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

Previously on mikeladano.com….

Faith No More’s deluxe edition reissue program began in 2015. Β Two years prior to that, we reviewed two editions of Angel Dust: Β 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. Β For this Angel Dust deluxe edition review, we will be incorporating old text from that review into this new one. Β We also reviewed the 2 CD single for “Everything’s Ruined”. Β 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: Β Angel Dust separated the fans from the wannabes. Β Reviews were mixed. Β 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. Β It certainly is an ugly duckling and will take more than a listen to reel in anyone. Β Faith No More wearied of the “funk metal” tag and sought to distance themselves from it. Β Importantly, Mike Patton dropped the nasal tone he utilized on The Real Thing. Β Instead he unleashed his full voice in all its extremes. Β With enviable range and power, Patton pushed his capabilities to their furthest limits. Β Meanwhile, guitarist Jim Martin and the band were butting heads, and most of the songs were written without him. Β Mike Bordin, Roddy Bottom and Billy Gould would send him virtually complete songs, which he then β€œgrafted” guitar parts onto. Β 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: Β β€œLand of Sunshine” and β€œCaffeine”. Β Patton pieced together the lyrics to β€œLand of Sunshine” from a collection of fortune cookies. Β Musically it is dramatic, keyboard heavy and foreboding. Β β€œCaffeine” is dark and aggressive, but is Patton’s first bonafide knockout vocal on the album. Β From the ominous, gravelly lows to off the wall screams, Patton delivers it. Β His voice knew no limits on Angel Dust. Β A year prior, he released the debut album by Mr. Bungle. Β There is little question that this must haveΒ demolished any vocal inhibitions he had with Faith No More.

The first single β€œMidLife Crisis” was about as close as it got to a commercial track. Β 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. Β But he lets it soar in the choruses. Β The bizarre pseudo-rapped Β verses, the samples, and the anthemic, layered choruses all pointed to new directions for Faith No More. Β The ingredients had never really combined like β€œMidLife 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 β€œR.V.” Β The lullaby-like piano backs a grizzly soliloquy from Patton, via Tom Waits, playing a trailer park trash character. Β β€œSomebody taps me on the shoulder every five minutes. Β Nobody speaks English anymore! Β Would anybody tell me if I was gettin’…stupider?” Β Once the novelty value wears off, it’s still a memorableΒ tune due to the powerful choruses. Β Patton nails another awesome lead vocal. Β β€œSmaller and Smaller” returns somewhat to more conventional song arrangements. Β A repetitive piano hook backs a hypnotic Patton vocal. Β The choruses are a bit on the insane side, and then the song deviates into a sample-laden section of challenging rhythms. Β Yet somehow the song remains memorable and catchy. Β This is followed by the single β€œEverything’s Ruined”. Β It must have been chosen because it is a solid mix of aggressive rapping with a memorable soul-influenced chorus. Β While it doesn’t sound like it would have been on The Real Thing, it’s about as close as Angel Dust gets.

β€œMalpractice” 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. Β By the time Patton’s screaming, β€œApplause, applause, applause, APPLAAAAAUUUUUUSSSSE!” we’reΒ already clapping. Β This song was a Patton baby, which explains it. Β Certainly, the lullaby after the two minute mark is designed to lull you in before they hammer you with more guitars, samples and screams. Β This closed side one.

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

After assaulting the listener with a song like that, β€œA Small Victory” is a welcome respite. Β Its simple but bountiful melodies are perfect to soothe the ear canal. Β This is also to prepare you for β€œCrack Hitler”, another bizarre sensory overload. Β Funky bass meets distorted rapping, until it swerves into this weird, evil march. Β Patton’s vocals run the gamut from light, to dark and monstrous. Even so, Jim Martin’s contribution β€œJizzlobber” is the most extreme song of them all. Β It has those creepy Friday the 13th keyboards, heavy guitar riffs and pounding drums, and Patton’s most aggressive lead vocal yet. Β You don’t know what the hell he’s singing without the lyric sheet, so just be enveloped. Β 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 β€œMidnight Cowboy” supposedly because of some obsession that Billy Gould had with its storyline. Β It’s a perfectly appropriate ending given the rollercoaster ride that preceded it. Β It’s you, wandering off into the sunset, too wasted to really know if you’re headed in the right direction. Β Just keep walking. Β Some editions of the album (including this deluxe) added the cover of The Commodores’ “Easy” as the final track. Β There are a couple different mixes of “Easy” out there, and this is one is from The Very Best Definitive Ultimate Greatest Hits Collection. Β The horns are missing, the drums have more echo added, and Mike Patton speaks at the beginning. Β The song isΒ rendered remarkably straight, and it’s a performance like this that truly demonstrates Mike Patton’s vocal mastery. Β The original version (the “Cooler Version”) with horns opens disc two, the bonus tracks. Β 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”. Β This is a novelty track, shits n’ giggles, nothing more. Β A good laugh but unimportant. Β The Dead Kennedys’ “Let’s Lynch the Landlord” was also released on theΒ Songs To Make Love To, but it was originally on a compilation called Virus 100. Β Jim Martin wasn’t there and the song is performed as a quartet. Β 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. Β “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. Β A full-throated Mike Patton re-recorded it for this bonus track. Β Sacrilege? Β 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. Β The “Revolution 23 (Full Moon) Mix” of “A Small Victory” is only one of four versionsΒ from a remix EP they released. Β Then it is on to the live material, and there are some treasures there. Β The liveΒ EP Free Concert in the Park, (recorded in Munich) is expanded from four to six tracks. Β Mike Patton dedicates β€œEasy” to β€œeveryone with hemorrhoids this evening!” Β The guitar solo spot in β€œEasy” remains aΒ Jim Martin favourite. Β Even heavier and more chaotic versions of β€œBe Aggressive” and β€œKindergarten” follow, replete with surprises. Β The early obscurity β€œMark Bowen” is another Mosely song given the Patton treatment live, adding his own spin and abilities. Β Two tracks are added to the proceedings: Β “A Small Victory” and “We Care a Lot” from the same show. Β 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. Β It’s a shameΒ the live recording is so tinny. Β  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. Β Β “MidLife Crisis” is growly and impressive, and “Land of Sunshine” is amped. Β β€œEdge of the World” is the point when the audience is asked toΒ sing along, with Patton yelling β€œFuck me harder!” Β The trailer-trash-talk of β€œR.V.” sounds a little laid back live; something’s missing. Β 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: Β “The World is Yours”. Β It was originally made available on Who Cares A Lot? The Greatest Hits in 1998. Β Like Angel Dust itself, it is sample heavy. Β Marching soldiers and trumpeting elephants join Roddy Bottom’s ominous keyboards in a symphony of WTF. Β It is a fully formed recording, with effects-laden vocals fully mixed and finished. Β 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. Β It is a once in a lifetime album, a perfect meeting of disparate elements. Β Jim Martin was ejected after this, and never again would his heavy metal guitars be grafted onto the sonic experiments of Faith No More. Β A pity, but they have since moved on even more expansive sounds. Β Angel Dust in some respects can be considered the real debut of Mike Patton in Faith No More. Β A triumphant one it is.

5/5 stars

 

REVIEW: Methods of Mayhem – Methods of Mayhem (1999)

METHODS OF MAYHEM_0002METHODS OF MAYHEM – Methods of Mayhem (1999 Universal)

Tommy Lee’s vision was to marry guitar riffs to sick beats, and he quit Motley Crue in order to do it. Β As his first album outside of the band he helped make famous, Lee enlisted many guest performers and producers: Kitchener Ontario’s own Scott Humphrey at the console, with Mixmaster Mike (Beastie Boys), George Clinton, Kid Rock, The Crystal Method, U-God (Wu-Tang Clan), Lil’ Kim, Snoop Dogg, Fred Durst, Phil X (Bon Jovi), Chris Chaney, and even Randy Jackson on bass. Β Tommy also teamed up with a guy named TiLo and called him the other half of Methods of Mayhem.

Guest appearances like these don’t do much for me. Β Methods of Mayhem must stand or fall on its songs. Β Sick beats are one thing,Β but in my world you need songs too. Β Could Tommy Lee and Scott Humphrey deliver? Β Fresh out of jail with new ideas, Tommy set to work.

Tommy was clearly relishing the chance to act all gangsta after his much-publicized arrest and incarceration for assault. Β The album opens with a recording from L.A. County Jail, and Tommy Lee trying to make a collect phone call. Β Then the heavy riff of “Who the Hell Cares” crashes. Β It’s extremely reminiscent of the kind of guitar riffs that Motley Crue were writing for their 1994 self-titled magnum opus. Β I like Snoop Dogg’s trademark smoove style on it. Β To me it’s not about the rapping, but the snaky and stomping guitars. In honestly, “Who the Hell Cares” sounds more like Motley Crue than a lot of New Tattoo! Β This melds straight into “Hypocritical” which has a similar “Motley Rap” sound. Β “Anger Management” (an obvious reference to Tommy’s personal issues) has yet another one of those heavy Motley riffs, making me question just how much Tommy wrote on that 1994 album. Β Quite a bit, I’ll wager. Β As much as I wanted to hate the album, I can’t.

The single “Get Naked” (with Clinton, Durst, Mixmaster Mike and Lil’ Kim) is really annoying. Β Tommy references his porno tape, whoop de do. Β This song sucks, especially lyrically. Β  Thankfully “New Thing” with Kid Rock is better, even though Kid uses the guest appearance to boast that he’s gone “five times platinum”. Β Musically the song sounds like one of the ballads on Generation Swine…but marginally better.

“Proposition Fuck You” makes me laugh, but I’m easily amused. Β This one is just straight rap, no rock. Cool techno hooks onΒ “Crash” helps the song work its way into the skull. Β I get the impression that this kind of song is where Motley Crue were trying to go on the aforementioned Generation Swine, but for some reason this is much better. Β Same with “Metamorphosis” which sounds like, but surpassesΒ most tunesΒ on Generation Swine!

Milking his jail time once again, “Narcotic” opens with a phone recording with information about parolee’s upcoming drug tests…and then the sound of a joint burning. Β It’s a tiring cliche. Β “Forget about rehab! Gimme another one! The justice of my ass!” Β These are some of the lyrics. Β “Mr. Onsomeothershits” (ugh, come on) and “Spun” end the album on a so-so note. Β Lots of beats and sounds, not a lot of songwriting.

It’s a rollercoaster affair, Methods of Mayhem. Β It’s much better than you’d expect, but when it sucks, it sucks!

MOM ICONThe CD is enhanced, with screensavers, music videos, and a brief thing called “Making of Mayhem” which sheds little light on the actual creative process. Β It’s no more than just a collage of people posing for the camera in the studio, unfortunately. Β You will learn nothing about the making of the Methods of Mayhem album by watching the “Making of Mayhem” featurette. Β Don’t you hate stuff like that?

3/5 stars

REVIEW: Faith No More – “Everything’s Ruined” (double single)

FAITH NO MORE –Β “Everything’s Ruined” (1992 Slash, 2 discs sold separately)

A short while ago I reviewed the landmark Faith No More album, Angel Dust. Β This is one of four singles (that I know of, anyway) lifted from that album. Β It’s a great tune, and if I may quote my own review, I said “I’m sure it was chosen [as a single] because it is a solid mix of aggressive rapping with a memorable soul-influenced chorus. Β While it doesn’t sound like it would have been onΒ The Real Thing, it’s about as close asΒ Angel DustΒ gets.” Β The chorus is definitely a winner, and this is a Faith No More song more likely to appeal to non-fans.

There are live B-sides a’plenty, all recorded in September 1992. Β Disc 1 (sold separately but containing room for disc 2) has “Edge of the World”, from The Real Thing, and the bizarre “R.V.”, from Angel Dust. Β “Edge of the World” is where Faith No More have the audience sing along, to Patton yelling “Fuck me harder!” Β The trailer-trash-talk of “R.V.” Β sounds a little too laid back live, something’s missing. Β I’m sure it would be much better with the full visuals of a Mike Patton performance.

Disc 2 has a couple more newbies: Β “MidLife Crisis” and “Land of Sunshine” live. Β These two performances stand out. Β Patton’s even more unhinged on the live versions. Β “MidLife Crisis” in particular is an exceptional version. Β Regardless, officially released live Faith No More is rare indeed. Β Collectors would be advised to put these two singles fairly high on their priority lists.

4/5 stars