Although LMFAO was heavily hated by critics who saw that their party-loving EDM style of music was the beginning of the end for popular music, that was quite clearly not the case. Sure, their music wasn’t perfect, but the simple melodies and ridiculously catchy yet cheesy Pop/EDM anthems were hilariously essential listening back in the early 2010s. In particular, the Sorry For Party Rocking (2011) album was a success in terms of sales and radio play, with interesting songs such as the legendary club anthem Party Rock Anthem and Sexy and I Know It being staples of the party hard, nightclub lifestyle that was so popular at the time amongst young people. Sadly, LMFAO split fairly quickly after the phenomenal success of that album, with both the two main men behind the group, Sky Blu and Redfoo doing and saying some extremely nasty things to each other, both in public and behind each other’s backs. Not a good look in the long run. Still, after the split, both men decided to dabble in solo careers. Sadly, this was a disaster for both men separately. This album was universally hated upon its release, selling only 144 copies in Australia alone, although the first single from it reached a high position in the charts both there and globally. It seems that the rot of the divisive and bitter battle between Redfoo and Sky Blu had clearly set in by this point. Redfoo produced this particular album, along with assistance from Brandon M. Garcia and Play-N-Skillz. It was released in early 2016 through Rykodisc Records via Redfoo’s own Party Rock Records. Let’s take a listen to this album and we shall judge if it is worth a revisit.

Keep Shining begins with some brief beats and Redfoo screaming into the microphone over electronic textured melodies. It sounds okay but is a little too different for most people’s tastes out there. Still, this sounds a lot like LMFAO. The mixture of electronic sounds, breakdowns and textures make this a good listen. A decent tune to listen to in retrospect, this track is another trashy track that isn’t the most original listen by our party-loving man, but it is more of a listen than what the critics would think. This sounds relatively catchy and oozes Redfoo’s personality throughout. References to booze, drugs, girls and nightclubbing are throughout here, and this tune sounds different and decent throughout. Many references to taking shots of alcohol and partying hard. Surprisingly good, this proves that Redfoo deserves more credit on this tune than what people would otherwise give him for it. This music makes sense if you feel nostalgic as well for the music of the 2010s. Definitely a good listen for fans of LMFAO. It ends with treated and digitised vocals by Redfoo. Really awesome music to hear.

Party Train is one of the singles from the album, beginning with a repeated steam train bell and train horns. Soon enough, this launches into a great slice of trashy EDM with Redfoo getting in action. This is a really good listen for what this is. This is a good listen that also takes a stab at Justin Bieber. The instrumental section sounds a bit like a trashy sort of Hard House or Hardstyle tune with some interesting editing and sounds. There is a breakdown, followed by an Indian-sounding melody throughout. A wacky tune and very out there lyrically. Even if this is universally hated, some DJ compilation releases today are far worse than this. All the same, a fantastically upbeat and tuneful listen for what this is, even if the media destroyed LMFAO after their split. A very good listen. It ends with train screams and people yelping in the background.

Too Much begins with some quirky cut-up melodies and beats to match. This quickly launches into a quite good, catchy and party-sounding tune with autotuned and pitch-shifted vocals. This is exactly what one needs to hear if either wasted or in the mood to take alcohol or drugs. Better than what the critics and some of the fans thought at the time, it is clear that Redfoo has a forceful personality and pours this into these songs. Nonetheless, although this is a fairly predictable listen, it still kicks the proverbial. The music and sounds are a great match for the listener, and again, there have been worse music made in the world before and since. Redfoo raps about a chick twerking and working her booty, before this ends. Quite humourous, really.

Beach Cruisin’ begins with some cut-up vocals and enters into a wacky and enjoyable listen about being on the beach and trying to make it with the ladies. This is laugh-out-loud lyrically at times and is matched by the best of a trashy Electronic Music background. Against all odds, so far, this album is surprisingly good for what it is. It may not be as popular or as loved as LMFAO’s works, but it sounds decent despite some of the pretentious attitude from Redfoo. This is genuinely enjoyable for what this music is. Rapping about getting Corona beers and being an idiot in public, it is very clear that Redfoo does have a good sense of humour. Detailed about getting it on with a couple of ladies, this is not designed to be at all taken seriously. Nor was the music of the Sex Pistols, either and this album comes across as that as well. A funny, ridiculous and trashy song but a good listen, but too out there for most people, you need a sense of humour for this music. Otherwise, it just doesn’t work. It ends with a delayed outro.

Booty Man begins with some beats and sounds rather ordinary. Some rather Rap Music styled melodies enter, and this is a song quite clearly about sex. This isn’t the best tune from this album, but its lyrics and sounds are very out there. That is likely why this album bombed, it is too radically and sexually explicit for people to want to hear this in a serious light. Nonetheless, Redfoo puts his dirty and unusual personality into this solo album. Gold for what this is, this is no different to a lot of Rap Music today, and the sounds and music do make this tune come alive. At times, this is absolutely hilarious to listen to. The music stops in the second half with Redfoo doing a solo Rap, which will make you laugh. Just don’t take this music seriously whatsoever, and you will enjoy this. Embarrassing in some ways, but very, very funny. A cool tune for what this is. Granted, Redfoo makes people laugh on tunes such as these.

Lights Out sounds extremely weird from the start, with watery guitar and Roland drum machine beats. It quickly launches into a strange and upbeat Rock song that sounds very unusual. This doesn’t sound at all like Redfoo and instead sounds like The Rolling Stones. Weird and a poor attempt at making a change in sound from the party rocker. This is good but not the best tune from this album. It has some weird samples and cut-up sounds, typical of Redfoo to do so. Still, this is surprisingly catchy and enjoyably listenable. Again, do not take this album seriously and you’ll be perfectly fine hearing this. Redfoo puts his egocentric and party-loving attitude throughout this song and album, which also cannot be taken too seriously. Decent for a change. It ends with electronic beats and sounds that are quite good.

So Lit sounds like a take on Daft Punk, with 4/4 beats and more trippy Electronic Music. It has some extremely explicit lyrics about sex and dirty deeds. This is not a million miles away from the profane and out-there nature of the first three Kid Rock albums, and also in terms of overall popularity as well. Redfoo proves himself to be a party addict and a freak of nature at that. The autotuned vocals here are a bit different, and this details picking up a dirty lady from the club, in the most profane and explicit way possible. There is a bit of Funk guitar throughout as well. A cool listen, this album deserves more appreciation. It’s less of an album to laugh with and more of an album to laugh at, however. There are some interesting cyber melodies throughout, and this wacky tune is 100% not serious. Trashy but enjoyable. Quirky as well.

New Thang is the first single from the album. It begins with some pounding beats and launches into a very LMFAO-sounding anthem. A wacky and out-there tune with a sampled saxophone that sounds different and unusual. This is very much a tune that is a hangover from the LMFAO days, but it is sexual, driven and better than expected. Redfoo proves himself to be a celebrity who enjoys sex, drugs and partying to the full. Surprisingly and unbelievably, this is actually a good listen. The bass and melodies make this a memorable listen throughout. To be fair, this tune is very much stuck in the 2010s and probably won’t stand the test of time, but the music here is enjoyable to hear. All in all, a very interesting listen, although this is a bit more serious than expected. Catchy and memorable tune from this album.

Juicy Wiggle begins with piano and electronic beats. It sounds more like Woody Allen than Redfoo, to be honest. A different tune that sounds out of place on this album. Once it hits the breakdown, it sounds very much like trashy nightclub material that is very strange and interesting for what this is. The weirdest listening experience from this album to this point and from clubbing-based music in general, the breakdowns and vocals are very different on this tune. The chorus is surprisingly catchy with Redfoo putting his bizarre and unique personality throughout music that sounds unusually odd. A piano solo in the second half sounds completely out of place and weird, to be frank. Very, very odd. Probably not the best tune from this album, but you can always skip it if you wish. Wacky and weird.

Good Things Happen When Ya Drunk begins with some minimal House/Techno Music sounds and is very strange and quirky. Again, this is an alcoholic’s album to drink booze and enjoy. Indeed, if someone was absolutely unable to be sober in the moment and they would hear this album, it would be a masterpiece. Unfortunately, this is not the case. A trashy and weird tune, it sounds like Redfoo was being completely self-indulgent upon making this album. Even so, this is a good tune with a retro vibe about being drunk in the club and picking up chicks. You get it by now, this is very sexist. In any case, an out-there tune that makes little sense, unless you are wasted.

Where The Sun Goes (feat. Stevie Wonder) – Future Extended Mix begins with some straightforward and textured drum machine beats with piano added to it, alongside more Funky guitar. Redfoo steps into it with autotuned and pitch-shifted vocals, with more piano and weird tunes to create his sound. Oddly enough, this is relatively catchy and different. There is some strange instrumentation, including harmonica, which raises some questions about the whole song-listening experience. A lady singer is present, and she adds some interesting flavour to this tune. Stevie Wonder also sounds quite good here as well. The harmonica kind of ruins this tune, but that’s okay, considering the album that it is on. Redfoo raps nicely in the second half, however, and there is a definite Disco/House Music vibe present in this tune. This is enjoyable enough, but again, is not designed to be that serious music. This is likely why many people did not get this, this is oddball music that isn’t designed to be perfect, it is designed to drink and party to. The section towards the end is completely different and sounds very much like an EDM tune. Very weird, but enjoyable enough anyway. A very strange tune.

Meet Her At Tomorrow (feat. Dimitri Vegas & Like Mike) begins with some clanking sounds and launches into a really pathetic-sounding tune before beats in a New Order style with attached melodies enter. This launches into an odd and overly serious tune that is the lesser successful angle of Redfoo, that is, being overly serious. This quickly launches into quite an awful song to listen to. This is much more of an exercise in sounds and textures than an actual piece of music. Even the vocals are really awful throughout. Redfoo would have been better off not bothering with his serious side on songs, he just doesn’t sound right, forcing himself to be serious. In any case, if you need to skip ahead by this point, do that. The lyrics are bad as well, and it seems that Redfoo was aware that his time in the spotlight was quickly running out. Not a great example of EDM-based textures and vocals. In any case, this could have been trashed.

Maybe is the final song on this album. It begins with a piano which is quite good but launches into an overly serious tune that has some really bad lyrics throughout. It is a bad attempt at Redfoo trying to create a serious song with meaning in it. The dude probably needed some quality control on this album, and he was likely aware of that. It’s a love song that doesn’t need to be here, to be frank. One of the more atrocious tunes to be made in Pop Music history, this doesn’t make a lot of sense on this album. You can hit stop here if you wish. Some 1950s-styled piano soloing is present as well, which is not a good match to the tune. A bit of a drag to get through. Redfoo can’t sing that well, either.

Okay, for all its failings, this album is overall much better than expected. It’s definitely not a classic album and is absolutely not designed to be taken at all seriously. However, the first half of the album, in particular, is hilariously gold. The serious soppy tracks on the second half of the album did need to be junked, however. This mixed bag of listening experience was too much for people to get a handle on. Still, it resonates with some good nostalgic value to this day. Should you listen to this album? Only if you loved LMFAO’s music and cannot take things in life too seriously. Serious music fans, which is most of you out there, will hate this, however.

Humourous retrospective gold for nymphomaniacs and alcoholics.

6/10