Tony Sly – 12 Song Program

No Use For A Name are one of the biggest names in punk rock. With a career spanning more than two decades, the San Jose, California quartet helped defined the famed Fat Wreck Chord sound in the early nineties and released countless classic albums including Leche Con Carne, More Betterness, Hard Rock Bottom and their latest record, 2008’s The Feel Good Record of The Year was another record proudly adding to their already massive legacy. The mastermind behind all those masterpieces is Tony Sly and for the second time in his career (his first being the 2004 split with Lagwagon‘s Joey Cape), Sly is putting down the electric guitar and aggressive rhythms of No Use For A Name for a much softer acoustic effort.

His first ever full length debut, 12 Song Program, shows a more sensitive side of the singer-songwriter – the side that started coming out with tracks like For Fiona and The Trumpet Player. With soothing melodies, 12 Song Program is an introspective look at love and life without being too gushy and romantic. Captivating harmonies are built around not only Sly‘s signature vocal styles but also a supporting cast of instruments and vocalists. Karina Denike, best known for her work in the phenomenal ska punk band The Dance Hall Crashers, lends her delicate vocals to seven tracks on the album, creating a nice harmony along with a more romanticized vision of two singers singing softly to one another. Denike‘s vocals never come to the forefront of a song, but add the right amount of texture to push the song forward just a bit more; and even though Joey Cape‘s appearance on Amends can’t have the same romanticized feeling to it, his appearance is far from disheartening and makes for a welcomed surprise.

Musically, Sly doesn’t limit himself to a sole acoustic guitar but adds layers of instruments to the background of the song. A soaring violin comes in on Via Munich, one of the more energetic tunes of the album, and a soft accordion (courtesy of Swingin Utter’s Darius Koski) floats in the background of Already Won (but to be honest, the thick bass chord steals the track). Keys are added to AM – which also featuresFat Mike on bass – to help create a somber atmosphere; while distortion, drums and a barrage of hand claps turn Toaster in the Bathtub into a heavier tune – and the highlight of the album.

In a time where more and more accomplished punk singers are going the solo route, Sly is able to stand out by going for a different sound than the normal gruff, folk-punk solo album. He uses his softer voice to his advantage and creates a straight out acoustic album built on catchy pop melodies. There are times when it becomes a bit soft, like on Love, Sick and Love; but the album, from the night-time lullaby to his daughter Kiera to the stripped down acoustic closers of Second Act and Fireball, works together as a whole.

A tinge of folk but mostly pop, 12 Song Program isn’t a No Use For A Name record, but it’s one that many No Use For A Name fans and newcomers will enjoy.