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<\/a>I think all of us have heard the old adage that you have your whole life to write your debut album, and it is the second one where it gets rough because now you have to write a whole bunch of new songs in a short amount of time. Now, imagine being a group of teenagers comprised of 3 brothers (Brandon Phillips (guitar\/ vocals), Adam Phillips (drums\/ percussion\/ vocals), and Zach Phillips (bass\/ vocals)) along with Heidi Blobaum (keys\/ backing vocals) who have self-released a debut album and find themselves a year later signed to Tim Armstrong\u2019s Hellcat Records at the label\u2019s launch alongside other great bands like the Slackers, Dropkick Murphys, the Pietasters, Hepcat, and others. That second album becomes an even bigger challenge because Armstrong wants all new material for the album. That was the task the Gadjits were presented with when this album was released in 1997. Hellcat Records launched with Volume 1 of the \u2018Give \u2018Em the Boot\u2019 compilation series which is outstanding from top to bottom, and \u2018Beautiful Girl\u2019 by the Gadjits was a song that I constantly had on repeat. By the time \u2018At Ease\u2019 was released, my anticipation was at a fever pitch.<\/p>\n<\/p>\n
This CD became one of my favorites of 1997 and rests comfortably in my favorite albums of all time with its combination of influences and originality striking a unique chord. \u2018Bullet in the Mattress\u2019 walks a delicate balance between a playful musical beat and some vocal skat with the story of someone getting killed. This has been one of the songs I will use to turn people onto the Gadjits. There is a ska influence in the beat but also combines with some traditional rock influences to create something unique. The guitar work stands out with some subtle touches. The band go from one strength to another with \u2018Sh\u2019Bop\u2019 sounding a bit like Elvis Costello falling into some ska with some old 60\u2019s soul influence through the band\u2019s own musical lens. The quiet start to \u2018Seat 6\u2019 gives way to an addictive rhythm that will pulsate through your body. The way the song builds is magical, and I have always loved the line \u2018subtlety is the best lesson I ever learned in school.\u2019 Zach\u2019s bass also stands out in the mix here.<\/p>\n
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\u2018Tell Yourself\u2019 springs to life quickly with the rhythm again inducing movement in the listener. Adam\u2019s work on the drums is stellar across the entire album with this just being one of fifteen brilliant moments. There is a slight breakdown in the song that really gives it an extra dynamic before the addictive chorus ends the song. One of the songs that gives away the band\u2019s youth is \u2018Traffic Tickets\u2019 with the lyrics addressing the annoyance of being pulled over by the police. I love the ska influence in the music here as the band is extremely tight. I can overlook the lyrics and focus on the music. The slower beat of \u2018California\u2019 finds the band further expanding their sound with some excellent sax added to the mix.<\/p>\n
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One song was revisited from the band\u2019s debut with the instrumental \u2018Corpse I Fell in Love With\u2019 coming in the middle half of the album. I always thought the bass and beat in the intro could have came from a spy movie before the band brings a heavy ska influence into it while working back in that spy movie motif a few times. The guitar work from Brandon is excellent. \u2018Trusted\u2019 has a slightly darker feel musically which corresponds perfectly with the lyrics. When it comes to relationship issues in music, the lyrics here may have been written by a teenager but still resonate with experiences most of us have experienced. Heidi\u2019s work on the keys here also shines in the mix. The up tempo \u2018Party Girl\u2019 is again the band refusing to be pigeon-holed with the ska again meeting an Elvis Costello feeling with the lyrics here again perhaps lacking nuance but full of intent.<\/p>\n