amounted to in terms of trying to reach some sort of level of success Busted had. They toured with Wheatus (a huge influence on Busted, whom James would go on to have a steady friendship with Brendan B. Brown, even co-writing the song "Boy Band"), Bowling for Soup, and Army of Freshmen in 2007. Though SOD would eventually end due to James having to go to court for a few years to settle rights to Busted's catalouge. Eventually he'd move to America to continue songwriting, writing even for Jonas no less.

So for the most part, the three had now gone their separate ways. That is until 2013 when an unexpected return happened, and then finally, late 2015 and early 2016, when the real, actual unexpected return happened.

McBusted (2013-2015)

In 2013, McBusted was formed. A supergroup consisting of McFly (Tom Fletcher, Danny Jones, Dougie Poynter, and Harry Judd), and James and Matt. McFly and Busted had a steady history; touring together, Tom briefly being in Busted and later co-writing their biggest hits alongside James. And after Busted's split, McFly would go on to be very successful-their debut album hitting #1, making them the newest youngest band to have that title (after the Fab 4). Still active today, they definitely seemed to have made quite a great name for themselves. Very much power-pop oriented, 60s-70s influenced tracks in the veins of Brit-Invasion acts (5 Colours in her Hair, their signature hit, being the biggest indicator of this). And their later, more recent stuff of course sounding more contemporary, but still containing a great sense for hooks. Haven't really yet well-versed myself into them either (I do apologize for not really listening to all of the Busted expanded universe's music, I just wanted to focus these two posts on Busted solely, which I have devoted time to). They've been pretty well recommended.

Anyway, both McFly and Busted's connection would eventually lead to McBusted, the closest thing to a full-blown Busted reunion at that point. Starting in 2013 when James & Matt joined them at Royal Albert Hall, and later with their debut TV appearance performing a medley, 2014 would see them release their self-titled album. With Mark Hoppus making a guest appearance on "Hate your Guts," and people from the likes of Alex Gaskarth and even Rivers Cuomo helping with writing. "Air Guitar" serves as the bombastic, party anthem of a lead single, and then there's "What Happened to your Band?" (gee, I wonder what this song's about?). A song James (alongside Michael Raphael who co-wrote Can't Break Thru) had since his Son of Dork days.

The album performed pretty well domestically, but it was the touring that seemed to really made McBusted successful. Two huge tours in 2014 and '15 (the latter being named after Bill & Ted, which I can always get behind), both with DVD+Blu-Ray releases. Matt recalled that McBusted felt very much like a vacation. A very light-hearted side adventure. It was fun, but he did say he felt like one tour should've been enough. Not much else to say other than McBusted is one of the few examples I've seen of there being two bassists in the line-up.

The Triumphant Return:

Matt & James would approach Charlie in 2013 to ask him if he was interested in McBusted. He declined of course, but still got a share of money on behalf of Busted, and wished them the best.

But then we arrive at late 2015, and the news broke: Charlie finally decided to rejoin Busted. Charlie always felt at least some sort of guilt over just kind of leaving James & Matt out to dry. And again, despite how much he grew to resent Busted, he still ended up making good friends with them, there was never really any bad blood. And how if he had just stayed, it may have risked the friendship. Just going on, not taking any sort of break could've brought about some possible classic band in-fighting, especially considering Charlie's feelings. And a really interesting thing I read was how Busted really could've still continued on without Charlie. They were still at an all-time high when the split happened. But James & Matt decided to keep Busted retired out of respect for Charlie. If one member leaves, then it's all over. James and Matt would more than jump at the chance at any sort of reunion (I mean, McBusted happened), but it all still boiled down to whether it was unanimous with Charlie. A lot of people genuinely felt like Busted would be dead forever, the band included. The fact a comeback was actually happening was kind of a miracle for everyone.

So they decided to start talking again, and slowly but surely, Charlie would convince himself to reconnect with them again. The trio would take a secret trip to Philadelphia to just write and see if anything interesting happened out of it. And lo and behold, they came out of those sessions feeling reinvigorated with new material. And now finally free of major labels, the pressure, and fame, now older, in a different but still bold decade of music-the trio now felt more confident and ready to give Busted a revival.

2016 saw them embark on the Pigs Can Fly reunion/comeback tour, with Wheatus and Emma Blackery opening for them. Upon announcement, the tour sold out in an hour, with extra dates being added. Pigs can Fly of course referring to how no one thought this would even happen. They really went in with the pig theme (a giant inflatable Pig, a "pigsty" area of the stage, the fanbase I heard is apparently known as "piglets," etc.). And they got none other than Cobus Potgieter on drums (Cobus would go on to be their most well-known drummer of the comeback era). The tour was a success, and a live DVD would be released, featuring footage from opening night at Wembley SSE arena. In November, Busted released their anticipated 3rd album.

Night Driver (2016)

Despite the big hype, Night Driver definitely confused a lot of people upon release. Busted seemed to ditch the pop-punk element and the album's sound was more electronica. Synthesizers fill the mix, it was very 80s and New wave influenced, and even a bit funky (see "On what you're on"). It's a more contemporary sounding record, and while that may be a turn off for many, that obviously shouldn't detract from what it does manage to do right.

"On what you're On," one of the lead singles has a great dancability to it, and due to its funky nature, Matt's bass work is more upfront and adds a great layer to it. Charlie's falsetto also helps bring about its moody, club-tinged tone. Surprise but welcome saxophone solos are also brought in, alongside the track "I will break your heart," a neat flavor brought in. "Without It," is probably the weakest track overall, "New York," and "Thinking of You," I'd say are pretty more than solid, almost complimentary tracks that give a good feel for the album. "One of a Kind" continues the catchiness, and the title track is pretty great, even if Matt hates playing it live.

As for personal favorites, "Coming Home," the opener and comeback single for the band sets the mood with its grand keyboard intro, and the bridge which does bring in some nice, crunchy guitars. I'm a huge sucker for D major (it's the best key and anyone who says otherwise just isn't as enlightened as I am lol), and serves as a great, anthemic return for the band; their 1st song in a decade. The song did unfortunately receive some backlash due to how different it was (specifically the original music video, which got heavy dislikes, and was taken down-nowadays, there's a version that just features live footage from PCF), but over time it's seemed to have definitely grown on people. I feel the electronica element is at its best on "Kids with Computers," which I think fully embraces it. Easy" is a more conventional sounding relationship track, and is one of the more simplistic-but still grounded tracks. It leans in on the electronica the least, but still stands up on its own. The final two tracks "Out of our Minds," while a tad forgetful, is a nice listen in the moment. And "Those days are gone," continue Busted's tendencies to leave off on a pretty emotional note. And while not officially on the album, the re-recording of "Meet you There," at Abbey Road is more than worth checking out.

Overall, a pretty good album, if a bit derivative at times. And if anything, it's just great to see Busted finally back and feeling more creatively free with their work. And as always, it seems even regardless of genre, they still more than know how to compose accessible and catchy melodies.

Half Way There (2019)

After the 2017 Night Driver Tour, in early 2019, "Half Way There," was released. The name being a reference to Year 3000, where everyone will buy their 7th album outselling Michael Jackson. It's album 4, so they're right smack in the midpoint. Cobus returns on drums for the album, Gil Norton is producing, but the big thing about Half Way There is that Busted has now officially returned to pure pop punk. Even more so than A Present for Everyone even. As even back in their peak, they were still under typical label thumbs (like censoring some songs, mixes and such). Now, they finally had the resources and freedom to just go all out in making as classic pop punk as you can get. You could very well make an argument this is Busted fully realized since back in the early 2000s.

The album opens up right with lead single "Nineties," a nostalgia track that while full of some unapologetic 90s references, still kicks you in the face with its soaring riffs. Easily one of the most revisitable songs here. "Reunion" I don't have much to say, as it's easily my least favorite, and find it pretty skippable. Next up is a re-recording of "What Happened to your Band," though Matt replaces f**k with my mind with mess with my mind here for some reason. It's a song that needless to say, feels more than appropriate on this album, and personally, I enjoy it much more than the McBusted version. "Shipwrecked in Atlantis" is a sequel to "Air Hostess," where you end up at the Atlantis hotel in the Bahamas, after the plane lands (or I guess crash-lands). The song takes a LOT of cues from Blink's "Rock Show," but it never really seemed to bother me. With Cobus' drumming of course being a huge centerpiece of helping these songs feel so full of life and crispiness. "Race to Mars" is a dreamier, space-themed track that I really love, "All my Friends," is an acoustic track that touches more on the feelings of nostalgia, memories, growing up, and such (though I do feel the chorus can feel just a tad repetitive at times-still a solid track). "MIA" is another song I've revisited a lot, "Radio," is another nice track, as the video sees the boys driving in Miss Mackenzie's car. And then we get to easily the best songs on the album, the closers "Nostalgia," and "It Happens." Nostalgia is the last we get of raw, unhinged pop punk goodness, and is basically Nineties but even more energized. And it's friggin' awesome. Being, well-nostalgic and reminiscent, while still feeling like it can age pretty gracefully. And "It Happens" closes things off as the guys sing about almost being done with the record, reflecting on their beginnings, and it brings a warm, but still mature sense of just accepting life, and how things just sometimes can happen. I think it's something a lot of us can connect to.

An all-around more than firm, and stellar collection of hits. God, it just feels so great seeing how well they've gone on to be nowadays.

In Conclusion:

For now, Busted are in hiatus mode (fortunately not for anything bad mind you). James has gone on to try his own solo career (as Future Boy), and recently got a record deal with Warner I think. Matt's continuing his career in acting and podcasts. Charlie released another solo album this year, and now has a Patreon. So yeah-overall, it just seems like they're doing a lot better for themselves, and I guess I have not much else to add other than, I've just grown to have a great appreciation for them. There a sort of intrigue I found in them as I revisited them last year. How for a couple of years, they were THE hot s**t of the UK, only for it to all just end so quickly. Charlie and Matt's stories, James' career, it was all just really interesting, and I'm one to like going down rabbit holes just to see all the connections and links. It can always give the music more perspective.

With that, I love Busted, and thank you for hearing me ramble on about them. As mentioned before, I'd really like to engage more about them, so feel free to comment.

WARNING: I ramble. A lot. It's not even really funny. So get some popcorn or something.

(really quick, this is my first post on this sub, so yeah, hope you enjoy. And as always, this is the internet, so personal opinions incoming).

Since last year, I've been on a really huge Busted kick. The UK pop punk band from Essex has just reached levels of fascination and interest for me. Not only because of how much I really love them, but just their career in general, and how things have gone nowadays. I'm basically going to cover their works from their debut self titled album (which turns 20 years old today), all the way to their most recent stuff. Their general history, and their albums. So les go...

Origins:

James Bourne and Matt Willis met in high school, and it was pretty much your typical origin story for a band. They loved the two big pop punk giants themselves, Green Day and Blink, and they would write songs in James' Basement. Very juvenile, love-induced songs about crushes, heartbreaks, and time travel (James is an unapologetic Back to the Future fan). They officially became Busted around 2000, with James on guitar and Matt on bass. They would hold auditions for another guitarist, with Tom Fletcher and Charlie Simpson being brought in. In the end, Charlie won the spot. Busted was officially a trio, with all 3 guys sharing lead vocals. Charlie would hop on drums here and there, but usually for promotional material and stuff. He does play drums irl, but for the most part, Busted has no official drummer. They just use session and live drummers. Damon Wilson (aka, the left-handed Travis Barker) would be their most consistent live drummer during this time.

Busted (2002)

Busted's debut self-titled album would be released by Universal/Island Records, and produced by Steve Robson. The 11 track LP has a very much consistent sound of mostly pure pop-rock. Punk elements would come into play here and there, but it was mostly radio-friendly power pop aimed at teens and tweens. From the peppy guitarwork and cheeky lyrics, it is still very much an early 2000s album. "What I go to School for," their very 1st song is proof of how it hasn't exactly aged gracefully. As it's about crushing on your hot 30-year old teacher. What's more, she even reciprocates it in the end. For as collar-tugging as that may be, the trio were barely in their late teens by this point, Charlie being 17 at the time (the youngest, despite his height and signature deep voice). If you can look past that factor, it's a mostly innocent young love song that while a product of its time, including for the band themselves, doesn't really come across as being that creepy. Sonically, it's got a fairly light-hearted, daydreamy feel to it, and the juvenile lyrics more than reflect that: (Can't tell my friends 'cause they will laugh, I love a member of the staff). Though the climbing up a tree to see her in her house in her underwear line is one where I can't blame you if you just can't stomach it. On my first listen, sure I may have found the lyrics to be pretty cringy, but the song's definitely really grown on me since then. It's an utter earworm, and-as we'd see throughout most of Busted's career-shows how the guys were actually pretty good singers, knowing how to deliver some pretty satisfying harmonies. Dated, but I just can't help but smile a bit whenever I revisit it.

And then of course: there's Year 3000, the trio's signature hit in all its ready-to-party glory (insert Jonas Bros. joke or reference here or somethin' idk). From that opening synth riff, that crescendo into the main riff, and the memorable goofy, but fun lyrics of taking a trip to the next millennium, where everyone lives underwater, boy bands run amok, girls now have 3 boobs, and your great-great-great granddaughters be lookin' pretty fine (not doing fine, mind you. With stuff about girls swimming naked and the slightly promiscuous lines about Peter acknowledging your future family's hotness, it really shouldn't take a detective to find out why the Disney-signed Jonases would edit those lyrics. Only edit that doesn't make a ton of sense is where they change Michael Jackson to Kelly Clarkson but oh well). Overall, Year 3000 still remains a pure fun pop song that like WIGTSF, is just implanted into your brain with how infectiously catchy and fun to sing along to it is. Though a part of me kind of prefers it live.

The other singles "You Said No (Crash and Burn)" and "Sleeping with the Light On," aren't quite as memorable as School and 3000, but still were successful. You Said No is easily the weakest single I'd say, and one of the more skippable songs of the album at least for me. Sleeping with the Light on is their first formal forray into writing a ballad about a failing relationship, and I'd say it also sticks the landing. As for the rest of the album, that same dated, questionable lyricism persists on "Britney" (gee, I wonder who that song's referring to and how they go about it?), and the tracks Pscyho Girl, All the Way, and Dawson's Geek don't really do too much for me. My personal favorite deep cuts without a doubt have to go to "Losing You" and "Without You." Losing you, another ballad, again showcases the boys' vocal range, feels sincere, and very much nails the bittersweet angle. Kinda sucks how the band themselves have gone on record saying they're flat out embarrassed of this song, which I guess I can see, but personally, I do really enjoy it. And "Without You" has Charlie singing solo. It's the big emotional climax of the album, and is without a doubt a highlight. From its opening, crushing piano riff, powerful, yearning choruses, and Charlie's soulful singing, it really does show more of how for all the teenage, 2000s goofiness, Busted could in fact manage to pull off genuinely heartfelt tracks. It's kind of an outlier, even more so that Losing You and Light on. The album closes off on "Loser Kid," which is basically the sequel to What I go to School for, both in sound and narrative. And as such, brings the album full circle. Not to harp on the bonus tracks either. "When Day Turns into Night" is a simple acoustic jam, and "Everything I knew" follows up on the emotional edge by being a nostalgia-track.

The album, while not exactly performing too amazingly at first, would go onto be a hearty success, peaking at #2 in January 2003. WIGTSF, Year 3000, and You Said No would go on to reach #3, 2, and 1 on the charts (winning the band a record for 3 debut singles hitting that order). It does suck how on streaming sites and such, the whole album is region-locked over here in the US, with the exception of the singles, though. Like I get that it's European, but not everyone has VPNs you know. So you pretty much have to hit Youtube if you want a taste of the deep cuts.

Out of their entire discography, self-titled is definitely them at their most "boy-band" esque. Their entire general image during the height of their popularity was basically just "boy band but with guitars." A label that the band would go on to say they never really vibed too much with. Manufactured as they may have looked and sounded, Busted was, is a real band. Even if the debut is a case of some classic guys-in-suits interference (the band not being too happy with how some songs were mixed, and wishing to push the pop-punk element more and such). In the end, as much of a product of its time it is, and easily their weakest effort, there's still some merit in this thing.

And now here's where we get to my favorite...

A Present for Everyone (2003)

I gave this album a spin for the 1st time back in August of last year. And, while it is admittedly a bit longer than it probably needed to (with or without the bonus tracks), it was the record that sold me on the band. At least again.

See, this is where my intro to Busted is. Back in 2016, I watched that 2004 Thunderbirds movie (a guilty pleasure, I'm sure the original and the 2015 reboot are leagues better). And the song "Thunderbirds are Go" by the band played at the end. I immediately loved it, and just like that, I became aware of the band. I fell in love with Blink-182 back in my middle school years, and Busted seemed very reminiscent of them. Thunderbirds was great, but then I listened to "Air Hostess", and I may have loved it as much as Thunderbirds. And for years, those were the only 2 Busted songs I knew and listened to. I did find out about the original Year 3000, as like many, I thought it was a Jonas song for a while, but I listened to it like once (because I was wary about the language-I was raised in a very Catholic home where "shut up" is still considered a cardinal swear lol. Like, I've grown to kind of respect clean edits of songs because of that. Otherwise, I wouldn't been able to listen to anyting resembling cool. My ipod shuffle is full of censored Blink songs).

So I blasted those lone two songs for like a couple of years, and then I just kinda grew out of them. Though back in 2020 or so, I'd give Air Hostess a few more spins, and it still stuck. I grew to really like the original Year 3000, and a year later, I gave WIGTSF a spin, (and as mentioned before I didn't really like it at first, but now it's grown a lot on me). And in August 2021, I listened to the 15 track special edition of APFE, and by the end-I was sold.

As for the actual album itself: I still really cherish it. Busted finally were in full pop-punk force. Something they wished for since the debut. It's definitely more "mature" than the debut, with only a handful of songs being in the same cheeky, light-hearted vein as the debut. I'd say the two biggest flaws are 1). the runtime. I've grown to appreciate it, but this 50+ minute long album I can't really see being super accessible to any first time listeners, and may drag on. And 2.) there are some moments off this record that can feel a bit too derivative, and fall into some typical pop punk cliches. Charlie said the album had Good Charlotte vibes at the time. (Personally, I just never really got into them, so yeah).

But aside all that, there's just so much to enjoy here. I absolutely LOVE Air Hostess. Like, I can't tell you how many times I've listened to it, and yet, it's somehow managed to never get old for me. I think it's a top-tier pop punk gem, and a perfect album opener. Crashed the Wedding was the lead single, and while not amazing, still has great energy, especially in a live setting, plus a memorable video to boot. Then we get to the song "Who's David," which remains another one of my personal favorites off the record. The strings section towards the end, how the guys deliver the chorus-it's a really satisfying listen. And personally, watching the music video late at night is the best way to experience it. We then get to the other two singles, "She wants to be me" and "3am." These two songs were produced by the Matrix, who you may recognize for working with Britney, Avril, and other very big pop acts of the time. SWTBM continues to show the band's knack for hooks, while 3am, despite being less energetic, is a more than welcome ballad. Then we get to the bonus track "Falling for you," which is honestly one of weaker songs off the album. It just sounds like a Blink ripoff. Complete with na na nas from the Party Song. "That Thing you Do" also feels very samey and pretty forgettable.

But then the album remains tight for the rest of the runtime. "Over Now" is a breakup track I've revisited a lot, and like Who's David, has a grand orchestral element in the final chorus that gives it its extra edge. "Fake," I feel is a much better case of taking cues from Blink, and is another song that I've come back to the most.

Then we get to the 2nd half, which has a streak of 6 excellent songs that more than stand up on their own. "Meet you There" is a really tender acoustic number about reconciliation, and I'm just generally a sucker for stuff about "where do we go from here now?" And then there's "Why," which is basically this album's "Without You." Charlie sings solo, and it's a really powerful, punchy track that even has some traces of alternative and even post-punk thrown in (a sign of things to come for Charlie). And again, shows just how much of a force the guy can be behind a microphone. We then get to another bonus track placed in the track listing of the special edition "Loner in Love." It's a really typical, bittersweet, self-deprecating unrequited love song, but God, they just manage to make it really work. I can see it working really well as an album closer. Then we get "Better than this," probably the best song on the whole thing. Matt Willis takes solo vocal duties here, and the emotional chorus and Drop D guitars manage to hit everything right for me. It's a definite climax on par with "Why," even, maybe more. "Can't Break Thru," is our second to last track, and it's James' turn for a solo. The chorus is super fun to sing along to, it has a simple but neat guitar solo, and again, also feels like it could be a nice closer. But then we get "Nerdy" the actual closer, which I always found to be a more melancholic song. I just think songs in G can sound a lot more sadder (alongside F and C, and they're all majors). It has the same sort of endearingly juvenile but earnest energy Loner in Love has, what with its high school backdrop, but once again, we have a string arrangement and really anthemic vocals that manage to really sell it. And serves as a surprisingly beautiful sendoff to this pop punk gem of an album.

Even the singles' B-sides manage to be memorable, even if they are mostly just covers. The aforementioned "Thunderbirds" has great energy, "Build me up Buttercup" was a collab with fellow UK pop band McFly, which was the band original member Tom Fletcher would go on to be with. Which, now that I mention it, McFly would go on to kind of be considered Busted's "successor" in a way. Even a lot of the songs from APFE would be co-written by Tom. APFE had a general "holidays" theme, mostly in terms of the album cover+name, and its winter release, so we get covers of Hark! and O Holy Night (though I haven't been able to find the latter anywhere, so take that with a grain of salt, for now at least). They covered "Where is the Love," though I think it sounds much better live, "Fall at your Feet," "That's Entertainment", "Peaches," and "Runaway Train," I liked, and I absolutely love their rendition of "Teenage Kicks." Though again, specifically live (when they performed it at the 2004 Brit awards and in Manchester a month later-not knocking the album version though). "Mummy Trade" and "Let it Go" were the only B-Sides that were originals, and Let it Go is my personal favorite as a very moody song about fear. The debut also had B-sides, but I didn't really listen to them all enough times to form strong opinions.

As for some pointless random trivia: the album was originally released with 13 songs, but a special edition would be released with the songs "Falling for You," and "Loner in Love" being bonus tracks placed in the middle of the track listing rather than like, the end. Loner in Love kind of messes up the order of the three solo songs for Charlie, Matt, and James, coming in the middle of Charlie and Matt, but it never really bothered me. On US streaming sites, the album cover is different than the original one, as its the cover for the international release of the album (not to be confused with the self-titled greatest hits compilation album that was released in America, meant to promote the band over there, that just never went big). "She wants to be me" was the last official single, but it never charted since it was on a smaller CD format I believe.

Above all else, Busted is forever based in England. They were gods at home, but never managed to crack the states. There's even an entire docu-series showing this (which I haven't watched, but it's called America or Busted I think). As mentioned before, they released another self-titled album to be released specifically for USA, but it didn't amount to much. It was just a singles compilation (not to say it didn't go anywhere, as I'd say it's pretty safe to assume Joe, Nick, and Kevin bought it). And to this day, most of their music videos from this era are regionlocked (except for SWTLO, 3am, and Who's David).

The End (for now...)

​

2004 proved to be Busted's peak. 3 singles that went number one, 2 sold-out arena tours+ a live album and DVD, participating in Band Aid 20 for Christmas; these boys were at the top. Only for it all to end just as quickly as they got started.

Charlie Simpson secretly grew to resent the whole popstar lifestyle and image of Busted. The fame, the label meddling, the poppiness, he just didn't feel artistically satisfied. And it wouldn't be long before all of that would get to him. If not already. And you have to remember for as big as Busted was, the fact they were essentially branded as a boy band definitely didn't exactly make them critical darlings or anything. They'd be seen as kind of a dated joke of an artist. Kind of think of how some people out there dismiss popstars and stuff. There's always that stigma, and Charlie felt it too. To put this in perspective, this is a kid who wore Deftones patches. He was a fan of more heavier stuff, but decided to give Busted a shot anyway. James recalled Charlie probably already knew what he signed up for considering Busted's mainstream appeal, but decided to make the most of it anyway. But again, in just a good 2-3 years, it would all end. No one except for Charlie thought Busted would ever end, let alone wanted. Charlie started a new band called Fightstar, which was a more metal, post-punk endeavor. He finally had his chance to be artistically fulfilled. And would spend the next 10 or so years going back and forth on whether he's even glad of Busted. Some interviews show him admitting it was at least still a fun ride. Others show him outright despising the whole experience, and he even hid his Brit awards because of it. He's basically gone on record saying "I will NEVER ever join Busted again. No fucking way." Harsh as a lot of his statements were, he does say he doesn't regret saying it simply because that was how he genuinely felt at the time. Even if those statements definitely make the year 2015 feel very awkward given the glorious gift of hindsight, but I'm getting ahead of myself.

But despite all of this, he still really liked James & Matt. They became good friends, and he never meant it as a personal thing against them. I mean, it was personal, but hopefully you get what I'm saying. James & Matt very much loved Busted. They enjoyed it, and were loving and living the dream. Some later interviews show it wasn't all sunshine and rainbows, specifically for Matt, but for the most part, they didn't want it to end. Matt said he just thought they'd keep chugging along forever like Green Day, but then it just ended. It seemed like James & Matt were aware of Fightstar to some degree, but not that it'd lead to a full-blown breakup. Charlie had already made up his mind to quit Busted by 2004 or so, but he still kept Fightstar a secret from James and Matt for a while. It wasn't until their final show at Wembley Arena in December that Matt would find out. James didn't know the whole time. Charlie called Busted's manager on Christmas Eve that he was done. And in January, the band would publicly announce their split. Busted was a band that was built on unanimity in the end. There was no band without Charlie.

​

Soo...I was originally going to keep Busted's full career as one post, but this ended up stupidly long (I told you I talk a lot), so Part 2 will be probably tomorrow or something. Byyyeeee.

P.S.: Feel free to comment. I genuinely would like to engage with others about the band.