Cover albums typically come later in a band's career as a chance to pay tribute to some of its favorite tunes and get a product on the shelves without writing new stuff. So how can one explain "Pussy Cats" Starring the Walkmen, which covers an entire album, coming from a young band that already put out a collection of originals this year?

Furthermore, the source material isn't exactly a well-known (or well-regarded) record. The original Pussy Cats was a collaboration between Harry Nilsson and John Lennon, a tossed-off mix of oldies and originals recorded during a lengthy drunken period. It was generally viewed as uneven, equally full of impassioned recordings and sloppy drunken misfires.

So why recreate it now, and why the Walkmen? The band's Marcata Studio was shutting down, and this album was the last project. I was unable to find a copy of the original Pussy Cats to listen to, but the celebratory party atmosphere on the Walkmen's version certainly seems like it could have soundtracked a binge in the 70s.

Lead singer Hamilton Leithauser's gravelly voice is a perfect match for the material. It provides the rockers with a good level of grit and adds a raspy sincerity to the more reflective numbers.

For their take on the traditional kid's song "Loop de Loop," the Walkmen crowded their studio with friends to shout along to "Here we go loop de loop/Here we go loop de lie/Here we go loop de loop/All on a Saturday night." The effect on the listener is like being dragged into the mob, and it takes effort to resist shouting along to one of those classic choruses that could go on forever.

Similarly, covering a standard like "Rock Around the Clock" might seem unwise, but it allows the band to go wild on a song everyone knows, with a ferociously noisy take (imagine a bar band going nuts and smashing their guitars). However, not all of them work as well. "Subterranean Homesick Blues" just isn't the same without Dylan's ramshackle delivery, no matter how drunk the band got to record it.

If those songs are the party, then songs such as "Save the Last Dance for Me" and "Black Sails" chronicle the last calls, hangovers and reflections. "All My Life" sports the refrain, "Well I've had my share of bad times/I've been shootin' em up, drinkin' em down, takin' them pills, foolin' around/All my life/But I'm so tired of bad times/I'll have to change my ways." It's a simple insight, but a sincere one. Other tracks, like the majestic opener "Many Rivers to Cross," strike the same balance of being revealing without being overly sentimental. And even the lesser tracks carry either the weary tone or drunken energy that further the album's mood.

Though redoing an old album is an odd choice, the results pan out well. It's impressive that what had very specific resonance for Nilsson and Lennon at the time translates so well for another group. It's perfect for looking back on their passing without losing optimism. It's by no means a grand statement or their best work, but the slapdash nature keeps things fun and entertaining, which can be just as important. Grade: B+