The Fleshtones It's Getting Late (...And More Songs About Werewolves)
The Fleshtones's It’s Getting Late (...And More Songs About Werewolves) returns the band to their organ-fueled garage roots with a wink and a growl, and critics largely agree it delivers raucous, nostalgic pleasures. Across two professional reviews the record earned an 80/100 consensus score, praised for its creaky energy, retro 50s rock influences and unabashed monster imagery.
Reviewers consistently point to a handful of standout tracks as evidence the band still knows how to sharpen a hook: “Love Me While You Can” and “Way of the World” are singled out for hip-swinging, organ-drenched stomp, while “That’s Why I’m Turning To You” supplies kinetic urgency and “It’s Getting Late” closes on a surprising pastoral note. Critics note the album's strength lies in organ-driven arrangements, tongue-in-cheek humor and macabre motifs that feel celebratory rather than dour, a clear throughline across professional reviews.
While not a reinvention, the collection's nostalgic muscle and gritty, catchy hooks mark it as a satisfying entry in the Fleshtones' catalog; some reviewers emphasize its lo-fi, joyful garage-rock persona, others its polished moments of classic-rock spirit. For listeners wondering "is It’s Getting Late good" or searching for the best songs on It’s Getting Late, the critical consensus suggests the album is worth hearing for its standout cuts and consistent thematic character. Below follow detailed reviews that unpack how these monster-friendly, organ-heavy tracks shape the record's appeal.
Critics' Top Tracks
The standout songs that made critics take notice
Love Me While You Can
1 mention
"channel the original rock spirit, such as on "Love Me While You Can.""— Glide Magazine
Way of the World
1 mention
"the stomping, percussion laced, organ, and smirking lead single "Way of the World""— Glide Magazine
Empty Sky
1 mention
""Empty Sky," which expands the instrumentation with acoustic strums, percussion, and a psychedelic guitar solo."— Glide Magazine
channel the original rock spirit, such as on "Love Me While You Can."
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Pussywillow
Come on Everybody Getting High with You Baby Tonight
Love Me While You Can
Way of the World
The Consequences
Empty Sky
Wah Wah Power
That's Why I'm Turning to You
You Say You Don't Mind It
Morphine Drip
Big As My Balls
The Hearse
It's Getting Late
What Critics Are Saying
Deep insights from 3 critics who reviewed this album
Critic's Take
The Fleshtones sound delightfully creaky and energized on It’s Getting Late (...And More Songs About Werewolves), where raucous pleasures like “It’s Getting Late” and “The Hearse” stand out as the album's best songs. The review relishes their long habit of riffing on monsters and frames these tracks as joyful, lo-fi celebrations of their garage-rock persona. It praises the record's nostalgic muscle and its streak of gritty, catchy hooks, making clear why listeners ask which are the best tracks on the album.
Key Points
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The title track is best because it crystallizes the band's monster-loving garage-rock energy.
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The album's core strengths are its nostalgic hooks, raucous charm, and persistent monster-themed persona.
Themes
Critic's Take
The Fleshtones return on It’s Getting Late (…and More Songs About Werewolves) sounding like a band who know their strengths, and the best tracks show it plainly. The record hits high points with “Love Me While You Can” and “Way of the World” where hip-swinging, organ-drenched sounds and stomping percussion deliver classic rock spirit. There is also kinetic urgency on “That’s Why I’m Turning To You” and a surprising pastoral turn on the title track that closes the album soothingly. For listeners asking what the best songs on It’s Getting Late are, those four tracks make the clearest case for why the band still matters.
Key Points
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The best song is "Love Me While You Can" because it channels the original rock spirit with organ-drenched, revved-up guitar.
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The album’s core strengths are confident garage-rock riffs, organ-forward arrangements, and a playful macabre sensibility.