Released:  June 17th, 1997

Recorded:  December 1996 – January 1997

Genre:  Punk, Pop Punk

Record Label:  MCA / Cargo Music

Duration:  44:53

Producer:  Mark Trombino

Personnel

Track Listing

Singes

Why Dude Ranch is One of My Favorites

Looking back on this record’s critical reception back in 1997, I was utterly surprised at how little it was mentioned.  I suppose Blink’s follow-up, Enema of the State, generated more interest in the band’s back catalog, but I’ve always seen Dude Ranch as the stronger record.  Enema of the State was certainly a solid effort on its own with more polished and consistent sound, yet the rawer, juvenile nature of Dude Ranch really turns it into something special.

I don’t quite remember when I first heard the opening riff of “Dammit,” but I know that whenever it happened, I immediately wanted to own whatever plastic it was etched into.  At some point around the age of 13 or 14, I found out about Blink-182 and Dude Ranch by whatever means I had available, and it remained in steady rotation throughout my various CD players.  I may have bought the album for “Dammit” (like I did with most CDs at the time) but I ended up enjoying the entire album more than most, with its infectious hooks and light-hearted, high-energy nature.

The lyrics are admittedly immature, though they suggest that the band is on the cusp of “growing up” and wrestling with the demands of the real world versus their own prankish and deviant impulses.  That may be taking Dude Ranch more seriously than its intended, but I think it fits.  It’s easy (especially as a teenager or even young adult) to relate to this brand of reckless, irreverent behavior and the price that comes along with it.  Most songs are about girls, parents, girls, and girls.  DeLonge even remarked that most songs on the album were written with a specific girl or event in mind.

No matter how old I get, I can still get a chuckle at Dude Ranch’s candid approach to storytelling.  Some artists are intentionally vague and/or metaphorical with their lyrics; not these guys.  “Dick Lips” chronicles the woes of being stuck with parents with lines like, “Please mom, you ground me all the time / I know that  I was right / all along,” and, “Shit dad, I know I’ve seen you trashed / at least one time / Can I blame it / on one of my dumb friends / it’s been a while since I’ve / used that line”; lyrics that take me back to my own futile arguments with my parents every time.  “Voyeur” marks another laugh out loud narrative as DeLonge relates his experiences peeping in on a girl.  “I’d eat her out if she were on my dinner plate” reflects the album’s teenaged sense of humor while “I can’t be too cool in a tree with my pants down” looks at the comedic side of voyeurism.

Most songs deal with girlfriend troubles of one variety or another, though the lyrics are fun and the music is bouncy enough to be engaging even if you’re not in the mood for a barrage of breakup songs.  Despite the adolescent subject matter, the lyrics are well written and I love the rhyme schemes they’ve come up with.  Rock music is full of bad rhymes, forced rhymes, and non-rhymes masquerading as rhymes, but Blink circumvents the problem with their clever use of words.  “Dammit” comes to mind with, “Maybe I’ll see you / at a movie sneak preview,” and, “The timing and structure/ Did you hear?  He fucked her,” as does the opening line of “Pathetic,” “I know I’m pathetic / I knew when she said it.”  Dude Ranch is full of these novel rhymes normally reserved for hip-hop lyricists and it’s one of things that keeps the album fun to listen to.  More of their playful songwriting is exhibited in “A New Hope,” where a crush is expressed using specific events and characters from Star Wars.

Dude Ranch is just as fun musically as it is lyrically.  Unusual for almost any record, Hoppus and DeLonge share vocal duties on the album.  Hoppus provides the “normal” voice (“Dammit,” “Apple Shampoo,” “Josie,” and others) while DeLonge sports nasal and almost whiney vocals (“Voyeur,” “Dick Lips,” “Untitled,” and others) that have come to be associated with modern iterations of punk.  “Pathetic” is especially notable as the two trade off lines for a back and forth effect that works well.  Dude Ranch ought to be proof that more artists should experiment with multiple lead singers.

The songs themselves are fairly simple in terms of bass and guitar, though they are fast.  Blink really knows how to get the most life out of their power chords and palm muting, and while there’s definitely a sameness from one track to the next, the occasional riff (“Dammit,” “Enthused”) plus the catchy hooks and rhythmic verses ensure that each song maintains its own identity (and also gets stuck in your head).  DeLonge elicits a certain brightness from his guitar that helps shape the album, while also infusing most tracks with naturally upbeat chord progressions.  Raynor is exceptional here; I’m always impressed when I focus on the drums.  Not only are they fast, but the fills and transitions are complex.  “Pathetic,” “Enthused,” and “Josie” feature some of the most varied drumming on Dude Ranch, though they’re nothing short of flawless on every song.  The precise timing and expert use of blazing fills add greatly to the album’s overall energy.

Dude Ranch is somewhat of a rare find.  It’s fun and immature, but it’s also clever and perhaps even mildly insightful in its honesty.  From a musical perspective it’s catchy without wearing thin, and these guys took several approaches to make sure they created a standout record.  Folks will continue to argue about how “punk” Blink-182 is or isn’t, but whatever label you want to put on it, it’s an awesome listen.

Written by The Cubist

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