Knoxville, Tennesee’s Superdrag is the most underrated band of the ‘90s (and possibly of all time); so, so sorry Jellyfish. While most know the alternative rock/power pop group for their blistering and catchy minor-hit single “Sucked Out” and probably not much more. The band released A LOT of other songs in the form of five studio albums, compilations, EPs, live tracks, B-sides, demos, rarities, and more. For the sake of this piece, we strictly ranked their five LPs; nerds, pine away.
5. Industry Giants (2009)
Reunion records are tough, as time off from a (sometimes well-deserved) hiatus can bring out the very, very good gems or the brutally, brutally ugly stinkers of a recently reformed act. Luckily, it is difficult for frontman and chief songwriter John Davis to write a bad hook, so the worst Superdrag LP is better than most bands’ best efforts. Screw off, Rembrandts. Anyway, it’s quite sad that the band’s swan song effort went out with a whimper. Hopefully, they try to cut another album, or with any luck they don’t; whatever.
Play it again: “Slow to Anger”
Skip it: “You’re Alive”
4. Last Call for Vitriol (2002)
“Last Call for Vitriol,” Superdrag’s final album before the band’s hiatus in 2003 has some solid gems like their beloved sleeper track “Feeling Like I Do,” but it’s an overall inconsistent listen front-to-back. The album starts off super strong with “Baby Goes to 11” but rolls into eleven tracks that woefully take the listener on an overly frenetic ride. Luckily the next three records listed have no filler whatsoever and are extremely re-listenable.
Play it again: “Feeling Like I Do”
Skip it: “Stu”
3. Regretfully Yours (1996)
This bronze metal slot for the band’s debut LP “Regretfully Yours” may shock both casual and hardcore fans of the band, but the silver and gold medal winners listed below are simply (much or slightly) better; nostalgia is a hell of a drug, and y’all need to sober up. Admittedly, the band’s debut and only radio semi-smash “Sucked Out” is a perfect single (and an incredible combination of sweet and sour). If you wish that The Beatles and The Kinks used more bass-heavy, fuzzy, and slightly dissonant distortion, then this record has your name written all over it. If you don’t wish the same, then this record is for you as well as it is undeniable in the best way ever; suckers.
Play it again: “Cynicality”
Skip it: “Garmonbozia”
2. In the Valley of Dying Stars (2000)
Superdrag kicked off the century with a stripped-down and back-to-basics record that counterbalanced the lush album (just you wait) mentioned next. “I want to rock and roll, but I don’t want to deal with the hassle” is one of the most bitter and biting opening lines to ANY album, and we’re all here for it (and the subsequent rock-age that happens immediately afterward). Palm muted power chords rule, fam. Plus, the gorgeous and haunting masterpiece “Unprepared” might be the band’s best song in its extensive and incredible catalog; if you disagree gimme animosity.
Play it again: “Unprepared”
Skip it: “Bright Pavilions”
1. Head Trip in Every Key (1998)
The late and great Jerry Finn (producer of incredible albums by Blink-182, AFI, and many, many more) helped shape and visualize thirteen tracks to perfection on the band’s sophomore effort “Head Trip in Every Key.” Often appearing on many snooty hipster writers that try too hard to be cool’s best-of-album lists, this record is truly, truly deserving of such. Well played, snobs. The album was a big-budget project, and it certainly sounds like such in a non-contrived way from start to finish. In closing, the many tracks and instruments on each song make the band sound huge as fuck, and we would’ve killed to see this masterpiece played with a full symphony in 1998 (or now; bros, it’s the 25th anniversary of the album this year).
Play it again: “I’m Expanding My Mind”
Skip it: Dude, don’t fucking skip shit. Dumbass.
Serving as the most recent Franz Ferdinand full-length and first without founding guitarist Nick McCarthy, ‘Always Ascending’ might be the only true misstep of the band’s career. While the record certainly isn’t devoid of charm, the few and far between highlights are often overshadowed by tracks that sound like amateur remixes of throw-away ideas. Lead singer Alex Kapranos’ reliably bratty voice is confoundingly toothless here, which tragically sounds like an intentional move when considering songs like ‘Lazy Boy.’ Fortunately the band recently released a Greatest Hits record. There you can find the redeemable moments of ‘Ascending’ without having to wade through their unfortunate Talking Heads impressions.
After releasing three near-perfect albums in a row, it would have been downright rude of us to expect their fourth to be anywhere near as good. Even dance-rock kings need to rest every once in a while. Still, it’s hard to look past the staleness of this record, which constantly seems to be looking back instead of charging forward. Often, the quartet is found rehashing old soundscapes to the effect of an SNL-worthy parody version of the band. You can almost imagine Kapranos breaking and looking directly into the camera like a young Jimmy Fallon, which is obviously not a compliment. When they aren’t cos-playing themselves on this one, they can be heard further experimenting with reggae and dub undertones, but not even in a cool way like on their previous record.
Arriving just a year after the band’s massively successful debut, ‘You Could Have It So Much Better’ almost sounds too excited for its own good. Classics certainly abound on this one, but a good chunk of the album’s 41-minute runtime is spent eagerly attempting to reinvent the wheel that is ‘Take Me Out.’ Remember that time your friend told that really good joke and you laughed so hard it made their entire week? Now that you have to hear them repeatedly tell it to every friend that wasn’t there, you can’t even remember why you thought it was funny in the first place. That essentially sums up the vibe of this record. While the album holds a few Bond-worthy ballads to separate it from their debut, they are sadly not enough to bolster it as a unified whole.
You probably expected us to put this in the #1 slot like some pedestrian dweebs who still think ‘This Fire’ was the band’s best single. That’s where you’re wrong, buddy. Real Franz FerdiFans™ like us have class. We wouldn’t dare insult the band by suggesting their first try was their best. Still, as everyone certainly knows, this record is a frenetic and undisputed classic filled to the brim with some of the catchiest and borderline annoying songs ever produced in the aughts. There is certainly no doubt the album is excellent, enduring, and a favorite for most fans. Favorite isn’t always best, though. While definitely good enough to gain the penultimate slot in the hierarchy of their releases, this eponymous album was merely laying the groundwork for a future opus.
When Franz Ferdinand first broke through American airwaves around 2004, they caught the attention of the legendary and elusive art-pop duo, Sparks. Immediately a mutual admiration society was fostered, as both acts began sharing demos back and forth from across the pond. Talks of collaboration quickly followed, though conflicting schedules would prevent the culmination of a proper album for almost 11 years. To make up for lost time their collaborative project ‘FFS’ was put to tape in a mere fifteen days, which makes that album you’ve been recording for three years even more embarrassing to talk about. Because this is essentially a split release, we can’t in good faith include this one in the official rankings, but that by no means is a reason to not include it in your next Franz Phase.
The cover of Franz Ferdinand’s ‘Tonight’ depicts a crime scene in which the band appears to be attempting to revive the lifeless body of bassist Bob Hardy. Upon hearing the opening bars of opening track ‘Ulysses,’ it’s easy to imagine his heart gave out after carrying the entire goddamn record. Not to say the other members didn’t contribute, but fucking damnit Hardy, save some for the rest of them. In addition to absolutely stellar bass lines, ‘Tonight’ showcases a darker side of the band. A side that is suddenly obsessed with murky analog synths and understated but heavy rhythmic backings. It’s also the band’s tightest record thematically and lyrically. The tracks on this album loosely revolve around the theme of a single chaotic night on the town as Kapranos and company take us down darkened alleys that previous records quickly ran by. All of these elements weave together to make an outing stronger than anything the band has released before or since. Put this one on and pretend you have some seductive mystique for once in your life.
