The Pavers: 'Return to the Island of No Return' 2002 Ratchet Records/Boss Tuneage
	Having been hooked by the Pavers' first album, Local 1500, I decided to splash some hard-earned pennies on the latest offering from former ALL and Goodbye Harry frontman Scott Reynolds' new(ish) band. While arguably not as good as their debut record overall, there are nonetheless some exceptional songs here. "Return..." opens with the title track, a grinding hardcore number that I don't care much for. As it turns out, it's probably the poorest on the album along with 'Ruiner'. The following tune, 'Mr Falkhurst, I Like Your Daughter', is far superior and kicks off a run of songs as diverse as they are good, ranging from pop (but not bubblegum) to emo to good ol' fashioned rock 'n' roll. Of these, 'Deer Street' is the stand-out - a catchy, feelgood track about how Reynolds copes with life in his shitty neighbourhood, with a great mid-section that creeps up on you like a prowler in a dark alley. Others deserving of mention include the intensely emotive 'Teacup' - featuring some of Scott's finest vocal gymnastics - which has the potential to bring a tear to your eye on a drunken, lonely night; 'Jimmy Misses Sarah'; and 'Thank You, Mr Hollywood Fancy Pants', a scat-influenced track laden with sarcasm, including a mean "mouth trumpet" solo from the ginger one. Lyrically, vocally and (for the most part) musically excellent, this is one of the best and most enduring releases of 2002.
Graeme MacLennan
The Pavers website

The Queers: 'Pleasant Screams' 2002 Lookout! Records
	By my reckoning, this is the eighth full-length studio release from the New Hampshire pop-punk legends since their first in 1990 and it seems like there's plenty of life in the old dogs yet. Indeed, you can almost hear Joe Queer smiling as he sings and it comes across in the vocals that he's really enjoying himself. The album gets off to a rocking start with 'Get A Life & Live It', in which Joe cheerily castigates a former bandmate (ex-drummer Steve?), followed by 'See Ya Later Fuckface' which has some irresistible drum rolls and is even catchier than the first track. Track 3 is probably the most interesting on the album; a collaboration between Ben Weasel and Joe around an old Joey Ramone demo. The result is a charming mid-paced punk love song that wouldn't have sounded out of place on the Ramones album being punned here. Later highlights include another Weasel-penned song, 'I Don't Want You Hanging Around', a beautifully bitter message to his ex-wife, and the new Queers comedy classic 'Homo'. My one criticism is that the record tails off a little towards the end with a fairly uninspiring cover of the Fantastic Baggys' 'Debbie Be True' and the relatively dull 'Molly Neuman'. That said, this is still one of the best albums the band have ever made, right up there with 'Don't Back Down' and 'Punk Rock Confidential'. Long live the Queers.
Graeme MacLennan
The Queers website

Rancid: 'Rancid' 2000 Hellcat Records
	'Rancid' is the bands fifth album and follow up to 1998's 'Life Won't Wait' although critically acclaimed, it was seen by some as being an indication that the ratty, Californian punks had "sold out". So had they? Not if this new album is any indication. Rancid is back and the songs are shorter, faster, harder and louder. Most of the songs clock in at under two minutes with the ska and reggae songs being replaced with full on punk rock; frantically fast with aggressive vocals but still with their trademark melodies. At first it sounds a little forced, a concerted effort to defy the backlash perhaps? But there's no denying their ability to take good old fashioned, in your face punk and transform it into an incredibly uplifting and tuneful occasion. 22 gloriously, pissed off, punk songs packed into 38 minutes leaving no time for any over indulgence or even to catch a breath. Rancid sell out? Gimme a break.
Zelda
Rancid website

Rancid/NOFX: 'BYO Split Series Volume III' 2002 BYO Records
	In this record, the third in BYO's split series, two of contemporary punk's leading lights team up to deliver their unique takes on each other's songs; six Rancid numbers done by NOFX and vice versa. Rancid kick off proceedings with 'Moron Bros'. The intro sounds fine but what follows is an act of master butchery; to be perfectly blunt, they make a pig's arse of it. 'Stickin' In My Eye' is a vast improvement; quite faithful to the original, with Lars' powerful vocals particularly welcome. 'Bob' is also covered well but then it all goes to tits again on 'Don't Call Me White' as Matt is allowed to take the mic. As any Rancid fan knows, Matt's a fantastic bassist but as a singer, he makes a fantastic bassist. Punk karaoke follows as they all sing on 'The Brews' before rounding off with a very good version of 'Vanilla Sex'. Fat Mike and the boys open their side with decent versions of 'I'm The One', 'Olympia WA', and 'Tenderloin', all slightly more up-tempo than the originals. 'Antennaes' suffers a little through the clean production as it lacks the intensity and fury that Rancid injected into it so well. The final two from NOFX represent the biggest departures from the originals. Their 'Corazon de Oro' is stripped of keyboards, played faster and is more of a straight punk version than Rancid's before El Hefe, doing his best Desmond Dekker impersonation, leads us through a bizarre reggae version of 'Radio'. Only the most diehard Rancid fan would claim that Tim Armstrong's band are the better of the two on this interesting but non-essential record. Rancid 0 NOFX 1.
Graeme MacLennan
Rancid website NOFX website

Turtlehead: 'I Preferred Their Earlier Stuff' 1998 Bad Taste Records
	From the fast guitar riffs and soaring vocals of the chorus on the opening track 'Gary D', through the almost poignant 'Over You' and the upbeat madness that is 'Boyracer', you know Turtlehead aren't just another American melodic punk band. Well that's partly because they're from Falkirk in Scotland, but also the subject matter alone makes them stand out from the crowd; the mediocrity of small towns, drinking, domestic abuse, boy racers, frustrations of family life, friends, fishing, and, erm, Zoe Ball. They're also blessed with a singer who can reflect their wide variety of songs, subdued and emotive on one song, mocking or sneering the next. Used to particular effect on 'Brass Arse Margaret', where they trade off harmonic "Hey Margarets" with sardonic insults. There are plenty of melodic punk bands, but how many have great tunes coupled with a social conscience and a sense of humour? Excellent.
Zelda
Turtlehead website