Take Off Your Pants and Jacket is the fourth studio album by American rock band Blink-182, released on June 12, 2001, by MCA Records. The band had spent much of the previous year traveling and supporting their previous album Enema of the State (1999), which launched their mainstream career. The album's title is a tongue-in-cheek pun on male masturbation ("take off your pants and jack it"), and its cover art has icons for each member of the trio: an airplane ("take off"), a pair of pants, and a jacket. It is the band's final release through MCA.
You Me At Six-Take Off Your Colours Full Album Zip
The title is a tongue-in-cheek pun on male masturbation ("take off your pants and jack it"). Previous titles had included If You See Kay (a pun on the spelling of "fuck") and Genital Ben, accompanied by a bear on the cover of the album (a reference to Gentle Ben).[1] Stressed at being at a loss for a name, DeLonge asked guitar tech Larry Palm for suggestions.[1] The album's title was coined by Palm, who was snowboarding on a rainy day. Inside the lodge, Palm was congregating with friends when a young kid walked in completely drenched, to which his mother suggested he "take off [his] pants and jacket."[1] Palm was told by DeLonge that if the band were to use the name, he would "hook him up".[20] Instead, Palm received a letter from manager Rick DeVoe for his contribution, which offered a $500 payout for the name. Palm scoffed at the amount, and filed suit in 2003 with the intellectual property attorney Ralph Loeb, alleging breach of contract and fraud against the band.[20] Palm demanded $20,000; the band eventually settled out of court for $10,000.[20]
Take Off Your Pants and Jacket has been called a concept album chronicling adolescence and associated feelings.[23] The band did not consider them explicitly teenage songs: "The things that happen to you in high school are the same things that happen your entire life," said Hoppus. "You can fall in love at sixty; you can get rejected at eighty."[22][24] The record begins with "Anthem Part Two", which touches on disenchantment and blames adults for teenage problems. It serves as the opposite of the band's typical "party" image presented to the media, with heavily politically-charged lyrics.[25] Joe Shooman called it a "generational manifesto that exhorts kids to be wary of the system that surrounds them".[25] "Online Songs" was written by Hoppus about "the thoughts that drive you crazy" in the aftermath of a breakup, and is essentially a follow-up to "Josie".[25][26] "First Date" was inspired by DeLonge and then wife Jennifer Jenkins' first date at SeaWorld in San Diego.[15] "I was about 21 at the time and it was an excuse for me to take her somewhere because I wanted to hang out with her," said DeLonge. The track was written as a summary of neurotic teen angst and awkwardness.[15] "Happy Holidays, You Bastard" is a joke track intended to "piss parents off."[26] The fifth track, "Story of a Lonely Guy", concerns heartache and rejection prior to the high school prom.[13][26] The song is downbeat and melancholy, filtered through "tuneful guitar lines reminiscent of The Cure and hefty drum patterns".[25]
The Village Voice called the sound "emo-core ... intercut with elegiac little pauses that align Blink 182 with a branch of punk rock you could trace back through The Replacements and Ramones Leave Home, to the more ethereal of early Who songs".[31] Aaron Scott of Slant Magazine, however, found the sound to be recycled from the band's previous efforts, writing, "Blink shines when they deviate from their formula, but it is awfully rare ... The album seems to be more concerned with maintaining the band's large teenage fanbase than with expanding their overall audience."[45] Entertainment Weekly felt similarly, with David Browne opining that "the album is angrier and more teeth gnashing than you'd expect. The band work so hard at it, and the music is such processed sounding mainstream rock played fast, that the album becomes a paradox: adolescent energy and rebellion made joyless".[42] British magazine New Musical Express, who heavily criticized the band in their previous efforts, felt no more negative this time, saying "Blink-182 are now indistinguishable from the increasingly tedious 'teenage dirtbag' genre they helped spawn". The magazine continued, "It sounds like all that sanitised, castrated, shrink-wrapped 'new wave' crap that the major US record companies pumped out circa 1981 in their belated attempt to jump on the 'punk' bandwagon."[49]
Havoc and Bright Lights marked a rebirth for Alanis Morissette, the first album she recorded as a newlywed mother. Delivered a full eight years later, Such Pretty Forks in the Road is the second act of the story, an album about learning how to find contentment at middle age. Morissette wrestles anxieties, origin stories, addictions, parenthood, and partnership throughout the record, searching for reasons and a diagnosis, achieving a sense of peace with having her sense of calm being disturbed on occasion. Appropriately for an album that's decidedly focused on an inward journey, Such Pretty Forks in the Road simmers, never boils. Hooks force themselves into the center stage on "Reasons I Drink" -- the rare tune here that could be called catchy -- but otherwise melody takes a back seat to mood. This doesn't necessarily mean Morissette's words are pushed into the spotlight. Such Pretty Forks in the Road is lacquered in immaculate gloss, a sound that accentuates the interior journey of the songs without quite inviting exploration. A close listen reveals all the troubles rolling around Morissette's mind, but the nice thing about Such Pretty Forks in the Road is how its smooth, placid surface makes the record feel like an album-length guided serenity meditation.Side A1. Smiling2. Ablaze3. Reasons I Drink4. Diagnosis5. Missing The Miracle6. Losing The Plot
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