Reggie & The Full Effect - "41"

Reggie and the Full Effect is the long time side project of Get Up Kids keyboardist James Dewees, and a long time favorite of mine.  And I'm not just saying that Reggie and Full Effect meant the world to me in high school. James got the Reggie and the Full Effect name going for their first outing with 1999's "Greatest Hits '84-'87 / The Lord of the Bling".  This album was decent, with some really solid tunes like "Your Boyfriend Hates Me" and "Girl, Why'd You Run Away?".  But the majority of this album seemed like extras left behind from The Get Up Kids.  Not to mention, James just seemed criminally unsure of where he wanted to take Reggie and the Full Effect.   James however when it came to the next Reggie outing really did seem to know what he was doing a little bit more.  With 2000's "Promotional Copy", James continued to bring in tons of very catchy Pop Punk and Emo anthems but infused them with just enough elements of alternative Metal and Electronic music to really have this album stand out.  Reggie and the Full Effect still has a ways to go, because a lot of these tracks still seemed a little unfinished. But still, this album was the first really solid Reggie project.  But let me tell you, James really kicked up the heat with the release of 2003's "Under The Tray".  This album was incredibly solid from start to finish, with more metal and electronic's than ever.  Outside of that James was writing some of his catchiest tunes yet like "What Won't Kill You Eats Gas" and "Happy V-Day".  It just really made my day to see James really transition very nicely out of the Get Up Kids and make his own unique sound.  Reggie's sound by 2005 was honestly at it's peak when they released their 2005 album "Songs Not To Get Married To", which as far as I'm concerned is a modern classic.  Tracks like "Take Me Home Please" and "Get Well Soon" still give me the chills to this day, and tracks like "The Fuck Stops Here" and "Caving" show James and crew branching out their sound even further.  It's also their most straightforward album, with less goofy skits and comedic numbers.  James took a few years to work on his next album, "Last Stop: Crappy Town".  This is an album that in more ways than one is a little hit and miss.  Let's chat about these lyrics for a second.  The entire tone of this album is so much less playful and more depressing, and the instrumentals were much heavier.  Of course, if you look into what James was going through around this time it's not that hard to fathom why the album was this messy in parts.  There were still tracks like "J" and "E" that stuck out to me.  But the heavier and more metal approach in parts was just not doing anything for me.  However, I actually think Reggie bounced back hard with 2013's "No Country for Old Musicians".  Now, I don't want to go as far as to call this album a Comedy album.  But Jesus Christ, tracks like "37", "Who Needs Another Drank?", and "Revenge Is a Dish Best Served at Park Chan-Wook's House" are seriously hilarious.  But that also led to a lot of painful tracks as well including "Guerrera" and "Sundae, Booth Sundae". as well as a handful of interludes that didn't need to be there.  But even more straightforward tracks like "Kanji Tattoos...Still In Style?!" just seemed like classic Reggie and the Full Effect tracks.  But more than anything, James just seemed to be having fun with the project again.  So it's been a mighty long time since we've heard from James and the rest of Reggie and the Full Effect.  And I've actually been sort of in love with these new singles, let's chat about this new album!

This album starts off with “il Sniffy Incontra”, and this is far from the start I wanted to hear.  Like, it’s been about 5 years since we’ve heard from Reggie and the Full Effect, and the last thing I wanted to hear start off this album is some half-assed, one minute of failed comedy.  However, I have to admit the triumphant, wild sound of “il Pesce Svedese” is just what the doctor ordered.  I love the anthemic guitars and the glitzy synths, even James himself sounds seriously refreshed.  It’s a soaring tune, with everything from Pop Punk to Emo thrown in.  It’s a very triumphant start, with some catchy lyrics and a youthful feel that I haven’t heard the likes of in ages from Reggie.  Then we have “Alone Again”, and the very synthetic sound that Reggie and the Full Effect have worked with for years remains strong.  It’s just a good helping of Alternative Rock with a huge focus on Synths at the end of the day.  I love the very downtrodden, heartbroken feel to this one, even if there isn’t nearly as much fanfare here.  It’s very memorable though, and one thing I do have to give props to is this production.  I mean, this isn’t a masterpiece, but it’s easily the most glamorous production James and company have ever touched.  Not to mention, I love some of the passionate vocals from James throughout.  “Alone Again” may not be track of the album, but it’s decent. However, James on “Broke Down” is really pushing himself, and it sadly goes over horribly.  He’s written heartbroken ballads before that have turned out fine, but this is literally one of the most boring tracks I’ve ever heard from him.  The hook is strong and all, and I really feel like James hasn’t let go of any of his ability to write a catchy tune.  As a matter, of fact, I would even say this is one of his catchiest choruses here.  But everything else about “Broke Down” is just so incredibly boring and drawn out.  On the other hand, I actually really love the much more electronic approach to “Heartbreak”.  This one practically has a dance beat on it, reminiscent of so many classic Reggie tunes.  James sounds so determined in his verse and so much more invested, even though this still isn’t the most upbeat tune.  The synths, however, are just so infectious and catchy, from that one lone keyboard on the chorus to the driving beat that bizarrely enough reminds me of something out of the legendary book of Kraftwerk.  “Heartbreak” may not be the most exciting tune, but it works great for Reggie and the Full Effect.

https://www.youtube.com/watch?v=XIT0dlL563Q

    Now, one thing I needed at this point, was some explosive tunes.  And “Karate School” is just the sort of energetic tune I needed to hear.  I’m totally into the chugging guitars and the much more Alternative Metal feel to this.  In a way, this really does sound like a classic Reggie tune, even James’s vocals come off so young and full of energy. Not to mention, it’s just great to hear them break free on the more polished sound we’ve got here and give us a great big, heavy tune.  I do have to say though, what probably works for me the most on “Karate School” is James’s songwriting.  This guy can seriously still write a punchy and catchy tune.  Honestly, this is exactly where I want to hear these guys right now.  Then we have “The Horrible Year” which has just the right amount of Rock and Electronic vibes, which is what drew me to Reggie and the Full Effect’s music in the first place.  In a lot of ways, this one is absolutely track of the album.  This is easily James’s most passionate performance, and you can just tell this one hit so close to him at the end of the day.  But this also sums up a lot of the feelings that Reggie and the Full Effect have dealt with since their first album.  It’s catchy and all for sure, and punchy as hell, packed with just the right amount of attitude.  It may not be the happiest tunes, but it certainly is an anthem.  Not to mention, it sort of has a heartwarming ending, good on ya boys.  We get another slow one with “New Years Day” however, and this one is just so damn drawn out.  I’m always down for a slow burner of sorts.  But with this album, it just hasn’t been complimenting anything at all.  It’s just so sappy, which I do guess you can say about the majority of these tracks.  Hell, you can say that Reggie and the Full Effect are pretty sappy in general.  But the presentation of this one is a joke.  It’s slow, and James doesn’t sound nearly as invested as he did on the last few tracks.  For a song that’s supposed to be emotional, “New Years Day” is a complete miss.   Tracks like “Maggie” do save this album, however, which instantly are just so punchy.  These more upbeat tunes that fuse Pop Punk and Emo and countless other genres are still Reggie and the Full Effect’s strength after all of these years.  In moments like this, they don’t sound like they’ve aged, not even close, they sound better than ever, to be honest.  I love the monolithic wall of synths we get at the chorus, and the chorus itself is just so damn huge.  That, as well as the punchy, upbeat verses, makes “Maggie” really work.  It’s a simple tune, but it comes off so much more emotional than any of the ballads on here.  And of course, it wouldn’t be a Reggie And the Full Effect album without an all-out Euro-Dance tune, which we get on “Channing Tatum Space Rollerblading Montage Music (ft. Fluxuation)”.  James has gone for these sort of tracks for years, but this actually may be one of his strongest attempts to date.  I love the groove on this one, and most importantly he’s actually taking this track semi-seriously.  When he’s gone for tracks like this in the past, it quickly dissolves into obnoxious “bro” humor.  But without that, “Channing Tatum Space Rollerblading Montage Music (ft. Fluxuation)” is actually a pleasant diversion for the album.

https://www.youtube.com/watch?v=VucpUeJUV00

    Now, I’m going to be honest, as far as a slower tune goes “You’ve Got Secrets” is one of the best here.  It’s so much more determined and aggressive of a song, and James doesn’t sound nearly as sappy.  Some of these crunchy guitars are a great standout.  Now, from a writing standpoint, this may be a down point for the album, but James does make it work and wraps it up in a way where it comes off anthemic.  I may wish “You’ve Got Secrets” was a little catchier, but it’s a statement of a tune, and I do appreciate the much heavier approach.  But oh BOY, “Trap(ing) Music (ft. Common Denominator)” is the track I was scared for.  I’m sorry, but I’ve never been into James doing his Common Denominator alter ego.  I get we’re not supposed to take this seriously, but for me this track is just so obnoxious.  I really don’t mind some of the screams ironically, they actually lead to some of the more actually funny moments on this one.  Hell, even that “breakdown” comes off better than James thinks it does.  But 90% of “Trap(ing) Music (ft. Common Denominator)” is just not funny, and more annoying than anything.  On the other hand, I do really love the heavier and much darker vibe to “And Next With Feeling”.  Hell, these synths are even a little mysterious, who saw THAT coming?   I love just how spacey this one comes off.  The mixing here is a little off as some of these chugging guitar practically swallow Jame whole on the chorus.  But I love the way “And Next with Feeling” comes off as just the opposite of every other tune here, being very muddy and the furthest thing from polished.  This album ends off with “Off Delaware”, and man oh man, this is not what I wanted to hear from this finale.  James, once again feels the need to bring in these very sappy songs.  He’s really made a lot of great ballads in his time, or at least slower paced tunes.  But this track is just boring.  It may be deep and personal, but it’s not nearly as emotional, and certainly not as compelling.  James’s style just doesn’t really mesh well with this sound.  Not to mention, this is just a really fucking depressing ending to be honest.

Rating: 7.4/10


Give A Listen To: “il Pesce Svedese”, “Karate School”, “The Horrible Year”, “Maggie”


Genre: Alternative Rock / Pop Punk / Post Hardcore / Emo


Overall Thoughts:  This is a real Mixed Bag for Reggie and the Full Effect.  There are a lot of tunes on here that are easily some of the catchiest and most well written Reggie tracks I've heard in years.  But there are just as many moments of failed comedy and sappy nonsense going on here as well.  It's not nearly as consistent, and the production is off in a few parts.  But this album thankfully shows that James Dewees does have enough left in the tank for some more great music in the future.