I have read quite a few reviews regarding this album and a majority of them have complained that "Fiends of Dope Island" has no indication of the band's instrumental growth. Most devoted Cramps fans claim that after a 6-year gap, this CD (the first ever to be released since 1997's "Big Beat from Badsville") doesn't show any evidence of the band taking a fresh musical direction: instead the Cramps' outrageous psychobilly melodies are rehashed and recycled from the past, thereby becoming out-of-touch with today's pop audience. Well, I bought "Fiends of Dope Island" and I personally feel that despite the band's age, it would be a shame for the Cramps to alter their signature sound or image just to sell more records; in fact, doing otherwise would mean having to sell out! To me the rock elements on "Fiends" are just as enjoyable and catchy as before; this CD proves that after the birth of the 21st century, the Cramps are finally back in business! A potential classic on its own, "Fiends of Dope Island" contains funny, danceable songs amalgamating references to black masses, psychotic drug abuse, grisly murder, and of course the late Elvis Presley. My most favorite tracks are "Fissure of Rolando," "Dopefiend Boogie" and "Mojo Man from Mars." Primal drums and Lux's sarcastic punk howling fold nicely upon Poison Ivy's guitar (which can erect, sway and slither like a Cobra seduced by its charmer) Of course "Fiends" DOES have a few flaws; some of the choruses are mindnumbingly repetitive, Lux's lyrics are nothing more than random nonsense phrases shouted in a microphone, and also the CD exudes the BIGGEST exploitation a certain 4-letter F-word! The general content here is undoubtedly the most EXPLICIT Lux has ever performed in an audio recording.
1. Big Black Witchcraft Rock (3:28)
2. Papa Satan Sang Louie (2:48)
3. Hang Up (2:44)
4. Fissure of Rolando (3:53)
5. Dr. Fucker M.D. (Musical Deviant) (3:17)
6. Dopefiend Boogie (4:20)
7. Taboo (3:47)
8. Elvis Fucking Christ! (3:18)
9. She's Got Balls (2:59)
10. Oowee Baby (3:08)
11. Mojo Man from Mars (2:59)
12. Color Me Black (4:01)
13. Wrong Way Ticket (4:25)
After Lux Interior passed away on 2/4/09 I pulled this one out because it was the only Cramps CD I owned - I had everything else on vinyl or cassette, and my car only plays CD's. I'd only given it a listen or two when it came out - although I'd been a Cramps fiend since Gravest Hits, I thought that BBFB wasn't worthy - that it could have been recorded by any hard-rock band. Well, after ten or so consecutive listens this time around, I love this disc! True, it's not as good as their early stuff (what could be?), but if these songs with this level of musicianship were recorded by anybody else, this CD without a doubt would be considered the apex of their career. Lux's lyrics have never been funnier or more clever, but the hero as always is Ivy Rorschach and her incredibly great guitar playing - nothing else can bring a smile to my face like her sound. After she recovers from Lux's death, I fervently hope she will resume her playing career - she's just too good to quit making music.
I'm convinced that the Cramps are undead -- they really don't age, and they claw themselves out of the grave every couple of years to release another weird album. This album is pretty much the same as their previous few -- very good in places, but uneven. About half the songs are good, but the other half sound tired and wasted. The Cramps were a little better when they sang more monster songs and strange covers and less deviant sex songs, but nevertheless they can still be witty and entertaining. "It Thing Hard On", "Like a Bad Girl Should", and "Wet Nightmare" are funny enough tunes to justify buying this record if you're a Cramps fan and want to keep your collection complete. However, if you're just getting into it you might want to buy some of their earlier stuff before trying this.
1. Cramp Stomp (3:24)
2. God Monster (4:06)
3. It Thing Hard-On (2:49)
4. Like a Bad Girl Should (3:05)
5. Sheena's in a Goth Gang (2:44)
6. Queen of Pain (3:50)
7. Monkey With Your Tail (3:38)
8. Devil Behind That Bush (3:33)
9. Super Goo (2:27)
10. Hypno Sex Ray (2:26)
11. Burn She-Devil, Burn (2:23)
12. Wet Nightmare (3:36)
13. Badass Bug (2:25)
14. Haulass Hyena (2:53)
15. Confessions of a Psycho Cat (3:32)
16. No Club Lone Wolf (2:28)
17. I Walked All Night (2:49)
18. Peter Gunn (3:10)
This album is a perfect introduction to just what it is that makes the Cramps such a special slice of pure, unadulterated rock and roll. The thing is, the Cramps have been around since the mid-70's and have never let up being the hardest-working band around, never relenting and never slowing down for a second. This album only proves that they set the pace and everyone else is out of breath trying to catch up. This is a 1994 album and outdoes the whole bratpack of rockabilly and garage rock newcomers 20 years their juniors. Lux and Ivy have got it down on this album, an album that never lets up for a second; even when it dips into the slower numbers, it's still got you firmly by the throat, it's just shaking you a little bit softer.
There are so many good songs on here that the mind reels. Stuff that could easily make for a decades worth of underground classics and minor-league hits all get crammed together here. From "Let's Get F'd Up" (a personal favorite and an anthem for all time) to "Naked Girl Falling Down the Stairs" to "Strange Love" to their knee-trembling cover of "Route 66." This surely ain't the best that the Cramps have to offer, but, if anything, it's a clearly marked billboard announcing they never left and they surely aren't going away anytime soon.
Get it, redeem your faith in rock and roll.
1. Mean Machine (3:57)
2. Ultra Twist (3:47)
3. Let's Get F*cked Up (3:55)
4. Nest of the Cuckoo Bird (3:25)
5. I'm Customized (3:04)
6. Sado County Auto Show (2:59)
7. Naked Girl Falling Down the Stairs (2:44)
8. How Come You Do Me (2:16)
9. Inside Out and Upside Down (With You) (2:27)
10. Trapped Love (2:00)
11. Swing the Big Eyed Rabbit (3:39)
12. Strange Love (2:49)
13. Blues Blues Blues (2:23)
14. Sinners (2:06)
15. Route 66 (3:16)
I'm telling you the Cramps give you a kick in the pants with this album. They don't only kick you they murder you with a machete! This album is everything great about rock n' roll raw, raunchy, hard, fast and wet, kind of like sex. They mix all the alchemical musical elements in: Rockabilly, Surf, Garage punk, nose pin punk and a heavy dose of hard rock. Bam! The thing in the lab explodes killing everybody in sight! There is not one bad song in this album from start to finish. Of course they use stuff of different songs in the past like making a collage out of your favorite comics and magazines. For instance they use the back drop of a great surf instrumental called "Margaya" by the Fender Four for a insane Lux ramble about the joys of being a hedonist on the song "Wilder Wilder Faster Faster", they redo the awesome blue collar ode song originally by Captain Beefheart "Hardworking Man" its a low down bluesy song they do to devastating effect, another is "Miniskirt Blues" a rockin' garage 60's sleazoid musical bit by The Flower Chldren they do it Cramps style with a harder rocking beat and its a duet with who else but the king of Garage rock himself Iggy Pop! Iggy and Lux sound like demonic twin brothers. They also do "Hipsville 29 BC" a song by the Sparkles it is a insane moaning 60's snot punk anthem that the Cramps own and make their own before the song ends. Then there is the great "Strangeness in Me" by the unknown Rockabilly group the Runabouts. The original is errie and it seems like something a serial killer would sing to his victim before decapitating the person. The Cramps don't mess with this song they keep it the way it was recorded, Lux even sounds like the messed up hillbilly singing the original.
There is alot of their own originals and they are all damn good! "Dames, Booze, Chains and Boots" starts off the album with a rip snorting bonfire. This track just kicks. Then it goes onward. "I Wanna Get in your Pants" is great. The song sounds as if its a sap 50's love song sang by Lux, double entendres in this song make it sound like Lux wants to indulge his inner transvestite and put on his girlfriend's pants and clothes. Yet it sounds like he literally wants in her pants! Only the Cramps could pull that one off. My personal favorite is "Eyeball in a Martini" the song being about a guy who sees eyeballs all over the place. Ivy plays a cool little surf riff in this song the best line being "Went to Lover's Lane to scan for UFO's /You Just imagine what I saw when I pulled down her pantyhose."
This is my favorite Cramps album and thats saying alot. They put out consistently good stuff all the time. For my money this is the best. Its a damn shame that their stuff now seems to be out of print. Shouldn't happen to a band of this influence and caliber. It seems in these times that all the good bands get shafted. So if you see this at all buy it you won't be disappointed.
1. Dames, Booze, Chains and Boot (4:35)
2. Two Headed Sex Change (2:52)
3. Blow Up Your Mind (4:29)
4. Hardworkin' Man (4:02)
5. Miniskirt Blues (2:39)
6. Alligator Stomp (4:04)
7. I Wanna Get in Your Pants (4:18)
8. Bend Over, I'll Drive (4:05)
9. Don't Get Funny With Me (3:23)
10. Eyeball in My Martini (3:20)
11. Hipsville 29. B.C. (2:31)
12. The Strangeness in Me (3:17)
13. Wilder Wilder Faster Faster (4:55)
14. Jelly Roll Rock (2:27)
1989's "Stay Sick!" is another energetic rock album that clearly marks the highest point of the Cramps' musical creativity. Interestingly, the songs of this particular CD have rejuvenated lyrical elements of the band's outrageous obsession with cheesy science fiction films and off-the-wall frightfests (which were temporarily lost in 1986's "A Date with Elvis.") In fact, the title of "Stay Sick!" was once a spooky catchphrase spoken by Ghoulardi, an early television horror host who became popular in Lux Interior's home state of Ohio. As a whole, this record is fueled by twisted rockabilly tunes, simplified chorus hooks and groovy pop rhythms. Supported by Poison Ivy's raw, vibrating guitar strings, Lux the frontman adapts an audio persona more warped than ever before; while belting out his vocals, he emits a fury of bestial growls, puppy dog yelps and strangely sexy croons. "Stay Sick!" has, of course, quite a few highlights. The CD's upbeat single "Bikini Girls with Machine Guns" is an underground party hit heavily drawn from alcohol binges, psychedelic drugs and a whole other variety of forbidden excesses. "All Women are Bad" is definitely the most well written track here, as it briefly explains how enticing vamps in history led men to their ruin (and why we all love them for it!). In "Creature from the Black Leather Lagoon," (obviously dedicated to the Hollywood monster of the same name) good ol' Lux shimmers his hips in a hilarious Elvis Presley spoof! Speaking of the King, the Cramps' dizzying cover of his celebrated hit "Jailhouse Rock" can best be described as a hyperactive noise riot done after swallowing one too many Twinkies! Beware, freaks and riff raffs: the sexual content on "Stay Sick!" is the most explicit ever presented (other than 2003's "Fiends of Dope Island"). There is no doubt in my mind that it was intended to press the panic buttons of mainstream censorship. "Everything Goes" is a throbbing country tune where Lux pushes fetishism to its most absurd level! "Mama OO Pow Pow" is a naughty barnyard ditty about spankings, bondage and other acts of kinky behavior. However, one of the CD's bonus tracks, a nostalgic cover of Carl Perkins's "Her Love Rubbed Off," is probably the ONE Cramps track that officially crosses the invisible line of obscenity. Snatch this incredible album...IF YOU DARE! ;)
1. Bop Pills (2:24)
2. God Damn Rock & Roll (2:38)
3. Bikini Girls With Machine Guns (3:17)
4. All Women Are Bad (3:08)
5. The Creature From the Black Leather Lagoon (3:06)
6. Shortnin' Bread (2:50)
7. Daisys Up Your Butterfly (2:38)
8. Everything Goes (3:46)
9. Journey to the Center of a Girl (4:49)
10. Mama Oo Pow Pow (2:33)
11. Saddle Up a Buzz Buzz (2:43)
12. Muleskinner Blues (2:51)
13. Her Love Rubbed Off [Studio] (2:58)
14. Her Love Rubbed Off [Live] (5:05)
15. Bikini Girls With Machine Guns [Live] (3:19)
16. Beat Out My Love (2:15)
17. Jailhouse Rock (2:27)
18. Jackyard Backoff (3:17)
The Cramps are the masters of punkabilly and purportedly the reason for the psychobilly movement, and they really come through on this one! Starting from the start, 'A Date With Elvis' examines all kinds of cultural questions, such as the great 'How far can too far go?' amd. 'People ain't no good' is a thesis on human interaction with Lux Interior (the lead singer). The songs 'Kizmiaz' and 'Aloha From Hell' visit exciting and exotic places to go in a punkabilly, ...sort of way. There's not a bad song on this, and the extras include a rare vocalization by Poison Ivy Rorschac, the attractive guitarist of The Cramps since the beginning. This album is a must have for the curiousity- seekers and old time fans of The Cramps.
Hands down, the best and most solid Cramps release EVER! Breaking away slightly from the straight up rockabilly sound to incorporate some surf tones only enhances this already great cd. We also find Lux not as dark and sinister; instead acting up in a fun and playful way with songs like Chicken, Cornfed Dames and Can Your P*ssy Do The Dog? . These songs show the direction the band would pretty much follow for the next several albums. Other highlights however are the songs Kizmiaz (Lux and Ivy's swooning duet) and What's Inside A Girl? (which shows Lux's admiration for serial killer Ed Gein). In all honesty though, there's not one dull track on this album! If you don't already have this one, why the hell not?!
1. "How Far Can Too Far Go?" - 4:10
2. "The Hot Pearl Snatch" - 3:17
3. "People Ain't No Good" - 3:46
4. "What's Inside a Girl?" - 3:22
5. "Can Your Pussy Do the Dog?" - 3:22
6. "Kizmiaz" - 3:01
7. "Cornfed Dames" - 5:26
8. "Chicken" - 1:40
9. "(Hot Pool Of) Womanneed" - 3:09
10. "Aloha from Hell" - 2:35
11. "It's Just That Song" - 2:35
12. "Blue Moon Baby" - 2:38
13. "Georgia Lee Brown" - 3:24
14. "Give Me a Woman" - 2:25
15. "Get off the Road" - 3:12
First thing I couldn't help but to notice about this release,of course was the stunning cover where guitarist Poison Ivy looks extremely HOT!'Smell Of Female' is okay as far as a live album goes.It's got some good tunes like "You Got The Taste" and "Faster Pussycat" for starters.However,I see/hear two things wrong with 'Smell...'.One,the duration is just 33 minutes and two,their version of the 1967 Count Five garage/psych classic "Psychotic Reaction" is rather weak.I've seen the band play live twice now and I KNOW they can do better on that cover.I liked 'Rockin' N Reelin' In Auckland,NZ' and 'How To Make A Monster' better(see my reviews on both).
1. "Thee Most Exaulted Potentate of Love"
2. "You Got Good Taste"
3. "Call of the Wighat"
4. "Faster Pussycat"
5. "I Ain't Nuthin' But a Gorehound"
6. "Psychotic Reaction"
7. "Beautiful Gardens"
8. "She Said"
9. "Surfin' Dead"
I remember buying this album not so long ago, after a recommendation from a friend of mine. "It kicks ass" was his comment, and I took his word for it, and spent my well earned money to buy it. I went home, put it on, listened through it once, and forgot about it. But when joining this site, and adding my collection, I remembered this recent purchase, and decided to give it another spin.
I'm not overwhelmed, it didn't knock me off my feet and it wasn't that interesting. The whole vibe of the album is what I like, the whole dark and psychedelig atmosphere is what grabs me. The actual songs sound pretty repetetive, and with every new track I feel more and more bored. It's actually boring the hell out of me, but the vibe is so extraordinary. It makes me feel like I'm lying in some random strangers appartement after taking a huge amount of drugs, and that is an atmosphere I like to create for myself. Sometimes atmosphere isn't enough, and this ain't exactly The Doors or Joy Division on the atmosphere scale, rather something in-between. And when the songs are so similar, and dull, it just doesn't cut it for me.
I will tell my friend to think twice before using the phrase "kick ass" again, cause this, most definetely didn't kick ass. It rather make my ass fall asleep, cause I spent the whole album sitting on my chair, instead of bouncing around like a "kick ass" album is supposed to make me do. So one and a half thumb down, the vibe is cool, the sound is boring, the songs are repetetive. I am dissapointed, I need a beer.
1. Green Fuz (2:08)
2. Goo Goo Muck (3:05)
3. Rockin' Bones (2:48)
4. Voodoo Idol (3:38)
5. Primitive (3:31)
6. Caveman (3:50)
7. The Crusher (1:47)
8. Don't Eat Stuff off the Sidewalk (2:04)
9. Can't Find My Mind (3:01)
10. Jungle Hop (2:06)
11. The Natives Are Restless (2:59)
12. Under the Wires (2:44)
13. Beautiful Gardens (3:59)
14. Green Door (2:36)
Welcome to art-rockabilly, a merger of the sensibilities and guitar styles of Link Wray and Lou Reed. Actually, this concoction – like fried grasshoppers and chocolate-covered ants – isn't half as unpalatable as you'd imagine. It turns out that the Cramps have reinvented a modern version of surf music. They probably wouldn't see it that way, however.
This is the kind of semisatiric band that sounds so hot that you're afraid to listen to the lyrics for fear you'll wind up hating them, or discovering that the songs are finally as preposterous as the group's hairstyles. As it is, except when he's singing straight rockabilly (a genre in which he's a 100 percent improvement over Robert Gordon), vocalist Lux Interior isn't particularly effective. But guitarists Poison Ivy and Bryan Gregory take a delight in reverb that I find genuinely engaging. And anyway, in surf music, expressionless singing was de rigueur (though the first time around, it was accidental and not the point).
On the basis of their earlier EP (which featured four revamped oldies, including "Surfin' Bird"), it's clear that the dozens of guitar-riff references – to Wray, Reed, Dick Dale, Johnny Rivers, Billy Lee Riley and so forth–are about as unintentional as, say, Interior's interpolation of "Louie, Louie" into "Rock on the Moon."
Yet here's a band that earns its eclecticism. These guys play all this trash so deadpan you feel like an anthropologist who's found an otherworldly culture that's been developing rock & roll along parallel musical lines but utterly divergent social ones. Taking them seriously as Manhattan avant-gardists might be too much to ask, but I don't mind having the Cramps.
1. "T.V. Set" - 3:12
2. "Rock On The Moon" - 1:53
3. "Garbageman" - 3:37
4. "I Was a Teenage Werewolf" - 3:03
5. "Sunglasses After Dark" - 3:47
6. "The Mad Daddy" - 3:48
7. "Mystery Plane" - 2:43
8. "Zombie Dance" - 1:55
9. "What's Behind the Mask?" - 2:05
10. "Strychnine" - 2:24
11. "I'm Cramped" - 2:37
12. "Tear It Up" - 2:32
13. "Fever" - 4:17
14. "I Was a Teenage Werewolf (With False Start)" [Original Mix] - 4:48
15. "Mystery Plane" [Original Mix] - 2:39
16. "Twist and Shout" - 2:32
17. "I'm Cramped" [Original Mix] - 2:37
18. "The Mad Daddy" [Original Mix] - 3:15
I have an old college roommate (and still a good friend) who is a thrash/speed metal man. During our stint rooming together,there was one day that we sat around drinking a few beers and he broke out Sepultura's Chaos A.D. It was fantastic to say the least. When I'm in the mood for something that makes me feel like I want to drive 100+ mph, Chaos A.D. is quickly in hand. I also bought and listened to Roots but not nearly as much as Chaos. After Roots, Max Cavalera was out of the band and I didn't really follow Sepultura anymore. Oddly enough, I didn't latch on to Max's new bands Soulfly or Cavalera Conspiracy either.
I had heard from my friend that Sepultura really went back to their thrash roots after Max's departure. I'm sure that's true but I'd say with A-Lex they're walking a line somewhere between full-on assualt and the heavy melodic power of Chaos. A-Lex is a concept album based on A Clockwork Orange and I believe it shows through pretty well. A-Lex, by the way, is a modified form of the Latin phrase for "without law" (ab+ lex).
All of the songs titled as "A-Lex" (i.e. I, II, III, and IV) begin with electronic intros, lead into a pounding instrumental, and then transition back out with some electronic sounds. It's almost as if these pieces serve as segues between different portions of a musical storyline and they do so pretty successfully. My only gripe is that the album starts off with one and it was a big of a stutter start to the album. After the first track, "Moloko Mesto" is some blazing thrash. THIS is more of what I expected. The album has a great flow to it. Most of the songs are short and to the point while keeping your blood pumping. The tracks go from thrash to some more melodic metal to a concept song to thrash, etc., etc. When I say more melodic metal, think Pantera's "Walk". The screaming is there. The energy is there. And this ain't no Metallica Black Album. These guys mean business. Then they throw in another "A-Lex" track to remind you that it's a concept album.
There were some songs on here that had a bit of a different feel to them. "Sadistic Values" is the longest song on the album at 6:50 and it has about three minutes of a dark and mellow electronic intro followed by some thrash. "Metamorphosis" seems to have aimed for a much darker sound than many of the other songs. "Filthy Rot" gives you some of those classic Sepultura drums like "Refuse/Resist" did on Chaos. "The Experiment" sounds like it was lifted right off the Chaos album. The only song that really sticks in my side is "Ludwig Van". It has orchestral strings with the occasional guitars thrown in an attempt to make it sould like Beethoven if he wrote for a metal band. My issue is that it ends up sounding more like one of those lame Trans Siberian Orchestra commercials. It flat out bites.
"Ludwig Van" aside, I really like A-Lex even if the title tracks break it up into pieces. I made the comparison earlier in the review and I'll expand on it here. I believe if you take out the "A-Lex" tracks and "Ludwig Van", you have an album that's got a pretty similar feel to Pantera's Far Beyond Driven or The Great Southern Trendkill. You'll see mosh pits in your mind without the music ever getting monotonous in the way that some thrash does. If you liked Chaos A.D. or the Pantera trilogy of Vulgar Display through Trendkill, I'd highly recommend A-Lex to you.
This album is deservedly getting great acclaim world-wide, but I feel compelled to add another 5-star review to the growing amount that are out there already.
I can't say enough good things about the album. I think it's their best work since Arise (if not, dare I say, ever?).
The band have had their critics since Max Cavalera left; a lot of people instantly disliked Derrick Green upon hearing Against, and hence decided not to give the following albums a chance. If you are one of these people, I strongly advise you to buy this album. If you are one of those who kept faith in the band, then you are reaping your just rewards.
As much as I love the Derrick-era albums prior to Dante, I think this album is an amalgamation of all the best elements of its predecessors. It's thrashy, it's heavy, there's a healthy mix of alternative instruments (the use of Horns, I believe!) and it is really creative.
There's also something a little extra in Dante; it's dark. As a concept album, it draws inspiration from The Divine Comedy (the album is split into 3 sections; Hell, Purgatory and Paradise) both lyrically and artistically. There are some intense songs such as "Buried Words" in which you can decipher the book's influence (if you've read it of course!) The art-work also draws inspiration from The Divine Comedy, with some top-notch work.
In conclusion, this is an album that should have the begrudgers running back to the band in their droves (If you are one of them, there's no shame in it!) as well as putting Sepultura back on the radar of metal heavy-weights where they belong. ....this is simply a great album. Buy it!
Sepultura haven't made an album this good in 12 years. This album is much faster and heavier than against or nation. Anyone who doesn't believe in post-max sepultura needs only to listen to this cd. Derrick's vocals are in top form and he shows that he is a more powerful and dynamic singer than max ever was. Paulo's bass is more noticeable to me than ever before, with a scattering of really cool bass lines throughout the cd. Andreas' guitar work is faster than it has been in recent years, and, thankfully, the great solos are BACK! But the best part of this album is, of course, Igor's drumming. If that is any surprise to you then you must not know Sepultura.
Come Back Alive, Corrupted, Mindwar, Leech, The Rift, and Activist are all great, fast songs. Apes of God is a mid-paced song with a really good riff and some NASTY drumming. More of the Same, Bottomed Out, Urge, and As It Is are all more unique songs showcasing Derrick's clean and varied vocals. I think the only one I didn't mention yet is Godless. It's a fairly heavy song, kind of on the slow side, and it really grows on you. This whole cd is excellent and a GREAT comeback for Sepultura. I Urge everyone to check this out. You won't be disappointed. Standout songs are The Rift, More of the Same, Come Back Alive, and all the others.
How much longer do we have to listen to people denigrate the work of Sepultura after Max Cavalera?
If you can't hear the quality of the songwriting and arranging in this album, then you just aren't listening. Sepultura post-Max have developed into one of the most mature and intelligent thrash band on the planet; Derrick Green sings his ass off, Andreas Kisser's writing is world class and the overall production quality is given more attention than it ever did when Max was in the band. And above all, they aren't afraid to try new approaches, which many fans of the old line up seem to feel threatened by....
Too many people are obsessed with the cult of personality, and can't/won't accept that Sepultura can thrive, let alone exist, without Max.
If you want to hear Max, listen to Soulfly. If you wany to hear bleeding edge thrash, check this release out, but above all, try to keep your mind and your ears open.
1. "Come Back Alive" 3:06
2. "Godless" 4:22
3. "Apes of God" 3:36
4. "More of the Same" 3:59
5. "Urge" 3:17
6. "Corrupted" 2:33
7. "As It Is" 4:26
8. "Mind War" 3:00
9. "Leech" 2:24
10. "The Rift" 2:57
11. "Bottomed Out" 4:35
12. "Activist" 1:54
13. "Outro" (uncredited) 11:39
14. "Bullet the Blue Sky" (bonus, U2 cover) 4:31
I mean wow..This is easily the biggest surprise thus far for me in 2001. I was expecting a cd akin to Against, good but just lacking and uncomfortable feeling without Max.
Nation finds Sepultura trying not to emulate what they once held with Max Cavalera, which is part of why Against felt so odd to me.It is also a concept album about creating a perfect utopia, at times exciting and full of wonder, and at times frightening to think about the rule of a corrupt government. It is an eye opening and pleasant trip to be on. On the new album, Derrick Green proves he is a far greater vocalist than Max ever was, showcasing his beautiful singing voice on tracks like Water and The Ways of Faith to name a couple. He can also hold his own with Max as far as growling goes-just listen to Revolt or Human Cause. Andreas may not make solos as showy as on older albums, but I personally feel solos can become too cocky or masturbatory if done too showy or too often. On Nation, he does solos that dont take away from the others in the band, only adding more to the song. The rythymic section is intensely strong as well-Paulo creates some pummeling basslines and Igor is still a powerhouse on the kit. The songs are not complex thrash metal like in the days of Arise or Beyond the Remains, but they are GOOD. Songs are strong,with good lyrics and vocals and very talented music to back it. Best songs are Sepulnation, Border Wars, One Man Army, Who Must Die, and Water.
I felt this was one of Sepultura's most stirring albums-they support the belief and need to make a better world, a Utopia if you will, in the lyrics. You can feel that they believe it, in every word and riff and drum kick.
In conclusion, I think this is one of the finest albums by Sepultura to date, Max or not. It is also a high contender for album of the year for me, as it is constantly receiving play. For stirring music, look no further.
This album is Sepultura's best since Chaos A.D. and their most diverse ever, even more diverse than Against (which I also loved). Not to push my opinion on others but if you honestly think that Soulfly's 2 releases are as good as or better than Sepultura's 2 releases without Max...you must enjoy repetitive nu-metal a good deal more than I do. Soulfly has become something of a joke whereas Sepultura have become more diverse and heavier (heavier than Roots, that is...at times at heavy as Chaos A.D.) and more experimental, all of which has added up to two fantastic releases, of which this is the second.
This CD is only 52:25 in length but it seems much longer than that, which is a good thing. There are only two even mediocre songs here, they are tracks 11 and 14 (Politricks and Water); in addition, Reject sounds a bit weak but it's between mediocre and good because of the chorus. The rest of the CD is excellent, within each song it seems as though there's a surprise. Andreas, Igor and at times Derrick are proving themselves to be an outstanding songwriting team.
If I may:
"Sepulnation": kind of cheesy lyrics/title but the main riff is killer and the chorus is devastating. Nice drumming too.
"Revolt": at first I was mad because this song is only about :55 long but it's killer, it and "Human Cause" are the two short thrash songs on this record and they're both great.
"Boarder Wars": sounds like a Chaos A.D. song updated. Nice build to the chorus, which is crazy heavy. Good, good riffage.
"One Man Army": I didn't like this song upon first listen but now I really enjoy it, it's unlike anything Sepultura have ever done before (especially with the clean vocals)
"Vox Populi": GREAT main riff and heavy part toward the end, and a very energetic chorus.
"The Ways Of Faith": This is a good, simple song.
"Uma Cura": A little slow to grab ahold of but good, it's very slow and brooding.
"Who Must Die?": This is the best song on the record. It's so very hardcore, the main riff is so very good, and there are great, soft breakdowns interlaced throughout. Hopefully a concert staple for years to come.
"Saga": Another very heavy song, but the main riff is the same as the intro riff to "Hatred Aside" from Against, however some notes have been taken out. (I could be wrong; this is what it sounds like to me). Very fast and energetic though.
"Tribe To A Nation": I thought this would be mindless reggae and some of the lyrics I don't really like, but the main riff here is very heavy and also very evil. Love it!
Politricks (omitted)
"Human Cause": if one word had to describe this song I would choose "vicious" to be that word. Jamey Jasta (of Hatebreed fame) adds his now-infamous bark of a vocal to the first verse, which sounds killer.
"Reject": Eeh, this is pretty good. It's worth listening to for the start-stop of the chorus.
Water (omitted)
"Valtio": Probably Sepultura's most beautiful song. It's all orchestral and classical guitar and sounds like something from a movie soundtrack. A very moving song and an excellent way to end a CD (and also an excellent way to open their live shows, as they do so with this song).
Overall, one of the best records of 2001, IMO. If you are openminded about music you will probably like this CD, it strikes a rare balance between several different styles of heavy music as well as a lot of softer stuff, too, and little of it sounds out of place. Absolutely worth buying, at least chek it out if you're apprehensive.
Well, after spending the last two days studying this album closely, I just want to say I think the band deserves more credit than I initially gave them. So it doesn't sound like old Sepultura. Why should it? Without their mighty leader, without Max, of course they've had to change. The Roots/Chaos A.D. direction continues with Max in Soulfly, but Sepultura actually hasn't done a bad job here. The album is more simple than previous Sepultura releases, as far as its lack of frenetic guitar rhythms, pace changes, and solos is concerned. But the guys have compensated for that with more experimental ideas presented in a wide variety of textures: while there are some more subtle, relaxed instrumentals focusing on ethnic Brazilian and Japanese music such as "Tribus,Kamaitachi" and "T3RCERMILENNIUM," there are plenty of punk-based and groove-oriented songs, with a handful of thrash tunes featuring Jason Newsted and old friend Joao Gordo thrown in. Overall, this album doesn't have the intensity Sepultura flaunted with Max. But make no mistake, this is still metal. As for Derrick, I think it's amazing a guy from Ohio was brought into the world's most famous (formerly) Brazilian band. Guess they're 1/4 American now, huh? I bet he is honored and is trying very hard to earn his place in such a demanding role. Give him a chance. I think the lyrics he's contributed have even influenced the songwriting to create an American feel for some of the songs. He clearly has a strong set of lungs and can sing just fine for this kind of music. Please don't jump on him. If he's who the band wanted, don't you think they know what they were looking for in a vocalist? After all, it was THEIR decision, whether you like it or not. In sum, this is obviously not a technical speed fest like Arise or a slow-crunch/power chord work like Roots or Chaos A.D. But like I said, it doesn't need to be. "Against" marks a new era for Sepultura, apparently one with wide horizons and plenty of time and space for creative heavy metal, and the production is solid. If you don't like the new style, that's cool. But I'm finally getting what they've done here, and you know what? I dig it!
Strength in the face of adversity is certainly what Sepultura has shown by bouncing back from tragedy, and releasing one of their best albums. The loss of singer/guitarist/founder Max Cavalera was devastating and most fans thought the band would not be able to continue. However, Sepultura followed their hearts and moved on finding the perfect replacement for Max with Derrick Green. The music that comes forth in the album Against blows away their last album Roots, and almost reaches the same heights they acheived with their masterpiece Chaos A.D. The downtuned guitars are gone in favor of a more traditional sound, so is the muddy production of Ross Robinson in favor of a more clean, but extremely heavy sound. The album kicks off with the fast-paced title track which asserts the return of these metal giants. "Rumors" is one of the most powerful tracks of the album addressing the war of words between the remaining members of Sepultura and the departed Max Cavalera. "Common Bonds" is another gem boasting immense drumming from Igor, and blistering guitar work by Andreas. The band heads in a more hardcore direction with their new muisc, "Floaters In Mud" and "Drowned Out" are two prime examples. Gordo of Ratos De Porao lends his vocal talents to "Reza," a modern companion to "Biotech Is Godzilla." Metallica's Jason Newsted collaborates with Sepultura spawning "Hatred Aside," something which can only be described as a Motorhead song on steroids. Sepultura's tradition of incredible instumentals continues with the drum driven "Tribus," the fuzzy distortion of "F.O.E.," and the ominous apocalyptic "T3rcermillennium." The cultural inspiration of this album is drawn from Japan where Sepultura teamed with the percussion group Kodo for the mesmerizing "Kamaitachi." Against is the beginning of a new Sepultura, one that recognizes, and is proud of the past, but poised to move on into new territory as the kings of metal!!!
1. "Against" 1:54
2. "Choke" 3:36
3. "Rumors" 3:04
4. "Old Earth" 4:28
5. "Floaters in Mud" 4:58
6. "Boycott" 3:10
7. "Tribus" 1:39
8. "Common Bonds" 2:58
9. "F.O.E." (Jimmy Bowen cover) 2:08
10. "Reza" (Prayer - feat. João Gordo from Ratos de Porão on vocals) 2:16
11. "Unconscious" 3:37
12. "Kamaitachi" (feat. Kodo) 3:03
13. "Drowned Out" 1:28
14. "Hatred Aside" (feat. Jason Newsted from Metallica on vocals and baritone guitar) 5:13
15. "T3rcermillennium" 3:56
Ok let's face the obvious; Roadrunner has been constantly spitting out these 25th anniversary Re-releases as an easy cash grab from the fans. Since they already re-released the rest of the albums from Max Cavalerea years, why not re-release roots? Well, when I had first heard this news, I was excited and jumping with joy. Roots was my first Sepultura album and one of my personal favorites, I practically have the thing memorized word for word and note for note. Now I realize this is a long review so if you want a short version, then skip to the last paragraph. If you want all the details, then read on from here.
I checked websites weekly for updates as to what the bonus track would be on the second disc. Roadrunner stated that it would be 15 songs, but they didn't release the track list till months later. When they finally did, I was shocked to see that it was 13 songs instead of 15. I looked back at the roadrunner website and there were still banners up on the website claiming that it would have 15 songs! What happened to the three missing songs?! And to top it off, most of the songs were previously released on the B-Side/Live disc Blood Rooted.
Now I'm a Sepultura fanatic so eventually, my curiosity got the best of me and I gave in and bought it. This is the third time I've bought Roots. I have the original copy, the rare import The Roots of Sepultura and now this one.
The most interesting part of the whole package is probably the artwork and the 23 page booklet. The lyrics part of the booklet has been changed, having the colors screwed around with (it actually looks pretty cool) as well as pictures of Jon Davis, Mike Patton, the tribe, Ross Robinson, members of the band and so forth. The main problem was that most of it dealt with the recording process so much that they weren't able to include all the info they could have. The Re-release of the Soulfly album does a better job (in terms of the booklet) because it gave some info about every song. The Lyrics for Lookaway are still not present because they were written by Jon Davis. They don't mention the guitarists from Korn helping out with Ratamahatta on percussion, nor do they mention anything about Carlinhos Brown (who also played on Ratamahatta and Ambush). A large portion goes into the recording process for the untitled track at the end of the album. This 13 minute improve jam goes by two names. The booklet refers to it as Canyon Jam, if you insert it in your Computer or look online it comes up as Little Wood-Music, so which is it? There are other things included such as their journey to the Xavantes tribe, but there are still several things that are left unanswered to the die hard fanatic. Like with the bonus material, why did they decide to cover Celtic Frost and Bob Marley? They are great songs but I would like to know why. It feels incomplete and a bit of a let down. Just compare the booklets from Roots and the Soulfly album and the Soulfly one ends up as the winner. It was simply done better. However if you compare the overall music, Roots annihilates the competitor.
Alright, enough with the booklet, does the bonus material make it worth the cash? Well let's go over all the previously unreleased material and that which was left off Blood Rooted.
5. Mine (Andy Wallace Mix): I don't understand why the reviewer Wobby praises this track as much as he did, but this is not a remix, this is an extended Mix, not a remix. There is an additional 4 seconds at the beginning and probably a minute and half added to the end. If there is an actual difference, then it's not easily noticeable.
8. R.D.P. (Demo): I'm convinced that this is demo cover of a Ratos De Porão song, but I'm not too sure which one. Sepultura previously covered their song Crucificados Pelo Sistema. It's Definitely an awesome song.
9. Untitled (Demo): An instrumental that was never improved on, probably the best song here, it could have been a second We Who Are Not As Others.
10. Attitude (Live): This was on an Ozzfest CD so its nice to have it on an actual sepultura CD for the first time.
11. Roots Bloody Roots (Megawatt Mix 1): very strange, not too good, but definitely better then the next track.
12. Roots Bloody Roots (Megawatt Mix 2): absolutely unbearable. It sounds like a really bad Soulfly remix. With the exception of Max yelling, you couldn't be able to tell what this was in the first place. Horrible, horrible remix. I will bet that these two remixes were made recently at the last minute by someone at Roadrunner.
The next time Roadrunner decides to release some old Sepultura rarities (which they probably will within the next five years) they better just make a Blood Rooted vol. 2. There is plenty of live bootleg material that they can place on it and if you look hard enough, there is a rare Desperate Cry Vinyl Single that has a track titled Sweet Leaf (probably a Black Sabbath cover) and I'm sure there are plenty more demos.
Alright here's my conclusion as to whether or not this Re-release is worth the money. If you do not have any version of Roots, then definitely buy this version. If you already have the original version; you can skip this entirely or buy one used at a cheap price or get it as a gift. I personally do not like to support these cash grabbing re-releases so that's what I did; I received it as a gift. The music is definitely worth 5 stars, but the overall letdown of unreleased material removes a star. Hoped this helped and thanks for reading.
CD1
1. "Roots Bloody Roots" 3:32
2. "Attitude" 4:15
3. "Cut-Throat" 2:44
4. "Ratamahatta" (feat. Ross Robinson, David Silveria and Carlinhos Brown) 4:30
5. "Breed Apart" 4:01
6. "Straighthate" 5:21
7. "Spit" 2:45
8. "Lookaway" (f. DJ Lethal, Jonathan Davis & Mike Patton) 5:26
9. "Dusted" 4:03
10. "Born Stubborn" 4:07
11. "Jasco" 1:57
12. "Itsári" 4:48
13. "Ambush" 4:39
14. "Endangered Species" 5:19
15. "Dictatorshit" 1:26
16. "Canyon Jam" 13:16
I find it interesting (and funny) that to some people, the success of an album hinges on whether or not it's "commercially accessible." Metal artists walk a finer edge than most today (except probably for punk artists), in that every _POSSIBLE_ move they could make constitutes selling out. You're a sellout in the metal and punk worlds if: You release a record. Your sound goes too "soft". Your sound changes. You play venues with seats instead of barstools, etc etc.
Sepultura is a case in point. "Chaos AD" is, in my estimation, their finest record. "Refuse/Resist" leads off the album with a ripping-hammer punch that socks you into your seat. "Territory", "Slave New World" and "Nomad" are outstanding songs as well, running the gamut from the slow, heavy trudge to the fast-paced pummeling guitar that was Sepultura's bread and butter for so long.
"Chaos AD" also features Sepultura's first serious exploration of tribal and political issues, with the songs "Kaiowas" (named for a tribe of native South Americans that were all but wiped out) and "Biotech is Godzilla" (co-written by Jello Biafra). "Biotech..." is more than just funny, anyone who knows about the horrors that are foisted upon the working class and poor in South America knows that the song is brutally accurate and sounds a wake-up call to the civilized world.
This is Sepultura's finest work. The collaborations are smooth and well-executed, the songs are well-paced and well written. And yet, to people like my buddy Chael, an enjoyable record is a failure. I don't get that. I KNOW the band wants people to listen, did you ever hear of a band that wanted their records to make people shut them off? Some argue that Sepultura's earlier records were meant for the loyal hardcore audience. The fact is that a truly loyal audience would appreciate their musical growth, realize that stagnation is what comes from never changing your sound, and encourage them to constantly evolve and come up with new things to amaze us with.
Chaos AD was one of these albums, and I suggest you play it until your ears bleed.
1. "Refuse/Resist" 3:20
2. "Territory" 4:47
3. "Slave New World" 2:55
4. "Amen" 4:27
5. "Kaiowas" 3:43
6. "Propaganda" 3:33
7. "Biotech Is Godzilla" 1:52
8. "Nomad" 4:59
9. "We Who Are Not as Others" 3:42
10. "Manifest" 4:49
11. "The Hunt" 3:59
12. "Clenched Fist" 4:58
13. "Chaos B.C." 5:12
14. "Kaiowas (Tribal Jam)" 3:47
15. "Territory (Live)" 4:48
16. "Amen/Inner Self (Live)" 8:42
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