Bands will always have their detractors; that's just the way it is, especially when there are line-up changes and differences evident from album to album. One outfit that's had their share of criticism is New Jersey's ska/punk stalwarts Catch 22. To wit, when vocalist/lyricist Tomas Kalnoky left the band, being replaced by Jeff Davidson, people were up in arms that Keasbey Nights, the band's debut LP with Kalnoky at the helm, was leaps and bounds ahead of their 2000 follow-up Alone In A Crowd. However, both records are brilliant. And again, when Davidson left, some fans couldn't stomach the "new" version of Catch 22 with Ryan Eldred - a founding member and sax player - taking over vocal duties. Well, now that the band has put out another record - the first full-length with Eldred as frontman - people are claiming this is not the Catch 22 they knew and loved. And with the recent release of Streetlight Manifesto's (Kalnoky's project) debut release the infectious Everything Goes Numb, which has been greeted widely with critical acclaim, some people are wondering just what happened to his former band. All I can say is naysayers be damned! Truth is, Catch 22 are still one of the most impressive ska bands around, a great live act and now, after three years since AIAC, proving the new version of Catch 22 is a great band on record as well, with the lively, upbeat, and fun Dinosaur Sounds.

In greater detail, Eldred's vocals are strong and smooth, standing up to both of his predecessors, and sound fantastic when layered with trumpeter Kevin Gunther's back-ups. And as always, the horn section shines, as the six-piece meld numerous styles into their signature ska/punk sound including reggae, rock, jazz, soul and swing. Even more so on this record than their previous efforts, they've included more of a pop-vibe. Nonetheless, they haven't gone soft; rather, the songs are catchy and melodic, while still maintaining an edge. Just listen to the first offering "Rocky", which is pretty heavy, as the music mirrors the angry, tempestuous lyrics, and "Chin Up", which speeds up around the two-minute mark as the guys show off their hardcore tendencies. The introspective "Dripping Faucet", the absolute standout, is no doubt the heaviest, most affecting of the album. Another excellent offering is the finale, a downright energetic, powerful instrumental.

Yet, there are also some mellower tracks as well like "Beguile the Time", "Good Times", and "Chasing the Moon", a song about drinking "it all away" that's rather slow. And right before "So Cold", there's a short, subdued snippet of a song that sounds really swing-inspired, while on "Motown Cinderella", the band gets pretty soulful, especially in the middle of the song. One thing's for sure, on Dinosaur Sounds, with all the varying styles and tempos, the listener is never allowed a chance to become bored (Victory).

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