Getting signed to a major label with two albums full of “dick and fart” jokes doesn’t seem like something achievable for most, but that is exactly what blink-182 did. Originally signed to Grilled Cheese, a subdivision of Cargo Records, Blink released Cheshire Cat and Dude Ranch. While the former mostly gained attention in the 90s pop-punk scenes, the later saw Blink breakout on the radio with the hit “Dammit” and gave the group their first gold record. As expected, this attracted the attention of major labels and a contract with MCA Records. This transition also saw the exchange of original drummer, Scott Raynor, for The Aquabats drummer Travis Barker. The rest, as they say, is history. Their third album Enema of the State, was released on June 1, 1999 becoming certified 5x Platinum in the US and selling over 15 million copies worldwide. Over 25 years later, this huge album is getting the audiophile treatment from Interscope-Capitol’s Definitive Sound Series.
As the needle drops on “Dumpweed,” it is evident that this is THE definitive pressing of this iconic album. The palm-muted guitar churn is quickly joined by Barker’s hyper-precise drum fills, and every note comes out crystal clear. The musicianship wasn’t the only thing to change between Dude Ranch and Enema of the State; the songwriting also received an update. Where the first two albums mostly contained joke songs about dicks, peeping toms, sex toys, masturbation, and bestiality, Enema of the State kept some of the clever joke elements but added a bit of maturity. “Aliens Exist” invokes images of UFO phenomena, CIA interference, and alien conspiracy. In hindsight, this wasTom Delonge was letting fans know about his obsession before it became public knowledge. The slowest and most serious track on the album, “Adam’s Song,” was a surprise hit for the band as it explores depression and suicide and finding the strength to come out the other side. The album’s biggest hit, “What’s My Age Again?” is pure pop construction with lean, punchy instrumentation and instantly memorable lyrics, while “All the Small Things” is even more economical, its glossy chorus practically engineered for mass sing-alongs. Song for song, there isn’t a single dud on the album.
This DSS edition was mastered AAA by Chris Bellman at Bernie Grundman Mastering from the original analog tapes and pressed on 180-gram vinyl at RTI using the One-Step process. Unlike conventional vinyl production, which involves multiple plating stages that can add noise and dull detail, the One-Step method eliminates intermediate steps so the grooves are cut directly from the lacquer to the stamper. If you’re someone who cares about the difference between “good” and “great” pressings, this is where that attention pays off. The bass has depth without getting muddy, cymbals cut without harshness, every drum hit is evident, and the midrange, especially the vocals, sits front and center. It’s easy to imagine that the sound from this pressing is what the band was hearing on playback in the studio. The packaging matches the sonic upgrade: a heavyweight tip-on gatefold housed in a custom slipcase. For once, the term “definitive” doesn’t feel like marketing overreach.
