Rancid: Lars Frederiksen , Tim Armstrong (vocals, guitar); Matt Freeman (vocals, bass guitar); Brandon Steineckert (drums).

Additional personnel: Matt Hensley (banjo, accordion); Mark Switzer (banjo); Ina Veli (violin); Tom Lea (viola); Adrienne Woods (cello); Justin Gorski (accordion, piano); Vic Ruggiero (keyboards).

Audio Mixer: Brett Gurewitz.

Audio Remasterers: Gene Grimaldi; Bob Ludwig.

Arranger: Jay Terrien.

Considering that Rancid's seventh studio album was largely written on acoustic guitars at new drummer Brandon Steineckert's small town Utah-based recording facility, one might guess that the band had mellowed. Not so: LET THE DOMINOES FALL is a particularly spirited set of the kind of anthemic old-school punk rock the band does best. The first single, "Last One To Die," sounds like the Pogues and the Clash in a drunken brawl at a Who concert, while other tracks recall the group's ska-punk roots in Operation Ivy. Produced by Bad Religion/Epitaph Records founder Brett Gurewirtz the record features Rancid's trademark mix of uncompromising music and insightful lyrics delivered in lead singer Tim Armstrong's inimitable mush-mouthed vocal style.

Rancid's seventh album, 2009's Let the Dominos Fall, was released a full six years after Indestructible. In that time much changed in the world (and the band swapped drummers, with Branden Steineckert stepping in for Brent Reed) but not a whole lot changed with the band's sound. Sure, there were a few cosmetic differences here and there but the fire, spirit, and strength the band exhibited since their debut in the early '90s hasn't faded at all. The first four songs on the album showcase everything that's right about the band. The nostalgic punk fever of the opener "East Bay Night," the angry political burst of "This Place," the ska punk giddiness of "Up to No Good," and the uplifting singalong anthem "Last One to Die" flash past like their whole career in one six-minute medley of greatness. The rest of the album shows off their strengths (like Tim Armstrong's ragged and idiosyncratic vocals) and unveils some surprises (like sweet vocal harmonies on the love song "Lulu," and mandolins and slide guitar on the affecting story of a soldier's homecoming, "Civilian Ways") but ends up sounding uneven with a few surprising missteps along the way. Part of the problem is that the vocals are shared more than usual among the three singers in the band, and while their efforts are OK, there's just no way Matt Freeman and Lars Fredericksen can compete with Armstrong. The way they all trade off vocals on the Specials-influenced "I Ain't Worried" is pretty cool, though. The cleanly scrubbed sound of the record also is problematic, but only if you want the band to sound like they did back in 1993. For anyone else, there is still plenty of power and punch in the band's performance. Songs like "Dominos Fall" and "Locomotive" fly out of the speakers like demons, midtempo tracks like "That's Just the Way It Is Now" boom and swagger, and the whole record will swell the hearts of longtime fans with pride, and might just swipe some new ones too. Rancid's been doing this a long time and while they'll never recapture the exact same power and glory they exuded in the '90s', on Let the Dominos Fall they show they've got more than enough of each to get by in grand style. ~ Tim Sendra

Rolling Stone (p.72) - 3.5 stars out of 5 -- "[A] Rancid album par excellence -- a cannonball blast of punk classicism, alternating between galloping double-time punk pogos and the soulful swing that co-frontman Tim Armstrong and Lars Frederiksen learned from the Clash."

Spin (p.97) - "The sunny brutalism of Rancid's East Bay ska-thrash has lost nary a step and their ethical-emotional rigor is as sweet as it is pure."

Alternative Press (p.121) - 4 stars out of 5 -- "The 19 tracks on LET THE DOMINOES FALL range in length from 64 seconds to a whopping four-plus minutes, encompassing everything from circle-pit scenarios, brisk bluebeat workouts and heart-on-sleeve introspection."

Billboard - "Over hard-charging rock, swinging ska-punk or just acoustic guitars and mandolins, Tim Armstrong and Lars Frederiksen deliver another round of catchy choruses..."