Mankind has always been prone to comparison, and that rings true in nearly every aspect of life, especially music. Case in point: last year, despite loving the same songs, albums, and artists, the two hosts of Keep Calm and Carry On still had a different album of the year. When discussing how this was possible, we began to feverishly debate which album was best: Craig argued on behalf of The Wonder Years's landmark effort Suburbia: I've Given You All and Now I'm Nothing, while Donald remained stalwart in his support for Transit's breakthrough Rise Records debut Listen and Forgive. When the discussion seemed at a stalemate, an idea was hatched: what if we rated every song on each album on a scale of 1-5, and averaged out all the songs on the album to find the album's "score"? That's exactly what we've done here. Below, you'll find the scores of each song on their respective albums, and an argument on each album's behalf. As you'd likely expect, Craig will be presenting his case for Suburbia while Donald will try to convince you about the triumphs of Listen and Forgive. Now that we're all caught up, let's Settle the Score:
What was truly the Album of the Year in 2011: The Wonder Years's Suburbia: I've Given You All and Now I'm Nothing or Transit's Listen and Forgive?
The Wonder Years- Suburbia: I've Given You All and Now I'm Nothing
Came Out Swinging (5 out of 5): There is not a more fitting song title for how this album begins than "Came Out Swinging." The song culminates in the best bridge of last year, with Dan Campbell belting "I came out swinging from a South Philly basement caked in stale beer and sweat, under half lit flourescents. And I spent the winter writing songs about getting better, well if I'm being honest, I'm getting there."
Woke Up Older (4.5/5): Oh, why can't we start old and grow younger (to reference the #3 album on our list last year). This anthem about how quick time goes by and how fast things can change is one of the Suburbia's highlights. Also, extra props were added for the terrific Mountain Goats reference in the bridge.
Local Man Ruins Everything (4/5): "It's not about forcing happiness, it's about not letting sadness win". Those two lines basically sum up everything this song is about. The first song released from Suburbia prior to the album's release and it was a well-deserved honor.
Suburbia (3/5): This album is unique in that it actually has three "title tracks" in that 3 of the album's songs when combined together make up the album's title. The first of these tracks is a 51 second interlude paced by a somber keyboard and heavy crash cymbals from Mike Kennedy. But it doesn't earn more than 3 stars, because it never really becomes fleshed out.
My Life As A Pigeon (3/5): Despite having some of Mike Kennedy's best drum fills on the entire album (seriously, he's an absolute beast on this song), the song's weaker chorus and cluttered sounding bridge hurt what could have been an album standout.
Summers in PA (2/5): Most albums, even albums of this caliber, have at least one song that could have just been left in the demo stage instead of being placed on the final cut of the album. Summers in PA is that song for Suburbia. Not even a solid guest vocal performance from the two headed beast of Dan O'Connor and Alan Day from four Year Strong could save this song.
I Won't Say The Lord's Prayer (4/5): Controversial at the time of it's release, "I Won't Say" was construed by some to have sacrilegious lyrical content. But vocalist Dan Campbell has defended the song, saying it's about people who blindly follow religion instead of making informed decisions. Either way the song is biting, and Campbell's vocal performance is top notch.
Coffee Eyes (4/5): As someone who has spent many a summer night in a cramped diner booth, I can say this song is one of my personal favorites off this album.
I've Given You All (3/5): The second of the title tracks is an acoustic track which features Campbell telling the sobering story of a man who was murdered in the band's hometown. The song places the setting remarkably well, but it feels like an interlude again, instead of a full song, and for that it loses points.
Don't Let Me Cave In (4.5/5): The second single from Suburbia and Campbell's best vocal performance on the whole album. When he sings the line "you drove me all the way up, cause you could tell that I was a mess," you can hear the anxiety and tension in his voice. Guitarist Matt Brasch also has a standout role in the bridge, getting to take over lead vocals briefly.
You Made Me Want To Be A Saint (3.5/5): This heartbreaking tribute to the band's friend Mikey Pelone, who died between the release of the band's second album The Upsides and the release of Suburbia, is a fast, short burst of emotion.
Hoodie Weather (4.5/5): "Growing up means, watching my heroes turn human in front of me." That line alone is enough to earn the penultimate track on this album a 4.5 star rating.
And Now I'm Nothing (5/5): Bookending the album with the only two 5 star tracks is actually a tremendously successful decision, as it keeps listeners from skipping out on the back half of the album. The last of the title tracks is easily the best, bringing the album to a climax and pulling it full circle at the same time. The minute and a half outro tacked onto the end of this song closes out this album with such a perfect grace.
Key Lyrics: "I’m not a self-help book; I’m just a f***** up kid."; "I came out swinging from a South Philly basement, Caked in stale beer and sweat under half-lit fluorescents."; "Growing up means watching my heroes turn human in front of me."
FINAL SCORE: 3.92
Transit- Listen and Forgive
You Can't Miss It (It's Everywhere): The opening track of Listen and Forgive builds slowly, but by the time Joe Boynton croons "I'm nothing special, really. I'm just a kid who tried too hard," you can tell this is an album that's going to pluck your heart strings early and often. 3.5 out of 5
Long Lost Friends: Hands down, the best chorus of Transit's career. Though the song is slower than most of the songs you'll find on Keep This to Yourself or Stay Home, "Long Lost Friends" is Transit's assertion that no one does it better than them right now. 5/5
Listen and Forgive: If title tracks are truly indicative of what you can expect from an album, "Listen and Forgive" tells you to expect near-perfection from Transit. Calling back to summers past with melancholy, the track soars from the very beginning, perfectly building on the momentum created from "Long Lost Friends". 4.5/5
All Your Heart: Though the song features Patrick Stump from Fall Out Boy, "All Your Heart" is one of the weaker tracks on the album, and though it's great to hear Patrick Stump's voice again, it really makes me miss Fall Out Boy. Can a brother get a reunion, or what? 3/5
Asleep at the Wheel: The perfect compliment to "Listen and Forgive" in terms of nostalgia, "Asleep at the Wheel" features some of the best vocal melodies on the album. The song also features the best work from bassist PJ Jefferson, who powers the track. 4/5
Cutting Corners: The chronicle of an awkward drunken exchange, "Cutting Corners" shows Transit setting up the perfect instrumentals for Joe Boynton's storytelling, sweeping in and out in a whirl of emotion, much like Boyton's former lover who's "just about ten drinks in." 4/5
Skipping Stone: A song so good Transit recorded two versions of it (the acoustic version is on the first release of Listen and Forgive, while the full-band version was released on the reissue), "Skipping Stone" has a serious claim as the band's definitve track. One listen to Tim Landers's vocals on the bridge, and the chills running up and down your spine will leave you no choice but to agree. 5/5
I Think I Know You: With the impossible task of following up "Skipping Stone," "I Think I Know You" picks up the pace slightly, and Boynton's storytelling focuses on a couple who aren't exactly on the same page in one of the most straightforward tracks on Listen and Forgive. 3/5
Don't Make a Sound: Probably the weakest song on the album, but when an album's low-light is still this strong, you don't have anything to worry about. 3/5
1978: First heard by fans on the acoustic EP Something Left Behind, "1978" benefits greatly from getting the full-studio treatment. Given the TLC of Transit's ever-expanding musicianship, the track goes from acoustic EP Easter Egg to one of the band's strongest tracks. 4/5
Over Your Head: The slowest song on the album that isn't called "Skipping Stone" also makes its claim for the most emotional track on the album. Joe Boynton writes break-up songs so well and so uniquely, and "Over Your Head" is a powerhouse. 4/5
The Answer Comes In Time: Surprise, surprise: another great track. If you don't feel anything when the entire band sings "I don't want anything from anyone anymore" in the outro, you need to learn how to feel. 4/5
(Writer's note: because it was considered an unfair advantage, the tracks featured on the Listen and Forgive reissue were not included in the scores.)
Key Lyrics: "And we grow into those sadder songs, and leave our love behind in every single line. Maybe that's the only place it can really live. But you would never understand (you don't care, you don't care). No, you would never understand (you don't care, you don't care)."; "I miss when you and I were us, and every day, every day was ours. Lost in an ocean of passing days and cars, you stood out like every accident does."; "Lately, you've been looking at me like you've seen a ghost. And isn't it obvious who's been missing who the most? I just wish that you had called, 'cause I would have said it all. In my dreams, you run back to me like long lost friends."
FINAL SCORE: 3.91
The Verdict:
Donald's take: With the albums being separated by one hundredth of a point, I'm lead to believe one thing: both albums are really, really good. What the battle between Suburbia and Listen and Forgive comes down to is which one you have a particular bias towards. Both albums are huge leaps forward for the bands that wrote them, and though you may like one more, you have to respect and acknowledge how good the other is. We were spoiled to have two albums this incredible in the same year. I still think Listen and Forgive is the better album, but there's no denying what a landmark effort Suburbia was. Here's hoping we get 10 more albums this good from Transit and The Wonder Years.
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