faith no more

#799: Mix CD 10 – “I’m So Bad Baby I Don’t Care” (2003)

GETTING MORE TALE #799: Mix CD 10 – “I’m So Bad Baby I Don’t Care” (2003)

Welcome back to an informal series of stories on the subject of musical rediscovery!  It is a blast listening to mix CDs (or tapes) that you made ages ago. To get you caught up, you can check out the below if you so choose!

This is one I have been looking forward to, for a couple reasons.  One, I love the cover artwork.  I recently reconnected with an old friend from the UK named RooRaaah.  He drew this rabbit, “Rab C. Rabbit”, and I always thought the crude sketch was hilarious.  If I hadn’t used it on my 10th mix CD, I might have lost it forever.

The second reason is that I burned this CD in the aftermath of dating Elli, as told in Record Store Tales Part 15: Dating a Radio Station Girl.  I was seeking all sorts of music, from heavy and angry to soft and soothing.  There’s a healthy dose of nostalgia, as I knew I could always return there to fill the holes in my heart.  There are even some rarities here, the kind of things you found by browsing Limewire.

As usual, I opened with a comedy bit:  Trey Parker and Matt Stone yelling “Dude!” at each other, from the movie Baseketball.  “I guess you’ve got a point there.”  Then straight into the brand new Anthrax:  “Safe Home”.  We’ve Come For You All was fresh and this song captured part of how I felt.  “My whole world has moved on.”  It was a strong, albeit mainstream single for the thrash pioneers, and one that still holds up.

From there to full-on nostalgia:  “Mr. Roboto”!  Wow, she must have really done a number on my heart to make me go all the way back there, the first rock record I ever bought.  At this point in my history, I lost my original LP copy and hadn’t yet got one on CD since it was so hard to find.  Hence the Limewire download.  A co-worker picked up the Styx CD for me in Toronto a year or two later.    Then, first of three Motorhead tracks is a wakeup:  “I’m So Bad Baby I Don’t Care”.  I was definitely pissed off!  But then it’s onto the Faces classic “Ooh La La”, a taste for which was acquired by repeated viewings of Rushmore.

Albums and artists tend to repeat on this CD.  Even certain songs repeat!  Jellyfish’s excellent “The Ghost at Number One” is the first of two appearances.  I can taste the nostalgia, as I retreated to a simpler time, sitting in front of the TV watching music videos on Much.  I always appreciated the Beatles-esque track, which I haven’t heard in years.  Back to the 80s again, and the Gowan classic “A Criminal Mind”.  Comfortable MuchMusic memories in the basement.  A dark, plaintive song that spoke to me.  “And you will never break me, till the day I die.”

Motorhead’s “R.A.M.O.N.E.S.” reflects a fresh appreciation for punk rock in my post-Elli haze.  You could thrash out to it and just rock the frustrations till they were gone.  This song will lift you up no matter how deep the hole.  A real weird rarity follows this, a Limewire discovery:  Mike Patton & Dillinger Escape Plan covering Justin Timberlake’s “Like I Love You”.  And they fucking kill it, too!  Just a bootleg, but good enough for a mix CD.

Back to the movie Rushmore.  One of the most impressive tracks in that movie is the Live At Leeds version of “A Quick One (While He’s Away)” by The Who.  Once a co-worker told me exactly what that song was (from expanded edition of Live at Leeds), I grabbed it (before buying the CD later on) from Limewire.  The track is an utter marvel, and I maintain the live version is the superior one.  I couldn’t believe it was actually live!  It’s as clean as a studio cut with perfect harmonies, but with explosive live energy.  It’s my favourite Who song, hands down.  It’s the kind of song that made me feel smug, like “Yes, I have fucking great taste in music.”

The first repeat band (and song) is “The Ghost at Number One”, this time live.  Jellyfish’s immaculate live version is tight as a drum.  Then, a magnificent double repeat:  Styx, now with Lawrence Gowan on lead vocals, with “A Criminal Mind”!  And not just “A Criminal Mind”, no; live in Kitchener Ontario, this one!  It’s cool that James “JY” Young threw down that wicked guitar solo right across town.  So this one is special to me no matter how you slice it.  The centerpiece of the CD, perhaps.

Don’t read anything into “Crabsody” by AC/DC being on this CD.  It’s not on any of the US albums, so I downloaded it when I searched for “rare AC/DC” on Limewire.  (Strictly a novelty song, incidentally and not a lost AC/DC classic.)  You can definitely read “nostalgia” into the next track.  Back to 1981 (Jesus!) and “Believe It Or Not” by Joey Scarbury.  And I clearly went for the most mangled transition I could manage, since the very next song is “Chinese Arithmetic” by a Patton-fronted Faith No More (second appearance for Mike).  The track opens with Patton announcing, “The word of the day is…fuck.”  Which he then repeats a few times, before seguing into “Vogue” (as they often did).

Finally it’s back to Gowan again, and “Strange Animal” (featuring Tony Levin on the Chapman Stick).  The rhythm that Levin lays down is a beast!  Even in shitty Limewire quality, this song moves.  Motorhead make their final appearance on the war ballad “1916”, a song which I found real affecting at that time.  I got the album as soon as possible.

Ending the CD (sort of) is CKY, whose only real claim to fame is an attachment to the Jackass guys via Bam Margera’s brother Jess.  The details are lost to me now, but I would have heard this song either a) on a Margera DVD or b) on a mix CD played in store.  It’s a good little ballad circa the millenium, and it suited my grey heart.  It’s been years since I last played it, and I can hear what I liked in it.  Thank God I’m not that sad sack o’ shit anymore, though.

The real final track is just a coda, a preview of the new Metallica song “Frantic” via a show called MTV Icon.  Remember, when they paid tribute to Metallica and had Snoop up there doing his thang to “Sad But True”?  Well Metallica closed the show with their own song, and then I guess the credits must have rolled or something, because this thing just fades out before James can even deliver one “Fran-tic-tic-tic-tic-tock!”

I put some effort into typing out an interesting looking tracklist on the back, and Rab C. Rabbit looks fab on the front.  I even glued the two together to make the insert.  Here’s the funny thing though.  I guess I must have needed a case to put this CD in, so I swapped out one from a local band called Vacuity, and threw their CD in the trash.  The vacuity.net sticker is still on the back.  This is funny, because one of the guys from Vacuity worked at the Record Store, and, well, he really wanted me to like his band.  When he and store parted ways, I parted with the CD!  Dick move, I know, but he was kinda a dick.

I think this my mix deserves:

5/5 Rab C. Rabbits

 

 

 

 

VHS Archives #9: Faith No More host the Power 30 (1992)

In 1991, MuchMusic made a change that, I think, ultimately hurt their standing with heavy metal. They cancelled the twice weekly Pepsi Power Hour, and replaced it with the daily Power 30. The difference of course was that the Power 30 was a shorter show, but at five days a week, you’re getting an extra 30 minutes of metal every week. In theory. In reality, this meant more ad breaks so the amount of music you got was the same or even less. The reduced run time also meant no more hour long specials or hosting gigs. Coming up, we have a Power Hour co-hosted by Queensryche, but this segment with Faith No More is from the shorter Power 30.

Here Billy Gould and Roddy Bottum talk Slayer, Helmet, Young Gods and possible issues with the “MidLife Crisis” video. They’re funny in this clip but you can certainly see how the Power 30 offered less.

RODDY BOTTUM Chats! Sasquatch, Faith No More and more!

Roddy Bottum is a man of many talents.  A multi-instrumentalist, Roddy might be best known for his bands Faith No More and Imperial Teen.  Roddy is also a composer and Sasquatch: The Opera is his first entry on that stage, but surely not the last.

An opera about Sasquatch?  What’s the deal with that?  It’s been a difficult journey. I had the chance to question on Roddy about it and his other projects.  Read it from the man himself.


Mike:  Sasquatch: The Opera has to be the most intriguing three-word title I’ve ever seen. I understand the story is about the misunderstood “monster”, but how did you settle on the Sasquatch for your monster? I’m a bit of a Sasquatch geek, and I’m curious if you are too.

Roddy:   It’s a character I always identified with. The ‘gentle giant’ aspect of him I kind of created myself. It’s a characteristic I always am moved by in literature and film. Elephant Man, King Kong, Frankenstein… the vulnerability of the misunderstood oaf, if you will. I’m also very sexually attracted to exactly that type.

Mike:   Would you ever go on a Sasquatch expedition?

Roddy:  I think I could entertain that voyage in a ‘social studies’ kind of way but I would be hard pressed to putting my best foot forward in the hopes of finding the monster. I want to believe. I really do. It’s like being taught religion as a child. I remain sceptical and needing of proof.

Mike:  Absolutely understood; I hope one day we find that proof.  How would you describe the music, is it a “rock opera”? I have to assume it’s a little different!

Roddy:  The instrumentation is timpani drums, drum machine, two synthesizers and two trumpets. It’s not exactly rock but it’s more rock than symphonic.  I kind of based the musical vibe all around the timpanis. The grandeur of that instruments spoke a lot in the presentation of the piece.

Mike:  Do you perform on stage in the musical?

Roddy:  I did, yeah, I conducted the piece and played a synthesizer. The one with the easier parts.

Mike:  Did you compose Sasquatch primarily on the keyboard?

Roddy:  Yes, first in my head and then on the keyboard.

Mike:   I read about the apartment fire you had while in the midst of working on Sasquatch. You had to recreate the Opera from scratch, replace props and costumes? Are you happy with how it turned out?

Roddy:  The fire gave me the opportunity to create from a clean slate something that I’d already done before. I like that process, actually. The fire was really and truly one of the worst tragedies I’ve had to go through. The cliche of the open window that happens as a result of a closed one, though. That rang true. Still, though I’m spooked by fire and I can’t eat barbecue or mescal or anything with a smokey after taste. Too soon.

Mike:  I can’t even imagine what that is like…I love barbecue.  Can we expect another musical from you?

Roddy:  Yes, I’d like to create another opera that’s about the fall of a nation. Particularly America in this political climate.

Mike:  I’d be into that.  Now, I was going to go and see Sasquatch with my mom. She’s in her 70s and maybe a little old fashioned. Do you think my mom would have a good time, or would I regret bringing her?

Roddy:  I got some of my best criticisms from people older than myself. I’m 55. I like to think of the themes as universal though there are some elements of incest and drug use that seem to disturb people. How open minded is your Mom?

Mike:  She’s pretty cool, I think she can handle it.  Could Sasquatch get a CD or DVD release?

Roddy:  I honestly like to keep the opera in the realm of ‘shrouded in mystery.’ In keeping with the allure and mystique of Sasquatch, the being, I would prefer that the only people who witness my monster and my music are the ones in the theatre who come to see it. It’s too easy for people to listen to something online. I’m not into the lazy attendant factor of that, if that makes sense.

Mike:  It does, I have heard stand-up comedians say similar things.  It should be just in the moment.  Moving on, can you update us on the next Imperial Teen record? I heard it was in the mixing stages.

Roddy:  We just finished the record, mastered it last week and are working on the album artwork. It’s got 10 songs, it’s called Now We Are Timeless and it will come out on Merge Records July 12.

Mike:  I hope you don’t mind a little fan-geek questioning. I am a music collector. I pride myself in having “almost everything” for many bands I love, but one “holy grail” item would be a live Faith No More bootleg with Courtney Love on vocals. I have been searching for years…decades! Does such a thing exist or is that era now lost to the sands of time?

Roddy:  I believe the only audio recording of Courtney singing with us is on a VHS recording of a daytime public access television show recorded in San Francisco in 1984. Courtney wore a dirty white slip and brought into the studio bags and bags of old flowers she collected from the flower mart. We decorated the stage and lit incense and performed in dashikis.

Mike:  If it exists, I will find it one day!  Regarding Faith No More, I think Sol Invictus is a fantastic record.  Among your best. I usually give the rare “5/5 star rating” to Introduce Yourself, Angel Dust, and King for a Day. Now I have added Sol Invictus to that list. You don’t strike me as the kind of band that puts out albums you aren’t happy with, but the reception to Sol Invictus was overwhelmingly positive. With a few years hindsight, how happy are you with Sol Invictus today?

Roddy:  I think it’s a strong record, thank you. I’m glad we were in a position to not have to pander to radio playlist or whatever. We made the record we wanted to make and really didn’t compromise at any stage.

Mike:  Is that you on vocals in the verses to “Motherfucker”?

Roddy:  It is, yes, and thank you for noticing.

Mike:  Do you have any other projects cooking currently that you can tell us about?

Roddy:  I’m in a band called Nastie Band. Our record will come out in April. It features an 84 year old singer, a pair of identical twins, a drummer and guitarist and many theatrical elements. It’s a performance band, very dark. Another band I’m in is called Crickets. We’re going away this weekend on a writing retreat. Michael O’Neil and JD Samson are both in that band and we liken ourselves to a wobbly dance sound a-la Tom Tom Club. We have our first show in New York in February.


It sounds like 2019 is shaping up to be an exciting year for Roddy Bottum.  Be sure to check out the Nastie Band in April, and the new Imperial Teen record Now We Are Timeless in July.  Thank you Roddy for the chat!

Concert announcement! SASQUATCH: THE OPERA – composed by Faith No More’s RODDY BOTTUM coming to town

Guest post by Kathryn Ladano

Now that NUMUS‘ most recent season is finished, I just want to say that next season, I can’t friggin’ wait to present Sasquatch: The Opera – composed by Roddy Bottum of the band Faith No More. I saw this at the Edinburgh Fringe Festival last summer and knew that we had to find a way to bring it to Kitchener/Waterloo. It’s happening in February 2019! We’ll be doing four performances which will feature the original cast and the NUMUS orchestra led by Roddy himself!

February 14, 15, 16 and 17, 2019.  Registry Theatre, Waterloo.

Read more at the Guardian: Bigfoot and me: Roddy Bottum on his avant garde monster opera

 

 

R.I.P. Chuck Mosley (1959-2017)

Chuck Mosley, the guy who Cared a Lot, has passed away at age 57 due to his struggles with addiction.

Chuck wasn’t the first Faith No More singer (even Courtney Love was there before him) but he was the guy who put them on the map with two excellent, outrageous albums:  We Care a Lot and Introduce Yourself.  Without Chuck, it is entirely possible there might not be a Mike Patton, who was a huge fan already when he took over the frontman role.  After Faith No More, he spent some time with Bad Brains and as a solo artist.

Chuck was different to the end.  Never one to make safe music.  We will miss you, Chuck.

 

Thanks to Heavy Metal Overload for this news.  

 

#607: Every Picture Tells a Story

GETTING MORE TALE #607: Every Picture Tells a Story

 

If you’re like me, you probably look at childhood photos and are immediately flooded with a million memories. Music, pictures and memories…they all go together don’t they? One triggers another and all three merge together in your grey matter. With that in mind, put on something nostalgic and join me with some short stories about some old pictures. If you can’t think of something to listen to, here’s Bryan Adams doing “Summer of ’69”!


I can tell by my hair that this picture is winter of 1989-1990. On the far left, you’ll notice my Darth Vader lamp, hand made by my mom a long time ago (though not very far away). Darth is priceless to me, and I still have him on that very same dresser today. Next to Darth, I notice that I didn’t think to remove the Speed Stick before taking a photo.

That was my first guitar. I just had to have a whammy bar. That thing would simply not stay in tune. In the 80s, you had to have a whammy bar, although Slash was slowly causing them to go out of fashion. My mom found a guitar teacher, a really nice guy named Gary Mertz. He was teaching my sister, myself and my best friend Bob all in one shot. He came to the house, and did 30 minute lesson with my sister on keyboards first. Then 30 minutes with me and 30 with Bob on guitar. I just wasn’t any good at it. I just don’t have the coordination. How my sister got to be such a great musician, I really couldn’t tell you. I got the shitty genes.

A year and a half later, and look at that hair. Sleek?

Second guitar. A flying V I bought off a guy from work.  He was a huge Eddie Van Halen fan, and he customised the V with different pickups to try to emulate Eddie’s brown sound.  I still had to have a whammy bar.  Constantly diving for it made it sound like I was playing something other than random notes.  I was pretty useless on guitar.

A little older now, this is about 1993 and that’s my first beard! Zeppelin and the USS Enterprise (NCC-1701 D) on the same walls as before.  The Enterprise and the Kiss sketch I’m holding were both birthday gifts from my buddy Peter. I still have that Kiss sketch on my wall right behind where I work at LeBrain HQ.

Check out this model kit I build. That’s a Klingon Bird of Prey, a Romulan Warbird and a Ferengi ship. I bought it for the Warbird, truly a beautiful ship design. If you look close enough, you can see where I painted in little yellow windows on the forward section, just like the show. I did the same on the Ferengi craft, which actually turned out the best of the three.

And finally, I don’t know what compelled me to take pictures of all my stuff. Here it is, and all laid out specifically just so. Why? Couldn’t tell you. But there’s some cool stuff there!

With the exception of the cassette tapes, I still own most of this stuff.  Some CDs have been replaced by expanded editions.  The vinyl didn’t go anywhere though, and I definitely hung on to those Star Trek figures.

My collections for each of these bands has expanded so much that I couldn’t fit them all into a single photo anymore.  It’s funny to look back and think, “Wow, that’s all I had!?”

REVIEW: Faith No More – Introduce Yourself (1987)

FAITH NO MORE – Introduce Yourself (1987 Slash)

Faith No More’s second LP (and major label debut) is their only so far not to have received a deluxe or expanded edition.  The bizarre thing about that is that Introduce Yourself is one of their best, totally deserving the honour.  Faith No More have several 5/5 star albums in their catalogue, and Introduce Yourself is [spoiler] one of them [end spoiler].

Chuck Mosley was the singer, a bizarre frontman with a totally unique style and a penchant for putting stuff in his dreadlocks.  One of his lyrics says it best.  On the first Faith No More album, he wrote “They say that when I’m supposed to be singing, all I’m really doing is yelling, oh well…”  Mosley’s stuffy-nose stylings are an acquired taste, especially if you have only heard Mike Patton.  In Faith No More, it worked and set up what Mike Patton was able to do later on.  Mosley is melodic in a bizarre, off key way.

“Faster Disco” isn’t that at all.  It’s mid-tempo Faith No More, in the style they created and mastered.  There is a chunky guitar riff (or two).  There is an underscore of keyboards holding down the melodic foundation.  There is a solid beat, and a strangely catchy multi-tracked vocal.

Faith No More are also known for funky Billy Gould bass beats, and that’s “Anne’s Song”.  Chuck has a conversational vocal, sorta-rapped, sorta-spoken.  It too is strangely memorable, and it was one of two singles.

The title track “Introduce Yourself” is fast and fun, and also lives up to its name!  Chuck introduces the band in the lyrics, but the song is so incredibly fast that it’s over in 1:30.  Too bad, because it’s awesome.  Another style Faith No More are known for is the “dark and ominous” song.  “Chinese Arithmetic” is one of those, a weighty track with keyboards providing glimmers of light.  One of the strangest tracks is the staggering “Death March”, which is also hilarious.  “How much for a transfer, man?  95 cents?  Fuck you, I’ll skate to the beach!  And look better getting there!”

The most famed track is “We Care a Lot”, the most well known single from this album and also the title track from the prior album.  The lyrics were updated and the music re-recorded.  This version is the best one, what with that line about “We care a lot / about Transformers, cuz there’s more than meets the eye!”

“R n’ R” is caffeinated Faith No More, blowing down the doors with hard rapping and riffing.  Then is “The Crab Song”, which Mike Patton once described as a “sad song”.  It has that, and it also has the split personality thing going on.  Halfway in, it abruptly changes into a riffy, bass-slappy stomp.  At almost six minutes long, it’s one of the earliest examples of Faith No More creating mini-epics by assembling seemingly mismatched components.

Introduce Yourself concludes with a pair of fast, impacting song.  “Blood” is carried by a lofty keyboard part, and hammered forth by a relentless Chuck Mosley.  Then “Spirit” is the finishing touch, a heavy-as-fuck Jim Martin guitar riff.   In the back, drummer Mike Bordin is physically assaulting his kit.  Mosley puts his throat to full intensity as the band rips all the way to the end.

Introduce Yourself is brilliant, and it’s easy to overlook it because Mike Patton has since become a dominant presence.  Introduce Yourself is every bit as challenging, intense, unorthodox, melodic and heavy as any of their later albums.  Do not dismiss it; instead make it a priority.

5/5 stars

 

REVIEW: Faith No More – “Cone of Shame” (2016 RSD single)

scan_20170303-3FAITH NO MORE – “Cone of Shame” (2016 Reclamation Recordings 7″ single for Record Store Day, gold vinyl)

All hail the mighty JHUBNER, decorated hard-core hunter…of records.  Raise your Romulan ale (or what have you)!  Somewhere somehow, the subject of limited edition Faith No More singles for Record Store Day came up.  Mr. Hubner kindly took note that he had seen some at his local establishment.  With great care and expense, he packed it well, armored in a shell of cardboard that could withstand any wayward bombardments.  Thusly, I have acquired “Cone of Shame” on limited edition clear gold vinyl.  Had I thought this through, I would have asked for green, to compliment this burning green alcoholic beverage that Scotty below is hoisting to Mr. Hubner.

scotty

This is a gorgeous 45.  The cover art is quite funny: a pug (with eyes blacked out for anonymity) wearing a doggie “cone of shame”.  Would have been better with a miniature schnauzer, but pugs are fine.   The vintage style label is starkly awesome in black & white.  The pristine yellow disc is a piece of beauty indeed, clean and clear and rich with awesome music carved into its grooves.

The A-side is the standard album version of “Cone of Shame” from Sol Invictus.  This is a song I have strongly warmed up to in the last year.  I didn’t care for it at first, but I have since fallen for its weirdness and Patton’s vocal heroics.  Flip over to the B-side and you will find J.G. Thirwell’s “Calcitron Mix” of “Motherfucker”.  I love what he did with it.  Most of Patton’s voice has been wiped leaving only Roddy Bottum’s hypnotic verses.  The word “motherfucker” is chopped and looped to become the main hook.  There is very little of the original song left.  Essentially a new song has been created with Roddy’s “get the motherfucker on the phone, on the phone” hook, chopped up and given the Max Headroom treatment.  The techno backing feels like a bunch of idiots at a rave, but that’s not my thing.  I’m easily amused so the rearrangement and repetition of the word “motherfucker” keeps me entertained.

Remixes are what they are.  You either like them or you don’t.  I usually lean towards the opinion that an original is better than a remix, 99% of the time.  There are the odd exceptions.  I think you need to use a different measuring stick when talking about remixes.  Instead of “did it make the song better”, perhaps the question should be “did it make the song different?”  In this case “Motherfucker” has been reimagined as something new, and that’s pretty cool.

3.5/5 stars

REVIEW: Faith No More – Angel Dust (deluxe edition)

Previously on mikeladano.com….

Faith No More’s deluxe edition reissue program began in 2015.  Two years prior to that, we reviewed two editions of Angel Dust:  An Australian 2 CD set with a bonus EP called Free Concert in the Park, and the 2 LP version with a “MidLife Crisis” remix.  For this Angel Dust deluxe edition review, we will be incorporating old text from that review into this new one.  We also reviewed the 2 CD single for “Everything’s Ruined”.  Those tracks are also on this deluxe, and we will borrow text from that review as well.

scan_20170205FAITH NO MORE – Angel Dust (originally 1992, 2015 Slash deluxe edition)

Incredibly anticipated, and massively misunderstood:  Angel Dust separated the fans from the wannabes.  Reviews were mixed.  M.E.A.T Magazine’s Drew Masters awarded it 2/5 M’s and failed to grasp the genius that is the chaos within.  It certainly is an ugly duckling and will take more than a listen to reel in anyone.  Faith No More wearied of the “funk metal” tag and sought to distance themselves from it.  Importantly, Mike Patton dropped the nasal tone he utilized on The Real Thing.  Instead he unleashed his full voice in all its extremes.  With enviable range and power, Patton pushed his capabilities to their furthest limits.  Meanwhile, guitarist Jim Martin and the band were butting heads, and most of the songs were written without him.  Mike Bordin, Roddy Bottom and Billy Gould would send him virtually complete songs, which he then “grafted” guitar parts onto.  In a guitar magazine interview, Martin stated that he thought some of the songs were better before he added his own parts.

Angel Dust commenced with double shot of weirdness:  “Land of Sunshine” and “Caffeine”.  Patton pieced together the lyrics to “Land of Sunshine” from a collection of fortune cookies.  Musically it is dramatic, keyboard heavy and foreboding.  “Caffeine” is dark and aggressive, but is Patton’s first bonafide knockout vocal on the album.  From the ominous, gravelly lows to off the wall screams, Patton delivers it.  His voice knew no limits on Angel Dust.  A year prior, he released the debut album by Mr. Bungle.  There is little question that this must have demolished any vocal inhibitions he had with Faith No More.

The first single “MidLife Crisis” was about as close as it got to a commercial track.  You can certainly hear every nu-metal band in the world (Korn! I’m looking at you Jonathan Davis!) ripping off Patton’s gutteral vocal stylings.  But he lets it soar in the choruses.  The bizarre pseudo-rapped  verses, the samples, and the anthemic, layered choruses all pointed to new directions for Faith No More.  The ingredients had never really combined like “MidLife Crisis” before, although 1991’s “The Perfect Crime” hinted at some of these elements.

Perhaps the most bizarre song (there are many more coming) is “R.V.”  The lullaby-like piano backs a grizzly soliloquy from Patton, via Tom Waits, playing a trailer park trash character.  “Somebody taps me on the shoulder every five minutes.  Nobody speaks English anymore!  Would anybody tell me if I was gettin’…stupider?”  Once the novelty value wears off, it’s still a memorable tune due to the powerful choruses.  Patton nails another awesome lead vocal.  “Smaller and Smaller” returns somewhat to more conventional song arrangements.  A repetitive piano hook backs a hypnotic Patton vocal.  The choruses are a bit on the insane side, and then the song deviates into a sample-laden section of challenging rhythms.  Yet somehow the song remains memorable and catchy.  This is followed by the single “Everything’s Ruined”.  It must have been chosen because it is a solid mix of aggressive rapping with a memorable soul-influenced chorus.  While it doesn’t sound like it would have been on The Real Thing, it’s about as close as Angel Dust gets.

“Malpractice” is one of the most delightfully messed-up tunes on the album, a mixture of disjointed sections, noisy guitars, smooth keyboards, feedback, all simmered to perfection.  By the time Patton’s screaming, “Applause, applause, applause, APPLAAAAAUUUUUUSSSSE!” we’re already clapping.  This song was a Patton baby, which explains it.  Certainly, the lullaby after the two minute mark is designed to lull you in before they hammer you with more guitars, samples and screams.  This closed side one.

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“Kindergarten” introduced side two with the sound of Patton barking thoughts about the ol’ schoolyard.  There’s no guitar solo, but Mike Patton muttering musically into a megaphone fills the void where the solo would go.  This is followed by Billy Gould throwing down a bass solo, and into the final verse.  The weak-willed will shudder before “Be Aggressive”, a graphic series of metaphors about swallowing.  This discourse is accompanied by a cheerleader chorus.  Jim Martin turns in a sloppy, Pagey guitar solo, the only one on the album.

After assaulting the listener with a song like that, “A Small Victory” is a welcome respite.  Its simple but bountiful melodies are perfect to soothe the ear canal.  This is also to prepare you for “Crack Hitler”, another bizarre sensory overload.  Funky bass meets distorted rapping, until it swerves into this weird, evil march.  Patton’s vocals run the gamut from light, to dark and monstrous. Even so, Jim Martin’s contribution “Jizzlobber” is the most extreme song of them all.  It has those creepy Friday the 13th keyboards, heavy guitar riffs and pounding drums, and Patton’s most aggressive lead vocal yet.  You don’t know what the hell he’s singing without the lyric sheet, so just be enveloped.  It’s just a pummeling assault, and unprepared listeners may find themselves overwhelmed and perhaps turned off from the album by this point.

The standard album ended with “Midnight Cowboy” supposedly because of some obsession that Billy Gould had with its storyline.  It’s a perfectly appropriate ending given the rollercoaster ride that preceded it.  It’s you, wandering off into the sunset, too wasted to really know if you’re headed in the right direction.  Just keep walking.  Some editions of the album (including this deluxe) added the cover of The Commodores’ “Easy” as the final track.  There are a couple different mixes of “Easy” out there, and this is one is from The Very Best Definitive Ultimate Greatest Hits Collection.  The horns are missing, the drums have more echo added, and Mike Patton speaks at the beginning.  The song is rendered remarkably straight, and it’s a performance like this that truly demonstrates Mike Patton’s vocal mastery.  The original version (the “Cooler Version”) with horns opens disc two, the bonus tracks.  It can also be found domestically on the EP Songs To Make Love To.

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Also from that EP is the bizarre German-language speed-polka “Das Schutzenfest”.  This is a novelty track, shits n’ giggles, nothing more.  A good laugh but unimportant.  The Dead Kennedys’ “Let’s Lynch the Landlord” was also released on the Songs To Make Love To, but it was originally on a compilation called Virus 100.  Jim Martin wasn’t there and the song is performed as a quartet.  An underwhelming acoustic performance, it sounds a little like the Faith No More of the future as Patton adopts a lower singing style.

The real treasure on disc two and rarest of the all is “As the Worm Turns”, a Japanese bonus track for that long out of print edition of Angel Dust.  “As the Worm Turns” was one of the most stunning songs on Faith No More’s debut We Care A Lot, with Chuck Mosely on lead vocals.  A full-throated Mike Patton re-recorded it for this bonus track.  Sacrilege?  It is the superior version now.

A couple included remixes are only a sampling of what is actually available on singles. The “Scream Mix” of “MidLife Crisis” is the extended, bass-heavier mix from the 2 LP edition of the album.  The “Revolution 23 (Full Moon) Mix” of “A Small Victory” is only one of four versions from a remix EP they released.  Then it is on to the live material, and there are some treasures there.  The live EP Free Concert in the Park, (recorded in Munich) is expanded from four to six tracks.  Mike Patton dedicates “Easy” to “everyone with hemorrhoids this evening!”  The guitar solo spot in “Easy” remains a Jim Martin favourite.  Even heavier and more chaotic versions of “Be Aggressive” and “Kindergarten” follow, replete with surprises.  The early obscurity “Mark Bowen” is another Mosely song given the Patton treatment live, adding his own spin and abilities.  Two tracks are added to the proceedings:  “A Small Victory” and “We Care a Lot” from the same show.  These live versions really hit the spot, as they are really cranked up, and “We Care a Lot” contains a segue into “Jump Around” by House of Pain.  It’s a shame the live recording is so tinny.   These tracks were also released on CD singles for “Easy” in Europe.

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Up next are the four live songs taken from the double “Everything’s Ruined” single, all recorded in September 1992.   “MidLife Crisis” is growly and impressive, and “Land of Sunshine” is amped.  “Edge of the World” is the point when the audience is asked to sing along, with Patton yelling “Fuck me harder!”  The trailer-trash-talk of “R.V.” sounds a little laid back live; something’s missing.  It would be much better with the full visuals of a Mike Patton performance.

The deluxe edition concludes with an outtake finally restored to the album it was written with:  “The World is Yours”.  It was originally made available on Who Cares A Lot? The Greatest Hits in 1998.  Like Angel Dust itself, it is sample heavy.  Marching soldiers and trumpeting elephants join Roddy Bottom’s ominous keyboards in a symphony of WTF.  It is a fully formed recording, with effects-laden vocals fully mixed and finished.  It would have fit the more experimental and anti-commercial direction of the album perfectly, but not without making the album overlong.

Angel Dust, unlike the more successful The Real Thing, has a timeless sound.  It is a once in a lifetime album, a perfect meeting of disparate elements.  Jim Martin was ejected after this, and never again would his heavy metal guitars be grafted onto the sonic experiments of Faith No More.  A pity, but they have since moved on even more expansive sounds.  Angel Dust in some respects can be considered the real debut of Mike Patton in Faith No More.  A triumphant one it is.

5/5 stars

 

REVIEW: Faith No More – The Real Thing (deluxe edition)

scan_20170128FAITH NO MORE – The Real Thing (originally 1989, 2015 Slash records deluxe edition)

Fans of discerning taste cried tears of joy when Faith No More, one of the most underappreciated bands of recent times, finally received the deluxe edition treatment.  Faith No More may have paved the way for more popular acts like as Korn, System of a Down and Incubus, but they seemed forgotten by new young rock fans.  These deluxe editions have put their classic albums back on the racks.

Though The Real Thing is the album that launched them onto MTV and contains their best known hit (“Epic”), it’s the only Faith No More album that sounds like this.  Mike Patton affected a nasal tone to his singing that he dropped by the next album.  (Producer Mike Wallace suggests that Patton sang this way on The Real Thing partially to separate Faith No More from Mr. Bungle, who he still had massive loyalties to.)  It’s the most mainstream and most “metal” of their albums, with much of their other material being more abstract, artsy and bizarre.  Though they loathed the term, you can hear how Faith No More were considered “funk metal” from 1989-92.

Opener “From Out of Nowhere” is a living embodiment of its own title.  A keyboard and guitar riff, simple and catchy, pummel the speakers as Mike Patton makes his debut.  Original singer Chuck Mosely was gone and Patton emerged, fresh from the aforementioned Mr. Bungle.  Nobody had ever heard anything like Mike Patton before.  His range and power were enviable, but he clearly liked taking the piss too.  “From Out of Nowhere” was the first single and a brilliant choice for trying to sway the uninitiated.

Of course “Epic” was the big one.  Its timely combination of rap and metal was on the cutting edge.  The lyrics were nonsense* and Patton’s goofy personality shone through.  It was close to the edge of novelty.  Jim Martin’s power chords and harmony leads kept things from falling off.  On the rhythm, Mike “Puffy” Bordin is one hard-hitting drummer, keeping things anchored solidly.  You can really hear the funk on “Falling to Pieces”.  It’s there in Billy Gould’s bass and Patton’s soulful (nasal) voice.  This too was a single, following the smash hit of “Epic”.

Faith No More also crossed over to the thrash crowd with “Surprise! You’re Dead!”.  An aggressive banger like this was custom made for Anthrax fans.  Most importantly, Mike Patton got to show off some of what he is capable of.  The guttural howls, painful shrieks, and insane laughs burrow into your ears.  They are hooks themselves, though certainly not in the traditional sense!  This is a contrast to “Zombie Eaters”, with quiet acoustic sections and intricate picking by Martin.  “Zombie Eaters” does not stay that way, and soon transitions into a rumbling, earthquake riff.  Roddy Bottum’s keyboards add tension, and Mike Patton piles anguish on top of that.  An even more powerful song follows:  “The Real Thing”, 8:01 of light/shade and dramatic performances.

Pop and funk collide on “Underwater Love”, the most accessible song on the album.  It evolved live into something very different, as you will hear on disc two.  Patton did it with more of his own style once they got it out on stage.  “The Morning After” has a haunting vibe, moving into a heavier chorus.  Jim Martin’s guitars are clearly in the metal domain, like the odd man out, but still essential.

The album begins to drift to a close with “Woodpecker From Mars”, the only instrumental.  Roddy has his keyboard set to the “violin” tone, and is the lead melodic focus of this punishing track.  Everything else is a blur of guitars, drums and bass.  Their unique cover of “War Pigs” is next, though pretty straight-laced compared to the live version on disc 2.  Finally “Edge of the World” closes the album with a slow piano waltz completely unlike anything else on the album.

The second disc has a wealth of treasure, though not all the B-sides and rarities out there.  “Sweet Emotion” was released a few years back on The Very Best Definitive Ultimate Greatest Hits Collection, but its original source is a flexi-disc from Kerrang! magazine.  It is not an Aerosmith cover; rather it is an early version of “The Perfect Crime” from the Bill & Ted’s Bogus Journey soundtrack.  Two more bonus tracks, “Cowboy Song” and “The Grade” (an instrumental) are also available on the album Live at the Brixton Academy.  Both good songs; “The Grade” really shows off some very sweet Jim Martin steel guitar.  “Cowboy Song” (nothing to do with Thin Lizzy) is good enough that it could have been a single: catchy, melodic and punchy.

Remixes of “Epic” and “Falling to Pieces” are taken from an old two-song CD single, although this remix of “Falling to Pieces” is longer by 11 seconds compared to the single.  They add a bit more echo and other effects as well as some edits.  An extended remix of “From Out of Nowhere” lengthens the song by a minute, by adding more instrumental sections.  Five live songs round out the B-sides and rarities, including two that were chopped from the CD release of Brixton Academy.  (Speaking of which, that’s a deluxe edition we’d like to see.)  “As the Worm Turns” is one of these Brixton tracks, an old essential Chuck Mosely song given the Patton treatment.  Patton’s gurgling during “War Pigs” is a career highlight!   Live BBC recordings of “Epic” and “Woodpecker From Mars” are missing from this deluxe edition, but available on an old 7″ single (“From Out of Nowhere”).

The Real Thing is an essential album.  Its deluxe edition was long overdue, and fortunately most of Faith No More’s catalogue has been similarly beefed up.  It is not perfect, but few deluxes are.  There will always be more to collect.  This deluxe however will scratch quite a few tracks off your lists.

4.5/5 stars

*I recall writing “What is it?  It’s it.” on my English final exam for no particular reason.