'Yeah we're friends,' Stump says, 'Just because we move units.' But the album also has a current of longing to it, of missing regular life, regular relationships. 'Champagne for My Real Friends, Real Pain for my Sham Friends' is blunt. Temper that with a road-hardened cynicism about band life, superficial love, and the adventure of signing a record contract, and you have lyrics with a point beyond simply acting up or getting sentimental. Wentz' verbiage can be lengthy - 'I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me,' one title goes - but he has an innate ability to simultaneously acknowledge and deconstruct the mushy emo soliloquy. Stump is Fall Out Boy's vocalist and guitarist, Wentz its bassist and lyricist. But in many more ways it's the same album as Grave, a youth-intense blast of pop culture reference, pop-punk hyperactivity, and the feeling that we'll never understand life until Patrick Stump or Pete Wentz tells us about it. Sure, it nods a little more to the standard dynamics and production tweaks of pop-punk and emo in the mid-2000s - Cork Tree was produced by Neal Avron, who's worked with A New Found Glory. With 2005's From Under the Cork Tree, the band fully delivers on their first full-length's promise. The kids responded - Fall Out Boy were fast favorites of the online social networks (MySpace, etc.), and an endless tour schedule solidified their rep. Take This to Your Grave was urgent at every turn, and though it fit the conventions of its genre, it was bolder and more memorable than the average release on Kung Fu or Drive-Thru. Fall Out Boy's 2003 LP stacked sarcasm, wronged romance, and hardcore-derived passion on the head of a punk-pop pin.
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