Review Summary: Another Miss for the "Punk Goes" Series
Upon hearing the phrase "Punk Goes," I am usually greeted with the sound of moans and the tortured screams of friends begging for mercy. So it is with great pleasure that I should announce that the release of Punk Goes Classic Rock
has managed to make it an ongoing trend. Similarities between Punk Goes Classic Rock
and Punk Goes Crunk
are abundant, in the ability to butcher songs that other artists worked arduously on.
The album begins with Aaron Gillespie’s new main project, The Almost’s rendition of Free Fallin’. By all standards set on Punk Goes Classic Rock
, this track deserves a gold medal. It seems like Gillespie and co. are a few of the only artists that received the memo that the songs should be at least semi- listenable. Following Free Fallin’ is Dream On, covered by Phoenix Metalcore artists Blessthefall. This is where the album starts it’s slow and painful landslide. It begins a 10 track slaughtering of what we have been raised to know as “the classics.” The album then draws you back in with A Skylit Drive’s rendition of Separate Ways by Journey. This track is not a total failure due to lead vocalist Michael Jagmin, whose voice is reminiscent of Steve Perry of Journey. Unfortunately the landslide continues with The Summer Set’s cover of Rock’n Roll All Nite by Kiss. What was originally the anthem of an entire generation is virtually kicked, beat down, and spat upon, becoming just another blip in the existence of the “Punk Goes,” world. We end on We The King’s rendition of Caught Up In You, originally recorded by .38 Special. Another one of the few gems on this album, the song itself starts slow but makes up for this with a very catchy and upbeat chorus.
In the long run the entire album is very unlistenable. It’s very unfortunate for the few shining stars on the album, as it seems a few of them did actually put in the effort to do well by the original artists. If Fearless Record’s intent was to take songs that defined entire decades and future generations of music, and mercilessly stab them through the heart, then they have succeeded. In the end, the classics should remain just that.