Revolution has always been a topic of discussion amongst everyone that occupies America. There is always that ‘what if’ thought that everyone seems to ponder about here and there. And the mass media knows how to manipulate thought. Within different genres of music, artists are always finding different ways to rebel against the politicians that control this free country. And it is always been known that the three topics that are forbidden from casual conversation are money, politics and religion. Well, let’s analyze what message musicians pop into their catchy melodies these days. Both rap and punk rock attack this country for all of its negative aspects, in a radical way to express their belief of anarchy, or exempt government. Well, these two genres are the boundary lines that divide this country’s racial and social cultures in half. Hip hop has always been an exclusive black American culture to rebel, and punk is the white equivalent. But why are these two so stylistically contrasting? Because its people refuse to accept change, especially when the music they love is fused into something else. But while both genres can divide the country, a few artists out there are known for repairing the gap between punk rock and hip hop. Tim Armstrong, a pioneer of 1990s punk circuit, and front man of Rancid, understood the large gap between the genres, and sought to bridge them together. So, along with his roadie, Ron Aston, and Travis Barker, the drummer of the popular pop-punk band Blink 182, Tim birthed a band under the alias of Transplants. Armstrong wrote the music, and Aston traded vocal duties with him. Travis kept it steady with his frantic drumming style, and in 2002, Transplants’ first record was released.
Transplants’ self titled debut saw an astounding array of guest artists, such as Matt Freeman, bass player and Tim’s bandmate from Rancid. Between Aston's ferocious, gritty rapping and Armstrong's slurred, hindered vocals, and the catchy rhythms and hooky guitar melodies, Transplants had a solid fan base early on. In 2005, they released their second record, Haunted Cities, which as well, saw a range of guest musicians, from hardcore gangsta rap entrepreneurs to dirty punks. What was so different about Haunted Cities compared to Transplants’ self titled, though? Was it a harder hitting groove, or a laid back appeal? Well, the answer is nothing, really. Not much has really changed in the band’s songwriting formula from 2002 to 2005. If anything, it’s much more volatile lyrical content that sets Haunted Cities apart from its predecessor.
Armstrong possesses a very strong bond into hip hop culture that most starting level rappers would kill for with a motive of envy. His songwriting reflects on both his past struggles with narcotics, and life as a touring musician, to life on the streets of a big city, how most inner city kids would feel, and therefore, identify with- giving Transplants a very wide fan base. His melodies are catchy and soulful, with a very groovy sensibility that is what hooks punks into their genre from the beginning. Travis Barker, as much as I despise his main band, cannot be denied as a terrific drummer, regardless of how crappy his credentials may be. He shows flash and technicality in varied amounts, which makes it fun to listen to, but does not defy the song into breaking the rules that divide ‘song’ and ‘jam’. Ron Aston, on the other hand, doesn’t need skill at all to be noticed. As much of a traditional voice he lacks, he makes up for his flaws with emotional rawness. As garbled and low key as Tim’s voice is, Ron’s is the spectral opposite- a gritty, impulsive, volatile wave of throaty yelp. If you were to define these two through songs on the album, Gangsters and Thugs is an ideal representation of Armstrong’s capabilities while Aston’s fiery trepidation is resembled in I Want It All. But while all the grit and slander is present through all of this record, as well as Armstrong canceling it out with his laid back appeal and passion, Haunted Cities can be tedious at times, and delirious. The formula works, but can be overpowering to the trio’s responsibilities from time to time, to the point where guest musicians are needed to prevent listener’s boredom. Without the guest rappers ( Sen. Dog, Rakaa, and Boo Ya Tribe amongst the handful), Haunted Cities would be a dreary record that would not hold up to listeners expectations, which is not benefiting for a band when the main lineup cannot provide enough diversity to remain accessible.
And as cool of a record as Haunted Cities is, and the power it packs within its twelve tracks of pure animosity and rebellion, the album lacks a certain quality (known as multiplicity) that prevents it from being remotely above a ‘good’ rating. Whether or not you love Tim Armstrong’s songwriting formula for Transplants, it does not meet expectations from one of his fans (although even comparing it to Rancid is almost impossible). There is little else to say about a good album that couldn’t mix it up.
