I just got into DKM in the past couple of weeks. My first purchase was The Warrior's Code, which I absolutely love.

I bought The Meanest of Times today and have listened to it repeatedly all afternoon long. For what it's worth, here's what I think of it...

At first blush, it's not as bagpipe-heavy or overtly Celtic-sounding as The Warrior's Code. As the first reviewer noted, there are plenty of big choruses and upbeat songs, but this isn't Warrior's Code Part Two. This is something different.

Whereas Warrior's Code opened with bagpipes-aplenty, Meanest opens with a song called "Famous For Nothing" that features the sound of a school bell and children cheering (a la Alice Cooper's "School's Out"). Then it kicks in big time with a breakneck double-time riff and a huge chorus. It's a breathtaking way to open an album.

"God Willing" (track two) opens slowly with gentle electric guitar strumming before it springs wide open and reveals itself to be a punk rendition of a traditional-sounding Irish hymn ("God willing I'll see you on the other side"). Again, this is a huge chorus that will be killer to see performed live.

"The State of Massachusetts" (track three) is a corker, Irish-sounding all the way. Fist-pumping chorus. Raucous and raw. I love this song.

"Tomorrow's Industry" (track four) is more punk than Celt, not even pretending to sound Irish. It begins with a "One, two, three, four!" and then...slam! It's going full tilt. It's okay, but not my favorite track on the album.

"Echoes On 'A' Street" (track five) is a decent song, but there's not much about it that stands out to me, other than the larger-than-life chorus that a live audience could sink it's teeth into.

"Vices and Virtues" (track six) is another punk rocker. Reminds me of the Sex Pistols or The Clash. Since I prefer Celtic-flavored instruments and themes, I'm not too hip on this track.

"Surrender" (track seven) is a toe-tapper. I love the driving chord progressions. It's quite melodic, despite the shouting vocals. Frankly, this is an air-guitar, dance-around-like-a-nutbag song that is as infectious as any I've ever heard. Love it.

"(F)Lannigan's Ball" (track eight), is another corker with Irish jig written all over it. From the liner notes: "Dedicated to the memory of Mrs. Diedre Drew. On July 2nd, 2007, we flew to Dublin to record the song "(F)Lannigan's Ball" with our good friend Spider from the Pogues and the legend himself, Mr. Ronnie Drew from the Dubliners." It doesn't get any more Irish than this!

"I'll Begin Again" (track nine) is a full-bore punk rocker with bashing guitars and a rapid-speak chorus that runs all the words together "I'llbeginagain...I'llbeginagain...."

"Fairmount Hill" (track ten) reigns in the bashing and opens with acoustic guitar and an Irish melody straight from the Emerald Isle. In fact, quite literally. From the liner notes: "A Boston take on the traditional tune 'Spancil Hill'." "Fairmount" becomes a mid-tempo song that's more ballad than basher. A great song.

"Loyal To No One" (track eleven) is dedicated to "a miserable bast**d [who] will suffer on alone to the bitter end rather than admit they were wrong." The lyrics are, of course, spit out in anger, each word dripping with sarcasm.

"Shattered" (track twelve). Pure punk angst. Not much Celtic about this track. It's just aggression and a pin prick in the side of those who pretend to be something they're not. ""Shattered, shattered, when people aren't always what they seem..."

"Rude Awakenings" (track thirteen), a song about the ravages of love, is a return to a Celtic sound: Bagpipes and a rousing chorus...then another "One, two, three, four!" and the song picks up the pace, and cranks up the bitterness level: "I thought it was all just a nightmare, I guess it was true...but now I'm left with a daily reminder of you." The perfect song for drunken, jilted lovers.

"Johnny, I Hardly Knew Ya" (track fourteen) is based on "When Johnny Comes Marching Home." Rousing, but typically melancholy. [CORRECTION: I wasn't aware that the song most often associated with America's Civil War was based on a song called "Johnny, I Hardly Knew Ya." That's the kind of stuff I love to know. Thanks, Felix!]

"Never Forget" (track fifteen)...ahhh, the bagpipes are back. I love it when DKM sets the tone of a song by beginning it with bagpipes, then kicking in with guitar and a big-a** chorus. "Never Forget" is "a song about what's really important when it's all said and done." This is a great song and the perfect way to end the album. DKM has life figured out, man: "When you got love and we got family, keep 'em close and don't forget, to hold them right there in your heart, when you got love and family."

Overall, I think The Meanest of Times will be a solid album for DKM -- especially if you dig their more aggressive punk-rock songs. I don't think it breaks any new ground, and it's not as good as The Warrior's Code to my ears, but it's great music from start to finish -- all of which ought to cause any fan to say, "Glory be!" in concert.

More collective vocals and less varied instrumentation, seems like their best work (Blackout & Sing Loud...) are behind them. Warriors Code was good and this about up to that level, definitely needs a few more spins to grab you. however, DKM, Rancid & NOFX are still the holy triumvirate of American Punk/Rock N' Roll today. Even a fairly good release such as this, is 95% better than the crap they play on commercial radio.

People who say all their albums are the same don't know what they're talking about and/or aren't paying attention. The Murphys have been my favorite band ever since their first album and I didn't start to feel disappointed until The Warriors Code because they started to sound like they were repeating a formula. That's why I like that they've taken a new direction on this one, or rather a return to the more straightforward late-70's Oi punk of The Gang's All Here. And people who jumped on board with The Warrior's Code after The Departed and Shipping Up To Boston got big who say it's just like that album are wrong because they're new to the game and don't know the difference (don't get me wrong, I'm glad you're here now and god bless you). I like this a lot and I'm sure it'll grow on me more after time the same way that Gang's All Here did.

Once again dropkick murphys do deliver the goods...good tunes, well played and recorded, 4 stars fully deserved!!!

I got the limited edition for the extra-dvd, but I have to say I was a bit disappointed as it's nothing special.

The extra tracks are ok: special mention for a good cover of Jailbreak (Thin Lizzy).

Thanks alot DKM. I'm sure all the punk purists who were whining over the last 3 albums will just love you guys now. But for me, I can't help but feel ripped off. You release 2 great songs, The State of Massachusetts and Flannigan's Ball, make me so psyched for a great celtic punk masterpiece, and I get this; a bland punk album with a few songs with any Celtic influence.

The first 3 songs are phoenominal(sp?). Then it goes to some okay DKM punk rock. Okay, not that bad; but I am waiting for a good celtic punk song. They've completely butchered Flannigan's Ball. The guest singers simply sound terrible and ruin the mood of the song. Also, they made ballads sound good before, but they're just boring now. The bagpipes are absent through alot of the album, which made me hope for more use of the tin wistle, but I was let down there too. DKM can do really great punk; The Gang's All Here for example is an awesome album, with hardly any Irish influenced songs. Take It And Run from The Warrior's Code is by far one of my favorite DKM songs. They can do great punk, but they don't do it on The Meanest of Times.

I have to say I was very disappointed. It seems that this album is an answer to all the punk whiners. The great songs are The State of Massachusetts, Johnny I Hardly Knew Ya, God Willing, Loyal To No One, and Famous For Nothing. There are some other songs that are above average.

This album really is the meanest of times for the Dropkick Murphys.