Hey guys. I was gonna wait to do this one until after the full album was released, but I just couldn't help myself. I had to do it now. Corey Taylor (someone I've talked about on here before, of Slipknot & Stone Sour fame) has been teasing his first solo record for quite some time now, and at this point he has released the first two singles from it. CMFT Must Be Stopped, and Black Eyes Blue, or Blue Eyes Black, one or the other. I don't remember.
And that's exactly my issue.
"B___ Eyes B____" was the second single I heard, granted I don't know if it was released first or second, but it was the second that I heard myself. I wanted to talk about this one first because, well, I really don't have much to say about it. It's a power ballad. I guess. Thing is, I don't know what I expected from a Corey Taylor ballad, maybe something Stone Sour-esque? And I suppose that's kinda almost what we got? I don't really know. Full disclosure, I stopped the song when I was just over a minute into it. It's just forgettable. Not a strong single to lead with, in my opinion.
The first single I heard was CMFT Must Be Stopped. This song is, to put it the simplest way that I can, bad. It's a nu-metal style anthem featuring two rappers and a whole roster of rocker cameos in its music video. Why the lead singer of Slipknot would want to feature two rappers in a song is beyond me. Also, aren't we beyond writing a rock anthem entirely about yourself? It almost sounds as if 90's Eminem wrote lyrics for a Papa Roach song, and the result is.... well as bad as an Eminem and Papa Roach marriage sounds.
The only thing about these two singles that I actually enjoyed is the title of the latter. Because if this is the kind of material fans can expect from a solo Corey Taylor, then he certainly must be stopped.
Look for CMFT (or don't, because God knows I won't) available everywhere music is sold October 2nd.
Favorite Song: N/A
Least Favorite Song: Porque no los dos?
Rating: 3.6
Friday, July 31, 2020
Monday, July 27, 2020
Believe - Disturbed
Ladies, gents, apologies for the long stretch of time between my last post and this newest one. I really wanted to give my last post some time to really sink in, as it was a very important and personal post for myself and our guest blogger. This has also been an important week for me personally, as some of you may have heard AC/DC's Back In Black celebrated its 40th birthday on Saturday, and my loyal readers may remember my nostalgic and heartfelt post dedicated to that record some weeks ago. So rather than post about it a second time, I decided to let my Hybrid Theory post marinade for the week, to celebrate the two tremendous and genre-defining records at once.
But enough time has passed so I can finally post on this, the 41st birthday of Highway To Hell, another review by request. This one is for the sophomore record by Chicago considered-nu-metal-even-though-they're-not-nu-metal-at-all band Disturbed. This will be a fun post to do because I don't really need to listen to the record while I write this to have it fresh in my mind. I have been a big fan of Disturbed for most of my life, so I know the record well. So, here we go.
The first thing that grabs you about 2002's Believe is the album artwork. The patterned look of red leather, emblazoned with a silvery symbol in the center. The symbol is an amalgamation of several other symbols, taken from different religions and beliefs. This is a testament to lead singer David Draiman's educational background in religious studies and philosophy. Something unrelated to this that some fans might already know, is that this will be the last record with original bassist Steve "Fuzz" Kmak before being replaced by studio session bassist - turned permanent bassist John Moyer. Something else that has always intrigued me about this record is the track list itself. 12 tracks, each with one word titles. Spooky, no? Whether this was intentional or not remains to be seen, however I can only believe (heh) that this was by Draiman's own design.
I also believe (double heh) that I may have mentioned on this blog before the Sophomore Curse, where a band's second album always fails to measure up to the success of the first. That is certainly not the case here. Sure, to date their debut record The Sickness has more sales (5M to Believe's 2M) and it generated more hit singles (4 vs 3), it was actually Believe that gave the band their highest-charting single between the two records, with "Prayer" hitting #4 on the US Rock charts. Oh, and Believe also hit #1 on the US charts while Sickness peaked at 29.
That said, let's look at the music itself.
The record starts on a very solid foot with opening tracks "Prayer" and "Liberate." With "Prayer" being their highest charting song at this point in their career, and "Liberate" being a surprisingly heavy fan favorite for those who played the Tony Hawk games. (Remember Synic Selects Vol. II?) It is track 3 where the record takes an unexpected step. David continues to give fans his signature growl, however he also dials it back on some tracks, actually, most of them, and sings, rasp and growl free. This is where the band sets themselves apart from the nu-metal crowd that they got lumped together with from their debut record, and David earns himself a spot in my Rushmore of metal singers. (Well, MALE metal singers.... but more on that later...)
Side B starts on a strong foot as well with lesser-known jam "Rise," which temporarily brings the record back into the realm of head-banging metal, before slowly descending back into the mellowness we found in tracks 3 and 4 of Side A. When we finally reach track 12, I often shut the record off and play something else. "Darkness" is Disturbed's first attempt at a ballad, and while it is a valiant attempt, with beautiful lyrics and somber performance by Draiman, well let's say there's a reason no one knew Disturbed could play a slow song until "Sound Of Silence" hit the airwaves.
For me personally, as the person who requested I discuss this record did so to get my opinion of it, not just a regurgitation of facts and chart positions, I don't believe (triple heh) that this record is greater than their debut. While a tremendous record it may be, I feel that it is Disturbed still trying to dial in and really find who they want to be. To clarify, listen to The Sickness and hear why they were considered nu-metal to begin with. David's brand of speed-metal vocals on that record are unlike anything to come from their catalogue for the coming years. The same is true for Believe where his mellowed singing style and almost-forgettable riffs are a step in a very different direction, though still not brand-defining for who Disturbed would prove themselves to be. It's not until their 3rd studio effort Ten Thousand Fists that I feel they truly hone in on the Disturbed sound. That said, if someone was building a "Best Of:" playlist to familiarize themselves with the hits of Disturbed, you can play this record and then stop after the first 7 minutes. As mean as that may sound, two career-lasting hits from one record is actually pretty good.
This record was requested to me because it is this reader's favorite of Disturbed's discography. Admittedly, and I'm almost sorry to say, that it is actually my least favorite of their catalogue. People say a great record should rise and fall, however I don't think they mean the "fall" should begin on track 3. However, being a fan of the band, I still have to say that this is an excellent record. The production is strong, music is good, though not their best, and Draiman's lyrics are as strong as ever. They may even be some of his strongest lyrics ever, with his writing being my favorite part of this whole composition.
I'm not sure what else to say about this record, so I think I'll leave it at that. While this may be the last record I pull when I want to listen to Disturbed, I know it is the first choice for many other fans (including one in particular...) so it is undeniable that Believe is a worthwhile addition to Disturbed's catalogue, and any metal fan's collection.
But enough time has passed so I can finally post on this, the 41st birthday of Highway To Hell, another review by request. This one is for the sophomore record by Chicago considered-nu-metal-even-though-they're-not-nu-metal-at-all band Disturbed. This will be a fun post to do because I don't really need to listen to the record while I write this to have it fresh in my mind. I have been a big fan of Disturbed for most of my life, so I know the record well. So, here we go.
The first thing that grabs you about 2002's Believe is the album artwork. The patterned look of red leather, emblazoned with a silvery symbol in the center. The symbol is an amalgamation of several other symbols, taken from different religions and beliefs. This is a testament to lead singer David Draiman's educational background in religious studies and philosophy. Something unrelated to this that some fans might already know, is that this will be the last record with original bassist Steve "Fuzz" Kmak before being replaced by studio session bassist - turned permanent bassist John Moyer. Something else that has always intrigued me about this record is the track list itself. 12 tracks, each with one word titles. Spooky, no? Whether this was intentional or not remains to be seen, however I can only believe (heh) that this was by Draiman's own design.
I also believe (double heh) that I may have mentioned on this blog before the Sophomore Curse, where a band's second album always fails to measure up to the success of the first. That is certainly not the case here. Sure, to date their debut record The Sickness has more sales (5M to Believe's 2M) and it generated more hit singles (4 vs 3), it was actually Believe that gave the band their highest-charting single between the two records, with "Prayer" hitting #4 on the US Rock charts. Oh, and Believe also hit #1 on the US charts while Sickness peaked at 29.
That said, let's look at the music itself.
The record starts on a very solid foot with opening tracks "Prayer" and "Liberate." With "Prayer" being their highest charting song at this point in their career, and "Liberate" being a surprisingly heavy fan favorite for those who played the Tony Hawk games. (Remember Synic Selects Vol. II?) It is track 3 where the record takes an unexpected step. David continues to give fans his signature growl, however he also dials it back on some tracks, actually, most of them, and sings, rasp and growl free. This is where the band sets themselves apart from the nu-metal crowd that they got lumped together with from their debut record, and David earns himself a spot in my Rushmore of metal singers. (Well, MALE metal singers.... but more on that later...)
Side B starts on a strong foot as well with lesser-known jam "Rise," which temporarily brings the record back into the realm of head-banging metal, before slowly descending back into the mellowness we found in tracks 3 and 4 of Side A. When we finally reach track 12, I often shut the record off and play something else. "Darkness" is Disturbed's first attempt at a ballad, and while it is a valiant attempt, with beautiful lyrics and somber performance by Draiman, well let's say there's a reason no one knew Disturbed could play a slow song until "Sound Of Silence" hit the airwaves.
For me personally, as the person who requested I discuss this record did so to get my opinion of it, not just a regurgitation of facts and chart positions, I don't believe (triple heh) that this record is greater than their debut. While a tremendous record it may be, I feel that it is Disturbed still trying to dial in and really find who they want to be. To clarify, listen to The Sickness and hear why they were considered nu-metal to begin with. David's brand of speed-metal vocals on that record are unlike anything to come from their catalogue for the coming years. The same is true for Believe where his mellowed singing style and almost-forgettable riffs are a step in a very different direction, though still not brand-defining for who Disturbed would prove themselves to be. It's not until their 3rd studio effort Ten Thousand Fists that I feel they truly hone in on the Disturbed sound. That said, if someone was building a "Best Of:" playlist to familiarize themselves with the hits of Disturbed, you can play this record and then stop after the first 7 minutes. As mean as that may sound, two career-lasting hits from one record is actually pretty good.
This record was requested to me because it is this reader's favorite of Disturbed's discography. Admittedly, and I'm almost sorry to say, that it is actually my least favorite of their catalogue. People say a great record should rise and fall, however I don't think they mean the "fall" should begin on track 3. However, being a fan of the band, I still have to say that this is an excellent record. The production is strong, music is good, though not their best, and Draiman's lyrics are as strong as ever. They may even be some of his strongest lyrics ever, with his writing being my favorite part of this whole composition.
I'm not sure what else to say about this record, so I think I'll leave it at that. While this may be the last record I pull when I want to listen to Disturbed, I know it is the first choice for many other fans (including one in particular...) so it is undeniable that Believe is a worthwhile addition to Disturbed's catalogue, and any metal fan's collection.
Believe - Disturbed
9 - 17 - 2002
1. Prayer
2. Liberate
3. Awaken
4. Believe
5. Remember
6. Intoxication
7. Rise
8. Mistress
9. Breathe
10. Bound
11. Devour
12. Darkness
Favorite Track: Prayer
Least Favorite Track: Darkness
Rating: 7.0/10
Monday, July 20, 2020
Hybrid Theory - Linkin Park
Ladies and gentlemen, as far as I'm concerned there are two types of people in this world:
1. Those who have heard and liked/loved Linkin Park's Hybrid Theory
2. Those who don't like music
Linkin Park's Earth-rattling debut arrived in 2000, and while nu-metal had already been around for a few years by that time, Hybrid Theory brought the sub-genre into the new millennium, revolutionizing the way to blend between metal and rap. While the true credit for inventing nu-metal may belong to Korn, I personally, as well as millions of others, credit Linkin Park for launching it into the stratosphere.
Today is the anniversary of the tragic passing of beloved frontman Chester Bennington. Chester was a man who struggled his entire life with inner demons, but with those demons he taught us that a truly beautiful soul can still be a damaged one. Upon making it into the music business, Chester was able to use his pains and struggles to fuel his songwriting. Consider their hit song "Crawling" as an example. Many of you may remember jamming and head-banging to it when it debuted 20 years ago. Many of you (myself included) still do to this day. But have you ever stopped to think what it's about? Essentially Chester is blaming himself, or taking the full credit, for all of his internal pain and hurt. He said said in interviews before that he never says the word "you" in the song once. It's all about himself, and his pain. Considering this, along with the lyrics to all of their other songs that he wrote himself, it becomes clear to us that Chester was a damaged and depressed soul. It's deeply heartbreaking to know that the world didn't see it until it was too late.
1. Those who have heard and liked/loved Linkin Park's Hybrid Theory
2. Those who don't like music
Linkin Park's Earth-rattling debut arrived in 2000, and while nu-metal had already been around for a few years by that time, Hybrid Theory brought the sub-genre into the new millennium, revolutionizing the way to blend between metal and rap. While the true credit for inventing nu-metal may belong to Korn, I personally, as well as millions of others, credit Linkin Park for launching it into the stratosphere.
Today is the anniversary of the tragic passing of beloved frontman Chester Bennington. Chester was a man who struggled his entire life with inner demons, but with those demons he taught us that a truly beautiful soul can still be a damaged one. Upon making it into the music business, Chester was able to use his pains and struggles to fuel his songwriting. Consider their hit song "Crawling" as an example. Many of you may remember jamming and head-banging to it when it debuted 20 years ago. Many of you (myself included) still do to this day. But have you ever stopped to think what it's about? Essentially Chester is blaming himself, or taking the full credit, for all of his internal pain and hurt. He said said in interviews before that he never says the word "you" in the song once. It's all about himself, and his pain. Considering this, along with the lyrics to all of their other songs that he wrote himself, it becomes clear to us that Chester was a damaged and depressed soul. It's deeply heartbreaking to know that the world didn't see it until it was too late.
If you or someone you know and love is struggling with their own inner demons, remind them that they are loved and valued in this world. And no amount of hardships or internal pain is worth taking your own life.
National Suicide Prevention Lifeline:
1-800-273-8255
Hybrid Theory is often regarded as the best debut record in the last 20 years, and one of the best debuts of all time. I sit here writing this, scratching my head trying to come up with a record that can compete with Hybrid Theory, but I simply can't. This record revolutionized the sub-genre of nu-metal. It brought in from the 90's into the 2000's. Will Chester go down in history as one of the best singer-songwriter-screamers of all time? Most likely. Will Mike Shinoda go down in history as one of the best singer-songwriter-rapper-guitarist-keyboardists of all time? That's awfully specific, so maybe/maybe not. Will any of the other guys in the band be regarded as the best in history? Certainly not. (No offense, if any of you guys somehow end up reading this.) However, it isn't the level of their talent that matters here; it's how they used those talents, and how they applied them.
The record opens with early fan-favorite "Papercut," and fans are first introduced to the verses of rapper Mike Shonoda, and we are not exposed to the screaming singing talents of Chester Bennington until the first chorus. And while rap and metal are two very different genres, this transition from Shinoda's rap to Bennington's abrasive screams comes seamlessly. Almost like the two genres were two distant islands, and Linkin Park finally found the bridge between the two.
This is a disc that may be one of the few that I label as a damn-near perfect record. It accomplishes everything that a good debut should, and much more. It introduces you to the band, their sound, their message, who they are. As I've already said a couple times now, it also revolutionized nu-metal and brought it into the new millennium. But that's the last time I'll make that point, as I'm sure you're sick of reading it by now. Hell, I'm sick of typing it.
I could really nit-pick if you asked me to, maybe discuss what I think could've been done differently in each song, but that would be a very short discussion. The only thing I can really surely say without getting super deep into it, is that I would not have included "Cure For The Itch" on this record. Maybe it could've been used in their live performances, or maybe what I would've done is shorten it by about half, and use it as an extended intro for one of their rap-heavy tracks. Something about the electronic 'instrumental' just takes me out of the record, and almost loses me.
And of course, no album is without filler. This disc is no exception, as it does contain a few filler tracks, yet they are still excellent tracks that showcase the band's talents, and their voice. I would argue that among these 'filler' tracks - and keep in mind I'm using the term "filler" VERY loosely here - are the songs "By Myself," "A Place For My Head," and "Pushing Me Away." Now before you read this and attack me for calling out your favorite song as a filler track, keep in mind that it is simply my opinion that these tracks are not as strong as some of the others. When every track on an album is great, you really have to dig deep to pick which ones are the "filler" songs. Remember that opinions are like assholes, everyone has one and they all stink. I'm just the asshole with the keyboard.
I can go into every track on this album, break it down, talk about what makes each one great, but before I let this post get absurdly long I want to introduce someone who I have certainly talked about on this blog before, one of my favorite people on this Earth, Kim Scroggins. During the week of her birthday, I had started to think about Chester a lot, and she reminded me that the anniversary of his death was approaching. That was when we had the idea to discuss Hybrid Theory, and I asked her to write her own personal account of the album, as it was a massive part of her life growing up. While I love this record whole-heartedly, she truly cherishes it, and she would not be the person she is now without it.
Below is Kim's recollection of her first exposure to Linkin Park. What you are about to read is as emotional as this blog may ever get, so bring a tissue before you dive in. And a special heart-felt thanks to our first ever guest author.
Below is Kim's recollection of her first exposure to Linkin Park. What you are about to read is as emotional as this blog may ever get, so bring a tissue before you dive in. And a special heart-felt thanks to our first ever guest author.
---------------------
My relationship with Chester Bennington dates back to 2001 when I first heard…no…saw the music video for In The End on VH1 as I was getting ready for school.
As a fresh-faced 13-year-old coming off the Hanson/Spice Girl bandwagon, Linkin Park’s sound was something I had never quite heard before; and I wanted to devour every bit of it. Of course, those were still the days where I had to ask my parent’s permission before I could spend my hard-earned money! (Not only did I have to ask if it was ok that I bought a *gasp* nu-metal album; but my dad watched the music video himself first in order to deem them appropriate.)
Once I had Hybrid Theory within my grasp, my whole life changed. Chester wasn’t just my introduction into the rock/metal world; he was the shaper of my universe, the first musical love of my life. I immediately became enthralled by his range, in love with his throatiness and for the first time, I felt like someone got me. Every song was a masterpiece…at least for me. He opened the door to what it was like to have music move you in ways I never thought possible. To this day, he still gives me goosebumps.
I could sit here for hours trying to convince you how I was Linkin Park’s biggest fan (until Minutes to Midnight – that album wrecked them for me). I could tell you about the posters I had lining my walls and ceiling, how I was part of their Fanclub Linkin Park Underground and donned all the merch, how I owned every album and LP that came out until Minutes to Midnight…but that all pales in comparison to the torch I hold for Chester Bennington.
When I heard of his death, I sobbed. I cried as though I lost a family member because to me – he was. He was my protective big brother telling me that even when life wasn’t always kind to me, it would be OK in the end. He let me know that it was OK to make mistakes, to make choices that you aren’t necessarily proud of…if you own them and learn from them. He showed me it was OK to be me.
I may no longer reach for Hybrid Theory as a first-choice listen, but whenever it plays I am taken right back to my younger days and everything seems a bit brighter.
So thank you Chester, for not only bringing kick ass music into the world; but for being the savior and spokesperson for all us teen outcasts. In the End, you will always matter.
----------------------
Hybrid Theory - Linkin Park
10 - 24 - 2000
1. Papercut
2. One Step Closer
3. With You
4. Points of Authority
5. Crawling
6. Runaway
7. By Myself
8. In The End
9. A Place For My Head
10. Forgotten
11. Cure For The Itch
12. Pushing Me Away
Synic's Favorite: Papercut
Synic's Least Favorite: A Place For My Head
Synic's Rating: 9.2/10
Kim's 2000 Favorite: In The End
Kim's 2000 Least Favorite: Crawling
Kim's 2000 Rating: 9.5/10
Kim's 2020 Favorite: With You
Kim's 2020 Least Favorite: Crawling
Kim's 2020 Rating: 9/10
Wednesday, July 15, 2020
Synic Selects Vol. IV - Female-Fronted Favorites
Distinguished readers, the time all of you - well maybe not ALL of you, but most definitely me - have been waiting for has finally arrived. It's that time of the month again, and no I'm not referring to THAT time of the month, I'm talking about the unveiling of Synic Selects Volume IV. (If I were on live TV, this is where the audience would start applauding.)
For many years, decades even, rock was a man's game. Metal, especially. Girls were basically not allowed to play rock music. And if they tried, they were laughed at. Thankfully, a change started to come by the mid-70's or so. (Ballpark; don't nitpick at me on the smaller details here.) When that change came, women around the world stood up, kicked rock-n-roll right in the dick, and played it as loud and heavy as any man ever did.
Over the years to come, the ratio of boys to girls became slightly more balanced. The scales still weigh heavily in favor of the boys, but nevertheless, progress has been made. This volume was compiled to celebrate the past and present of women in rock-n-roll. This is not a compendium of every female to ever play a rock song, this is simply a collection of some of my favorites.
Enjoy.
1. Chemicals - Halestorm
2. Mission of Mercy - The Motels
3. Neon Angels on The Road to Ruin - The Runaways
4. Shut Up Slut - Barb Wire Dolls
5. Edge of a Broken Heart - Vixen
6. A.C.D.C. - Joan Jett & The Blackhearts
7. Alive - Romantic Rebel
8. Big Bad Wolf - In This Moment
9. Close My Eyes Forever - Lita Ford & Ozzy Osbourne
10. Goin' Down - The Pretty Reckless
11. We Come Undone - Kobra & The Lotus
12. Superhuman - September Mourning
13. Warrior - Stitched Up Heart
14. You C*nt - Once Human
15. Angel Eyes - New Year's Day
16. 48 Crash - Suzi Quatro
17. Doom or Destiny - Blondie
18. Prosecutor - The Interrupters
19. Drama - L7
20. Bob (Cousin O.) - The Gits
BONUS: We Will Rock You - In This Moment (Feat. Maria Brink, Lzzy Hale, & Taylor Momsen)
For many years, decades even, rock was a man's game. Metal, especially. Girls were basically not allowed to play rock music. And if they tried, they were laughed at. Thankfully, a change started to come by the mid-70's or so. (Ballpark; don't nitpick at me on the smaller details here.) When that change came, women around the world stood up, kicked rock-n-roll right in the dick, and played it as loud and heavy as any man ever did.
Over the years to come, the ratio of boys to girls became slightly more balanced. The scales still weigh heavily in favor of the boys, but nevertheless, progress has been made. This volume was compiled to celebrate the past and present of women in rock-n-roll. This is not a compendium of every female to ever play a rock song, this is simply a collection of some of my favorites.
Enjoy.
Synic Selects Vol. IV - Female Fronted Favorites
1. Chemicals - Halestorm
2. Mission of Mercy - The Motels
3. Neon Angels on The Road to Ruin - The Runaways
4. Shut Up Slut - Barb Wire Dolls
5. Edge of a Broken Heart - Vixen
6. A.C.D.C. - Joan Jett & The Blackhearts
7. Alive - Romantic Rebel
8. Big Bad Wolf - In This Moment
9. Close My Eyes Forever - Lita Ford & Ozzy Osbourne
10. Goin' Down - The Pretty Reckless
11. We Come Undone - Kobra & The Lotus
12. Superhuman - September Mourning
13. Warrior - Stitched Up Heart
14. You C*nt - Once Human
15. Angel Eyes - New Year's Day
16. 48 Crash - Suzi Quatro
17. Doom or Destiny - Blondie
18. Prosecutor - The Interrupters
19. Drama - L7
20. Bob (Cousin O.) - The Gits
BONUS: We Will Rock You - In This Moment (Feat. Maria Brink, Lzzy Hale, & Taylor Momsen)
Saturday, July 11, 2020
The Importance of the Live Show
The following is a free look inside the heart of Synic Spins. It's a long read. It's unedited, raw, and possibly a little scatter-brained. But if you can follow my crazy train of thought (nod to the Ozzman) then maybe you'll learn something. And I hope that some of you might continue the discussion in the comments below, such as your favorite concert memories.
Enjoy.
In the wake of the pandemic that's been shaking the entire world for a number of months now, I wanted to take this opportunity to remind the world what usually shakes you on summer nights. Drums. Bass. Guitars. Amps the size of your car. Ladies and gentlemen, I'm talking about live concerts. For those of you crazy cave-dwellers out there that have never been to a live show, let me first acknowledge the notoriety and say that they are much more than just loud, obnoxious parties with tons of drunk sweaty people breathing down your neck and spilling beer on your head. (Though all those things can happen...) And those violent mosh pits your parents warn you about aren't usually welcomed by the band on stage, or the security guards posted around the venue floor.
What many people fail to realize is that without these live shows, there are no bands. Many music fans have never been to a show before, and they simply show support to their favorite bands by buying their album, or maybe a t-shirt that they found in a store. And many fans believe that to be enough. To some degree it might be, any support is good support after all. But the truth of the matter is, these bands that we listen to on the radio don't earn their living simply from having a hit song or two on the radio, nor can they afford to live based on their record sales alone - especially in today's world where fans are too damn cheap to actually go out and buy a CD or vinyl record, when they can just sit on their ass and stream the new album to their phones for a max price of 99 cents per month. No, recording artists actually earn their living from ticket sales, and merchandise sales from the booth at their show. Consider this next time you tell yourself that $40 is too much to spend on a black t-shirt. That absurd price isn't necessarily "the band being greedy," but rather they are priced that way so that they actually turn some kind of profit from them.
That $40 t-shirt probably cost them $10 to make, leaving them with $30 to pay the venue rental price, then they pay for all the roadies, tech guys, security, etc. Then, after everyone else has eaten, the band takes their cut - IF there's anything left. This is why you only pay $20 for a shirt at a smaller venue show, with a no-name local band acting as the event headliner, but then you could go see a big name band with a massive stage production (Motley Crue or Guns N' Roses for example) and pay somewhere around $35-40 for a shirt. The basic rule of thumb here is, the bigger the stage production, (more lights, stage accessories, etc,) the more you're gonna pay for the ticket and the tour shirt. If you get a $10 ticket to a show in some dingy bar somewhere, expect a smaller crowd, with the band and a couple lights on a small stage in the corner of the room. Almost feels like you can walk right up to them and high-five them on stage. (And sometimes, you can.) The flip side of this, is that some fans have fallen victim of paying $100 for a shirt at the most recent KISS farewell tour. But boy will they be pissed when Gene and the other clowns hit the road again in 5 years. So remember: unknown local band = small production, low ticket and merch prices. Massive worldwide band = larger production, higher prices.
Money aside, there's so much more to the live show than just making sure your favorite artists can keep making music. Anyone who has been one in the crowd at a live show can tell you that listening to your favorite songs through some earbuds, or living room speakers can never even come close to seeing the band on stage, playing your favorite songs just for you. Hearing these songs performed live is the way they were intended to be heard, with all the little inflections of the singers voice resonating raw to your eardrums, without the tone correction and over-production.
The live sound is one of those key elements that makes or breaks a band. It can make a good band not so good, or it can be what makes a good band great. Consider a point I made in one of my earlier posts where I broke down the differences between the 3 frontmen of Van Halen. The loyal Team Hagar fans out there have likely seen both Dave and Sam take the stage, and they weren't disillusioned by the mid-air splits and bravado to think that Dave was a good singer. Keeping VH in mind, there is a reason that when they first started they would record and tour, record and tour, record and tour every single year. The records were done with no overdubs at all, just one guitar, one layer of sound. That way when they hit the road they could play the song exactly like the record. (Maybe with an extended solo here and there...) In fact, playing live shows was how Van Halen - and many other bands, if not all - were discovered and signed to begin with. They started out in backyard parties, moved on to clubs on the Sunset Strip, then they took over arenas all over the world. Furthermore, a good band like Halestorm becomes a GREAT band once you've seen them perform on stage. Trust me; the on-stage solos, instrumental jams, a capella song intros, and crowd interactions that are standard in their shows dial them up to 11. You may have their songs on your phone, but you don't truly know Halestorm until you've seen them in person.
Live shows aren't just about the headliners, either. Shows are actually the best way for smaller local bands to gain exposure, and spread their fanbase around the country, maybe even the world. Just to stay true to the Van Halen example, their first major tour was opening for another group, and it was on this tour that they took their fanbase all over the country, selling t-shirts and records in every venue they hit. Van Halen wasn't the first band to expand this way, nor will they be the last. While also building off the Halestorm example - as you guys all know I do love me some Halestorm - I actually have them to thank for helping me discover 3 new bands. In a recent post, I talked about the band Ded. I would have no idea who Ded even was had I not seen them on tour with New Year's Day and In This Moment. I went to the Mother's House of Horror Tour to see NYD and ITM because I am a big fan, but had it not have been for the first Halestorm show I went to, where NYD and ITM were both also on the ballot, I never would have found them.
When bands hit the road in the summer for a big tour, they have truckloads of equipment that go along with them. With all that equipment, they'll need a team of guys to pack/unpack the trucks, set up the lights/sound, and tune the instruments. That's where the roadies come in. Many people think that with the virus butt-fucking the planet, only the artists themselves are the ones that are hurting for money. When tours aren't happening, the roadies and crew are out of jobs completely. Those guys are all contract to contract, so they only work when there's a tour to work for. Many of your favorite artists have actually started fundraisers for their crew while they're out of work. Check out their online shops, they probably have some kind of crew shirt for sale, where the proceeds go to feeding their team. After all, the crew are the unsung heroes of the live show. With no crew, there's no show.
The final point I want to make, and the lightest point, is the strong sense of family that you get when you're one in the crowd. Just imagine it, you're standing in a sea of 10,000 people, all focused on the stage. The singer stands before you, and starts to clap his hands. Suddenly, something comes over you, and you feel the overwhelming need to clap with him. And you're not alone. That's when you look around and realize you are just one of the 10,001 people clapping in the arena. When the clapping stops, maybe the fist-pumping or hand waving begins. a seemingly-endless sea of hands is like nothing you have ever seen before. And when the rock songs become ballads, the fists in the crowd become lighters and cellphone flashlights, and it feels though all the stars in the night sky have surrounded you in that same arena, where the only light was the spot on the singer just moments ago.
The grand point I am making here, maybe in too many words, is that live music performances are one of the few things we have left in this world that are truly good. A concert is a place where thousands of people can come together as one. Strangers become a family; all united for the sake of celebrating our favorite bands. And the best part is when we leave our politics, religion, skin color, sexuality, and gender identities at the door - all external conflict ends, like the world just stops turning for the evening. The only thing that matters is the family inside that venue, and you can just forget about life for a while. We are reminded the meaning of the words brotherhood and sisterhood, how it feels to love and be loved. When we finally figure our shit out and the virus is a part of the past, I hope to see you all at a show sometime, raising your horns right alongside me.
Enjoy.
In the wake of the pandemic that's been shaking the entire world for a number of months now, I wanted to take this opportunity to remind the world what usually shakes you on summer nights. Drums. Bass. Guitars. Amps the size of your car. Ladies and gentlemen, I'm talking about live concerts. For those of you crazy cave-dwellers out there that have never been to a live show, let me first acknowledge the notoriety and say that they are much more than just loud, obnoxious parties with tons of drunk sweaty people breathing down your neck and spilling beer on your head. (Though all those things can happen...) And those violent mosh pits your parents warn you about aren't usually welcomed by the band on stage, or the security guards posted around the venue floor.
What many people fail to realize is that without these live shows, there are no bands. Many music fans have never been to a show before, and they simply show support to their favorite bands by buying their album, or maybe a t-shirt that they found in a store. And many fans believe that to be enough. To some degree it might be, any support is good support after all. But the truth of the matter is, these bands that we listen to on the radio don't earn their living simply from having a hit song or two on the radio, nor can they afford to live based on their record sales alone - especially in today's world where fans are too damn cheap to actually go out and buy a CD or vinyl record, when they can just sit on their ass and stream the new album to their phones for a max price of 99 cents per month. No, recording artists actually earn their living from ticket sales, and merchandise sales from the booth at their show. Consider this next time you tell yourself that $40 is too much to spend on a black t-shirt. That absurd price isn't necessarily "the band being greedy," but rather they are priced that way so that they actually turn some kind of profit from them.
That $40 t-shirt probably cost them $10 to make, leaving them with $30 to pay the venue rental price, then they pay for all the roadies, tech guys, security, etc. Then, after everyone else has eaten, the band takes their cut - IF there's anything left. This is why you only pay $20 for a shirt at a smaller venue show, with a no-name local band acting as the event headliner, but then you could go see a big name band with a massive stage production (Motley Crue or Guns N' Roses for example) and pay somewhere around $35-40 for a shirt. The basic rule of thumb here is, the bigger the stage production, (more lights, stage accessories, etc,) the more you're gonna pay for the ticket and the tour shirt. If you get a $10 ticket to a show in some dingy bar somewhere, expect a smaller crowd, with the band and a couple lights on a small stage in the corner of the room. Almost feels like you can walk right up to them and high-five them on stage. (And sometimes, you can.) The flip side of this, is that some fans have fallen victim of paying $100 for a shirt at the most recent KISS farewell tour. But boy will they be pissed when Gene and the other clowns hit the road again in 5 years. So remember: unknown local band = small production, low ticket and merch prices. Massive worldwide band = larger production, higher prices.
Money aside, there's so much more to the live show than just making sure your favorite artists can keep making music. Anyone who has been one in the crowd at a live show can tell you that listening to your favorite songs through some earbuds, or living room speakers can never even come close to seeing the band on stage, playing your favorite songs just for you. Hearing these songs performed live is the way they were intended to be heard, with all the little inflections of the singers voice resonating raw to your eardrums, without the tone correction and over-production.
The live sound is one of those key elements that makes or breaks a band. It can make a good band not so good, or it can be what makes a good band great. Consider a point I made in one of my earlier posts where I broke down the differences between the 3 frontmen of Van Halen. The loyal Team Hagar fans out there have likely seen both Dave and Sam take the stage, and they weren't disillusioned by the mid-air splits and bravado to think that Dave was a good singer. Keeping VH in mind, there is a reason that when they first started they would record and tour, record and tour, record and tour every single year. The records were done with no overdubs at all, just one guitar, one layer of sound. That way when they hit the road they could play the song exactly like the record. (Maybe with an extended solo here and there...) In fact, playing live shows was how Van Halen - and many other bands, if not all - were discovered and signed to begin with. They started out in backyard parties, moved on to clubs on the Sunset Strip, then they took over arenas all over the world. Furthermore, a good band like Halestorm becomes a GREAT band once you've seen them perform on stage. Trust me; the on-stage solos, instrumental jams, a capella song intros, and crowd interactions that are standard in their shows dial them up to 11. You may have their songs on your phone, but you don't truly know Halestorm until you've seen them in person.
Live shows aren't just about the headliners, either. Shows are actually the best way for smaller local bands to gain exposure, and spread their fanbase around the country, maybe even the world. Just to stay true to the Van Halen example, their first major tour was opening for another group, and it was on this tour that they took their fanbase all over the country, selling t-shirts and records in every venue they hit. Van Halen wasn't the first band to expand this way, nor will they be the last. While also building off the Halestorm example - as you guys all know I do love me some Halestorm - I actually have them to thank for helping me discover 3 new bands. In a recent post, I talked about the band Ded. I would have no idea who Ded even was had I not seen them on tour with New Year's Day and In This Moment. I went to the Mother's House of Horror Tour to see NYD and ITM because I am a big fan, but had it not have been for the first Halestorm show I went to, where NYD and ITM were both also on the ballot, I never would have found them.
When bands hit the road in the summer for a big tour, they have truckloads of equipment that go along with them. With all that equipment, they'll need a team of guys to pack/unpack the trucks, set up the lights/sound, and tune the instruments. That's where the roadies come in. Many people think that with the virus butt-fucking the planet, only the artists themselves are the ones that are hurting for money. When tours aren't happening, the roadies and crew are out of jobs completely. Those guys are all contract to contract, so they only work when there's a tour to work for. Many of your favorite artists have actually started fundraisers for their crew while they're out of work. Check out their online shops, they probably have some kind of crew shirt for sale, where the proceeds go to feeding their team. After all, the crew are the unsung heroes of the live show. With no crew, there's no show.
The final point I want to make, and the lightest point, is the strong sense of family that you get when you're one in the crowd. Just imagine it, you're standing in a sea of 10,000 people, all focused on the stage. The singer stands before you, and starts to clap his hands. Suddenly, something comes over you, and you feel the overwhelming need to clap with him. And you're not alone. That's when you look around and realize you are just one of the 10,001 people clapping in the arena. When the clapping stops, maybe the fist-pumping or hand waving begins. a seemingly-endless sea of hands is like nothing you have ever seen before. And when the rock songs become ballads, the fists in the crowd become lighters and cellphone flashlights, and it feels though all the stars in the night sky have surrounded you in that same arena, where the only light was the spot on the singer just moments ago.
The grand point I am making here, maybe in too many words, is that live music performances are one of the few things we have left in this world that are truly good. A concert is a place where thousands of people can come together as one. Strangers become a family; all united for the sake of celebrating our favorite bands. And the best part is when we leave our politics, religion, skin color, sexuality, and gender identities at the door - all external conflict ends, like the world just stops turning for the evening. The only thing that matters is the family inside that venue, and you can just forget about life for a while. We are reminded the meaning of the words brotherhood and sisterhood, how it feels to love and be loved. When we finally figure our shit out and the virus is a part of the past, I hope to see you all at a show sometime, raising your horns right alongside me.
Wednesday, July 8, 2020
Beautiful Things - Donnie Vie
Ladies and gents, tonight I have for you a special request from our new friend Michael. This is an album that he is truly passionate about, so passionate in fact that he was not afraid to ask the opinion of a cynical and harsh internet persona. So without further ado, let's talk about Donnie Vie's Beautiful Things.
For my readers that don't know, Donnie Vie was once the frontman of a certain 80's "Hair Metal" band, until they decided "Enuff Z'nuff" and parted ways. (Sorry for the horrible pun, I just couldn't resist. I mean, it was right there!) Donnie has since pursued a solo career, and his latest studio offering Beautiful Things arrived just last year.
Let me say here that when you exhaust yourself on punk and metal every day like I do, listening to an album like this is an unexpected yet pleasant breath of fresh air. Don't let the fact that Donnie Vie is a former metal singer steer you wrong, this album is far from metal. I would recommend this album to fans of rock music from the 70s and early 80s, as this whole record has a very strong Elvis Costello flavor to it.
Each of the tracks on this album flow almost seamlessly into one another, the way any good album should. Donnie's strong songwriting from his days fronting Enuff is still prominent here, and his voice his not aged nearly as much as one might expect. Though there are still signs of some fading, such as the intro of "I Could Save The World," which is arguably the weakest he sounds on the whole record. However, he more than makes up for it on other tracks, including "Fallin' Through The Pages," where he proves he can still crank up the volume, growl and holler with the new kids.
The most refreshing thing, I think, about this record, is that while Donnie Vie is a rock/metal personality, the subject matter of his lyrics on this album are wholesome and dedicated to just feeling and being good. The disc came in 2019, though it feels very much like it could have arrived in 1969, as listening to it just makes me picture a sea of tie-dye and pot.
My closing thoughts on this album, and I believe I may have said this recently about a different record, is that as a whole, it was a very enjoyable listen. It is not something I ever would have thought to seek out (truth be told, I was never that big on Enuff Z'nuff...) however, it is not something that made me miserable the entire time it was on. No I feel there was only one low point on the disc, and that's simply because I'm just not a ballad guy. But my loyal readers knew that already. So will I ever listen to this album in it's entirety again? Perhaps not. However, would I recommend it in the future to people looking for some new-old-stock music? Definitely.
For my readers that don't know, Donnie Vie was once the frontman of a certain 80's "Hair Metal" band, until they decided "Enuff Z'nuff" and parted ways. (Sorry for the horrible pun, I just couldn't resist. I mean, it was right there!) Donnie has since pursued a solo career, and his latest studio offering Beautiful Things arrived just last year.
Let me say here that when you exhaust yourself on punk and metal every day like I do, listening to an album like this is an unexpected yet pleasant breath of fresh air. Don't let the fact that Donnie Vie is a former metal singer steer you wrong, this album is far from metal. I would recommend this album to fans of rock music from the 70s and early 80s, as this whole record has a very strong Elvis Costello flavor to it.
Each of the tracks on this album flow almost seamlessly into one another, the way any good album should. Donnie's strong songwriting from his days fronting Enuff is still prominent here, and his voice his not aged nearly as much as one might expect. Though there are still signs of some fading, such as the intro of "I Could Save The World," which is arguably the weakest he sounds on the whole record. However, he more than makes up for it on other tracks, including "Fallin' Through The Pages," where he proves he can still crank up the volume, growl and holler with the new kids.
The most refreshing thing, I think, about this record, is that while Donnie Vie is a rock/metal personality, the subject matter of his lyrics on this album are wholesome and dedicated to just feeling and being good. The disc came in 2019, though it feels very much like it could have arrived in 1969, as listening to it just makes me picture a sea of tie-dye and pot.
My closing thoughts on this album, and I believe I may have said this recently about a different record, is that as a whole, it was a very enjoyable listen. It is not something I ever would have thought to seek out (truth be told, I was never that big on Enuff Z'nuff...) however, it is not something that made me miserable the entire time it was on. No I feel there was only one low point on the disc, and that's simply because I'm just not a ballad guy. But my loyal readers knew that already. So will I ever listen to this album in it's entirety again? Perhaps not. However, would I recommend it in the future to people looking for some new-old-stock music? Definitely.
Beautiful Things - Donnie Vie
4 - 24 - 2019
1. Beautiful Things
2. Plain Jane
3. Breaking Me Down
4. I Could Save The World
5. Fly
6. Tender Lights
7. I'll Surrender
8. Whatever
9. Fallin' Through The Pages
10. Back From The Blue
Favorite Track: Plain Jane
Least Favorite Track: Fly
Rating: 7.8
Monday, July 6, 2020
Mis●an●thrope - Ded
Well guys, it happened. I promised myself I would never forget Kim's birthday, but I did. Maybe I ought to change my name to Synic Sucks instead of Synic Spins. I said I would have all 3 of her requests done during her birthday week, yet I dropped the ball and here we are, a few days late.
Ded holds a very new, small, and special place in my heart. I first saw them with Kim when they were part of the Mother's House of Horrors Tour with In This Moment, New Year's Day, Little Miss Nasty, and *gulp* Motionless in White. I had not heard of them before that night, but their brief-yet-energetic set made me a fan. Revisiting their studio material now, I'm not sure I would've been a fan had I not seen them live first. (This is one of the points I'll be making in my future "The Importance of The Live Show" post. Stay tuned.) Their image is almost nonexistent in the videos from their first album, which is totally forgivable since, as I said, it is their first album. (Imagine the demon lovechild of Breaking Benjamin and All-American Rejects) They just wanted to get their sound out there, and they certainly did that.
The opening track "Architect" is a strong opener for a band's debut album, yet the following track falls rather flat. A lead single for the album, "Anti-Everything" features verses delivered in an almost metal-rap like fashion, something that I am certainly not a fan of. To me that's like Raisinettes. Sure, there are people out there who love Raisinettes, but as for me, get your nasty raisins the fuck out of my chocolate. Thanks. So Joe, I admire your efforts, but get your rap out of my metal. In many ways, these guys seem to be a nu-metal revival band, which would certainly explain hardcore-Linkin-Park-fan Kim's affinity for them, however it is my opinion that we should have left nu-metal to die in the mid 2000's After Meteora, it all went downhill. (Don't get me wrong, Linkin Park - EARLY - Linkin Park, has it's place. In a future post I will look at the important Hybrid Theory and pay my respects to the late Chester Bennington.)
The low point of this record is over early on, as the next few tracks all land strongly. Especially the hit single "FMFY" which gives listeners a glimpse at an angry Joe. And angry Joe is the best Joe.
Relating back to my first point about them not quite having an image yet, the video for "Remember The Enemy" comes in and actually illustrates who these guys are and makes me retract my statement. The all black attire, graveyard setting, and pure white eye contacts on the band members makes it much more clear as to what new listeners can expect of Ded. That said, the video and the song itself, are not great. Ded has better to offer than this, I assure you. Check out the unexpected but lovely closing track, "Beautiful." I was not prepared for a slow closer, but shockingly enough I welcomed it.
As a whole, this entire record is dripping with influences from early Korn. Early Korn was arguably the best Korn, so this debut record from Ded is a strong effort to get themselves started. In fact, Misanthrope turns 3 in just a couple weeks. So they are still green in their music career, but I am looking forward to the journey they take us on.
Mis●an●thrope - Ded
7 - 21 - 2017
1. Architect
2. Anti-Everything
3. Dead to Me
4. FMFY
5. Remember the Enemy
6. Disaccociate
7. Rope
8. Hate Me
9. I Exist
10. Inside
11. Beautiful
Favorite Track: Inside
Least Favorite Track: Anti-Everything
Rating: 7.4
Wednesday, July 1, 2020
Slipknot - Slipknot
Today is a special day. One of my favorite people in the world (and also one of my loyal readers) is celebrating a birthday today, so it seemed fitting that today's post celebrates one of her favorite people in the world. Corey Taylor. It is also fitting that the album I will be looking at in this review just celebrated its 21st birthday a couple days ago. So cheers and happy birthday to what is regarded as one of the best debut albums in the past 30 years, Slipknot.
The infamous debut record hit the shelves in 1999 and immediately introduced the world to Taylor and Company's special brand of "What the ever-loving fuck am I looking at?" Metal. With each member donned in matching jumpsuits and nightmare-inducing masks, this band told you exactly who they were before you even heard a single note. In listening to it as I write this, I can whole-heartedly say that the album holds up with today's standards of metal. The instrumentation, deep-cutting lyrics, and harsh vocal techniques gave Slipknot a longevity that many metal bands from the late 90s simply lacked.
Being the big metal fan that I am, I am embarrassed to say that this is the first time in my life that I actually sat and listened to this whole album. Going into it, the only song I recognized by it's title was the hit single "Wait and Bleed," while only a couple others sounded familiar as they resonated through my music room speakers. And 66 minutes later I can easily see why Corey Taylor is such a worldwide fan favorite. He has the unique ability to transition from the harsh screaming that scares the meek and mild-mannered, to the mellow and somber singing that shows you Taylor's true voice, to the fast-paced "rap metal" verses that created the subgenre of nu-metal. Very few metal vocalists can do this, and even fewer can do it so easily and actually write kick-ass lyrics on top of that.
But enough gushing.
From my standpoint, in terms of who I am and what I listen to now, Slipknot was not, and is not, at the top of my list. That is to say I am not taking anything away from these guys, and if you think I am trying to say something negative about them maybe you need to reread the first 3 paragraphs of this post again. What I am saying here is that Slipknot is just not the sound I look for when I am looking to get my metal fill. the excessive screaming just doesn't do it for me. While Corey does it exceptionally well, it's just not the sound I usually seek when I am looking to bang my head. (Some of my loyal readers may recall an old post about Once Human and their screaming vocalist. Well, you got me there. Maybe put Slipknot on my list of bands I'll turn to when I need to scream until my throat bleeds.)
At the end of the day, will I ever listen to this album again, or potentially see what else Slipknot has to offer? Yes. Probably. I am in no rush, but I also don't hate the idea of listening to them again. In terms of debut albums, I will give my two cents and say this definitely deserves the recognition as one of the best of the last 30 years. Many debut records to come tried to imitate this one, but very few lasted as long (and stayed relevant) as Slipknot did. However, before I conclude I have to point out that this album has one of the most annoying intro songs I've ever heard. Seriously. STFU.
Happy birthday, Kim. Synic loves you.
The infamous debut record hit the shelves in 1999 and immediately introduced the world to Taylor and Company's special brand of "What the ever-loving fuck am I looking at?" Metal. With each member donned in matching jumpsuits and nightmare-inducing masks, this band told you exactly who they were before you even heard a single note. In listening to it as I write this, I can whole-heartedly say that the album holds up with today's standards of metal. The instrumentation, deep-cutting lyrics, and harsh vocal techniques gave Slipknot a longevity that many metal bands from the late 90s simply lacked.
Being the big metal fan that I am, I am embarrassed to say that this is the first time in my life that I actually sat and listened to this whole album. Going into it, the only song I recognized by it's title was the hit single "Wait and Bleed," while only a couple others sounded familiar as they resonated through my music room speakers. And 66 minutes later I can easily see why Corey Taylor is such a worldwide fan favorite. He has the unique ability to transition from the harsh screaming that scares the meek and mild-mannered, to the mellow and somber singing that shows you Taylor's true voice, to the fast-paced "rap metal" verses that created the subgenre of nu-metal. Very few metal vocalists can do this, and even fewer can do it so easily and actually write kick-ass lyrics on top of that.
But enough gushing.
From my standpoint, in terms of who I am and what I listen to now, Slipknot was not, and is not, at the top of my list. That is to say I am not taking anything away from these guys, and if you think I am trying to say something negative about them maybe you need to reread the first 3 paragraphs of this post again. What I am saying here is that Slipknot is just not the sound I look for when I am looking to get my metal fill. the excessive screaming just doesn't do it for me. While Corey does it exceptionally well, it's just not the sound I usually seek when I am looking to bang my head. (Some of my loyal readers may recall an old post about Once Human and their screaming vocalist. Well, you got me there. Maybe put Slipknot on my list of bands I'll turn to when I need to scream until my throat bleeds.)
At the end of the day, will I ever listen to this album again, or potentially see what else Slipknot has to offer? Yes. Probably. I am in no rush, but I also don't hate the idea of listening to them again. In terms of debut albums, I will give my two cents and say this definitely deserves the recognition as one of the best of the last 30 years. Many debut records to come tried to imitate this one, but very few lasted as long (and stayed relevant) as Slipknot did. However, before I conclude I have to point out that this album has one of the most annoying intro songs I've ever heard. Seriously. STFU.
Happy birthday, Kim. Synic loves you.
Slipknot - Slipknot
6 - 29 - 1999
1. 742617000027
2. (sic)
3. Eyeless
4. Wait and Bleed
5. Surfacing
6. Spit It Out
7. Tattered & Torn
8. Frail Limb Nursery
9. Purity
10. Liberate
11. Prosthetics
12. No Life
13. Diluted
14. Only One
15. Scissors
Favorite Track: Spit It Out
Least Favorite Track: Tattered & Torn
Rating: 8.4
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