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ALBUM REVIEW

Adam Sandler: Stan and Judy’s Kid

Innuendo Galore

By Jacob Beniflah

More than a year following the release of his previous album, Adam Sandler has returned to the comedic CD scene with the release of his fourth album, Stan and Judy’s Kid.

In 1997, the comedian/actor released a previous all-song album entitled What’s Your Name, which debuted to mixed fanfare. His most recent album is a return to the style that made his first two a hit: a balance of long and short skits with several songs.

Stan and Judy’s Kid consists of 17 tracks, including 6 songs. Like on many of his previous albums, Sandler includes some tracks that will leave the listener on the floor laughing, along with some complete duds. Sandler’s comedic style here is very simple: explicit lyrics and a lot of sexual innuendo. If this isn’t your kind of humor, just flip past this album.

The songs are generally not great. More than half the songs I would classify as being very weak, especially by the standards of his Sandler’s albums. One of the bright spots among the songs on Stan and Judy’s Kid is the highly explicit and offensive “She Comes Home to Me,” in which Sandler proclaims his love for his prostitute wife (she may work the streets but she comes home to him). Unless you have been living under a rock you have probably heard “The Chanukah Song.” This album features “The Chanukah Song Part II,” the sequel to the song (read: exact copy with more Jewish celebrity names inserted). The song is still hilarious, though, and sure to be overplayed on radio stations this holiday season.

Others aren’t so great: the beginning of “7-Foot Man” explains it was written on a bus, and the song shows it -- although there is a welcome surprise (Sandler-style) in the middle. “Dee Wee” is hard to understand and lacks humor. “Welcome My Son” is a complete bomb.

In each of his albums, Sandler has a recurring character. First it was The Bafoon and then The Excited Southerner. This time we meet Cool Guy, a man who could benefit from MIT’s Charm School. Each of the short skits features a chance meeting with a female and ultimate failure. These skits are really funny and the final one provides a great ending. Listen closely to the last Cool Guy skit to hear it tie into another skit.

The rest of the album consists of short and long skits. It starts with “Hot Water Burn Baby” which provides a slow and mild start for the album. Things get a lot better with “The Peeper,” a skit featuring the inner monologue of a peeper watching his favorite subject. This skit is classic Sandler, inconsequential, somewhat crude-natured, and hilarious. “Whitey” is the longest skit on the CD at over 16 minutes and features a midget who visits the mall every day. While not a bad piece, it could be cut in half and still probably be a little too long. If you can wait out the dull moments there are a couple of great lines to remember.

Sandler likes to return to guaranteed laughs, so of course there is a skit which is remarkably similar to Happy Gilmore. “The Champion” is an 8-minute piece that improves at the end but once again is a bit slow. “Inner Voice” had potential to be as funny as “The Peeper,” but the bit featuring a male-female encounter and the male inner monologue falls short. The last long skit on the album, “The Psychotic Legend of Uncle Donnie,” is self-explanatory as it uses a bit of dark humor to tell the story of Uncle Donnie who got a little drunk one day on the lake.

Overall, Stan and Judy’s Kid is not as strong as Sandler’s first two. However, many skits seem to improve with repeated play. I doubt this album will go platinum but it is definitely worth a few laughs.