Offspring Ixnay On The Hombre CD

The Offspring: Dexter Holland (vocals, guitar); Noodles (guitar, vocals); Greg K (bass); Ron Welty (drums).
Additional personnel: Jello Biafra (spoken vocals); Calvert DeForest, John Mayer, Jason "Blackball" McLean (vocals); Paulinho DaCosta (percussion); Davey Havoc (background vocals).
Recorded at Eldorado Recording Studio, Hollywood, California.
Personnel: Dexter Holland, Noodles (vocals, guitar, background vocals); Jason McLean, John Mayer (vocals); Ron Welty (drums); Paulinho Da Costa (percussion); Davey Havok (background vocals).
Audio Mixer: Dave Jerden.
Recording information: Eldorado Recording Studio, Hollywood, CA.
Illustrator: Enrique Chagoya.
Photographer: Lisa Haun.
The Offspring may have been a product of the Southern California hardcore scene, but their instincts have always been more metal than punk. Their guitars plod along with a heavy backbeat, and even their speedier numbers are weighed down by clumsy riffs, which is evident on Ixnay on the Hombre, the follow-up to the group's unexpected hit Smash. Despite Jello Biafra's opening assertion of the Offspring's punk credentials, Ixnay on the Hombre sounds like a competent hard rock band trying to hitch themselves to the post-grunge bandwagon. The riffs don't have hooks, and Dexter Holland yelps his vocals tunelessly. Of course, much hardcore followed this formula, but it got by on its self-righteousness and visceral forward force. Since the Offspring slow down the tempo of hardcore, it doesn't have either the undiluted rage of hardcore or the four-on-the-floor groove of hard rock. Also, they haven't come up with a ridiculous hook on the level of "Come Out and Play" or "Self Esteem," which leaves Ixnay on the Hombre as a tedious, turgid mess of anemic punk metal. ~ Stephen Thomas Erlewine
So the Offspring jumped ship from California proto-indie Epitaph to corporate behemoth Columbia. So what? Anyone who thinks going for the brass ring is less than "punk" should remember that back in the days of No Future, the Sex Pistols, the Clash and their brethren set their sights on nothing less than total world domination. Despite their proletarian orientations, the godfathers of punk were determined to become rock stars in order to shove their messages down the world's collective throat. So, don't give the Offspring any grief for taking that leap 20 years later, when it means a hell of a lot less.
Contrary to punk expectations, there are no string sections or Tom Scott sax solos on IXNAY ON THE HOMBRE. The band's songs still leap off the disc with the same breakneck beat and aggressive guitar attack as on previous Offspring releases. Sure, the band has expanded its sound a bit; with the help of Jane's Addiction producer Dave Jerden, several songs sound more than a little like, well, Jane's Addiction. But better that than allow the music to stagnate in order to meet unreasonable expectations about "authenticity." Don't worry, dude, the Offspring still rocks.

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Rolling Stone (2/6/97, pp.47-48) - 3.5 Stars (out of 5) - "...IXNAY's smoking chords, chunky bottom, surprising mode shifts and melodic good humor suggest Van Halen's late-'70s California more than Black Flag's....Dexter Holland's hefty high register keeps the group's eccentric beats light on their feet..."
Spin (2/97, p.83) - 7 (out of 10) - "...Holland wails about out changing the world, but his music is more about finding a place in it....These songs are imploring you to rip it up, but they always feel like a prelude to getting on with the rest of your life."
Entertainment Weekly (2/7/97, pp.66-67) - "...tight, razor-sharp body-surfing rock that feels pumped with steroids. IXNAY ON THE HOMBRE is the culmination of the new punk rock's transformation into anthemic, up-with-party-people music--music for beating up nihilistic skinheads..." - Rating: B+