Tuesday, November 15th, 2011 at 10:00am by Axl Rosenberg
As previously announced, Faith No More performed their album King for a Day… Fool for a Lifetime in its entirety at a show in Santiago, Chile this past weekend. King/Mr. Bungle guitarist Trey Spruance and post-King guitarist Jon Hudson were both in attendance, and the show included, according to The PRP, “what is thought to be the first live performances of the album’s track ‘Star A.D.’ and its b-side, ‘Absolute Zero’,” as well as the previously unreleased track from the King sessions that the band first performed live last week. I’m obviously a huge FNM fan, but I guess not enough of a fan to know that these songs had never been played live before, so that’s exciting.
Don’t be too down if you weren’t at the show, though, ’cause nowadays we have these things called cell phones, and those cell phones and have cameras, and those cameras have video capabilities, and so now you can watch some semi-decent footage below. Enjoy!
Thursday, September 22nd, 2011 at 10:30am by Anso DF
I’m not saying that MetalSucks’ boner-bursting August series 31 Days Of Faith No More featuring Anso DF set in motion events leading to an amazing first-ever Faith No More show with one-time FNM studio guitarist Trey Spruance this November, but um okay I don’t know how to end that sentence. Cuz that’s exactly what I’m implying: We made this happen. So you’re welcome. Keyboardist Roddy Bottum wrote on the internet Wednesday night:
Thursday, September 1st, 2011 at 4:00pm by MetalSucks
August is out of days on which to discuss Faith No More, but hey look we just can’t stop. Check us all into a clinic for FNM madness has overtaken us all. This August, as our Anso DF devoted 31 days of precious summer to documenting one FNM super-fan’s experience, the rest of MetalSucks’ staff and cherished friends stood aside, eyes closed, shaking their heads, and muttering: How could he disclude all Chuck jamz? Where is “Midlife Crisis,” a supremely newsworthy song? What, is he kidding with this Ansometrics?
Well, if we’ve learned absolutely, positively nothing else from 31 Days Of Faith No More featuring Anso DF, at least it’s now out in the open that we know a lot FNM super-fans. So we invited our pals — be they writer, editor, writer/editor, editor-writer, awesome band dude, “label fuck-o”, or person not named Anso DF — to write about a FNM jam’s importance and excellence and personal relevance. It’s everybody else’s turn now, commenters too! (Can some mellow dude write about “We Care A Lot” cuz none of us did! Jesus!) And now we call Faith No More back to the stage for freaking day 32 of 31 Days Of Faith No More featuring Anso DF.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicated every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we proved that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revelled in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dipped into the staggering best of the b-sides (ditto). Along the way, we surveyed the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it. So we did it. Thanks for reading!
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Just A Man”
Written by Gould, Spruance, Patton (L); Gould, Bottum (M)
Released 1995
Appears on King For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”And every night I shut my eyes/So I don’t have to see the light/Shining so bright/I dream about a cloudy sky.”
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”What A Day”
Written by Patton (L); Patton, Spruance (M)
Released 1995
Appears on King For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”‘Kill the body and the head will die.’”
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”King For A Day”
Written by Patton (L); Gould, Bottum, Bordin, Patton, Spruance (M)
Released 1995
Appears on King For A Day, Fool For A Lifetime album duhhhh
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”Don’t let me die with that silly look in my eyes.”
Single? No. But I heard it on college radio once. I was about to phone the DJ with compliments until he came back on air to say that he’d played the longish “King For A Day” only to enable a bathroom break. Compliment retracted.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Absolute Zero”
Written by Patton (L); Patton (M)
Released 1995
Appears on ”Digging The Grave” single; some Australia and Japan editions of King For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”The clock is ticking/You have no authority here.”
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”The Last To Know”
Written by Patton (L); Gould, Patton, Bordin (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”Where it grows on trees/But never blooms/Where it hurts the least for whoever/Saw it first.”
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Malpractice”
Written by Patton (L); Patton (M).
Released 1992
Appears onAngel Dust album
Produced by Matt Wallace
Guitars by Jim Martin
Key lyric ”The crowd roars/The pulling and the probing/The rest you know/Ten lovers violating.”
Single? No. “Malpractice” closes the whirlwind side A of Angel Dust.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Ugly In The Morning”
Written by Patton (L); Patton, Spruance, Gould (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”Digging The Grave”
Written by Patton (L); Patton, Spruance, Gould (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”I know you have a reason why/That knot is better left untied/I just went and undid mine/It takes some time.”
Single? Yes, King‘s first and a thematic continuation of “Midlife Crisis” and “A Small Victory.”
The climate Released four weeks ahead of its host album, “Digging” ended what seemed like ages of tense anticipation for FNM’s follow-up to Angel Dust. What better way to enter a new music era than with lotsa screaming, a drum solo, and no trace of FNM’s trademark keyboards?
Awesome song elevated to supra-awesomeness by chemistry shared by Mike Patton and his Mr. Bungle bandmate Trey Spruance. Where Patton shouts pitchlessly [sic], Spruance unfurls big, yawning broken chords; alternately, Patton’s measure-long tones often sit atop slamming Spruance downstrokes. Tasty.
Didja know? There’s a third harmony part down low in the second and third choruses’ ”comf-ter-bulllllllllllll”. I didn’t detect it until like 1999.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based music commerce in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song ”The Gentle Art Of Making Enemies”
Written by Patton (L); Gould, Bordin, Patton (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric ”If you don’t make a friend now/One might make you.”
Single? Planned and scrapped, according to Wikipedia. But “Enemies” went out to commercial radio. I heard it once srs!
The climate One of FNM’s hardest-rocking jamz, “Enemies” represents another FNM theme: No matter where you are, or whose company you keep, or how well you think you’ve succeeded at life, no matter what … there might be someone hating you from across the room. Worse, it’s like the someone wants to hate your guts. “Happy Birthday, fucker.”
Awesome song elevated to supra-awesomeness by cinema, for at least the second time already here on 31Do’FNM on MS.net. For example, imagine this in your brain: Right around 2:38, Patton’s vocals rest, and a new, competing guitar lick is introduced and plays against the main riff, right? So, assign each of those two guitar parts to a shot in your imaginary brain movie: the main riff (the triumphant one) is you toasting champagne with friends, laughing gaily in a turtleneck; an instant later, the descending riffs accompanies a cut-away to Mike Patton standing just beyond the head of your table, clenching his fists and staring at you. The shot goes back to you being all super-thrilled to be you (duh-duh-duh-DUHHH duh-duh-DUHHHHH); back to him, sweating and thrilled to be near the time of your punching (Dehhh-deh dee-dee doo-doo doo-doo). You: A winner. Him: On the move. The song ends just when you notice that he’s upon you, fist cocked. Smiling.
Didja know? I’ve discovered a new and horrible way to break terrorists. I got the idea when I was listening to “Enemies” on my stereo on repeat, and then the youtube above started playing exactly one beat behind the stereo. I listened to the entire song all echoing itself this way and it was insane. I learned that, truly, you don’t do heavy metal in doubly. Everybody knows that.
Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based recording industry in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.
Song “Ricochet”
Written by Patton (L); Gould, Bordin, Patton (M)
Released 1995
Appears onKing For A Day, Fool For A Lifetime album
Produced by Andy Wallace
Guitars by Trey Spruance (Secret Chiefs 3, Mr. Bungle)
Key lyric “And I’d rather be shot in the face/Than hear what you’re gonna say”
Awesome song elevated to supra-awesomeness by Patton’s alternating of wide-open, cracky shouts and perfect pitched singing, sometimes in the same phrase (see 3:27). Impossible to fake. Studdd.
Single? Yes, King‘s second (preceded by “Digging The Grave” and followed by “Evidence”)
The climate “Ricochet” faced Modern Rock radio competition from such timeless greats as Better Than Ezra (“Good”), Live (“Lightning Crashes” barf), and Bush (“Comedown”).
Didja know? it’s been reported that “Ricochet” is shorthanded as “Nirvana” on setlists because it was written on the day of Kurt Cobain’s death.
Tuesday, April 20th, 2010 at 3:30pm by Eric Guenther
Musicians are strange creatures. Their work hours and habits are almost always odd, hygiene is often suspect, and sanity questionable.
If I had to point out one thing that ties all musicians together, it would be inspiration, often drawn from a simple but strong love for music. Inspiration comes from all varieties of thoughts and experiences though, and most will agree that it is a mystical and almost spiritual matter that is difficult to qualify. For me, personally, my inspiration is the most important thing I have in life because it guides all of my goals and efforts to blast through them. Although it may be oriented around music for whatever reason, the specifics of what I am inspired to do are not crystal clear. It is not instrument, genre, or socially based. It is just to create.
I have always been in awe of musicians that are able to look past the world’s conceptions of genre. For some bands, it is absolutely correct for them to do their thing 100% their way and use their tested process over and over, record after record. I don’t mean being stale, either… Development and growth between records is an assumed necessity for me to take a band seriously. Examples of bands that know their sound or process well and tend to stick to it (with great results) would include bands like Meshuggah, Megadeth, Behemoth, Muse, Deftones, and even more progressive bands like The Mars Volta, Opeth, and Dream Theater. But the musicians that REALLY get me thinking these days are ones who understand how to take a complete 180 degree turn: drop the world’s, or maybe just critics’, perception on its head, and use new influences from a completely different angle. It is almost as if they side-step into a bizarro dimension and are running two or more separate careers. Musicians that can accomplish this demonstrate a certain type of understanding and mental clarity that is all too rare. Here are some of my favorite examples:
Wednesday, August 12th, 2009 at 1:30pm by Axl Rosenberg
Well, I don’t know that the original Faith No More vocalist is back on smack, but I can’t think of any other way to explain this statement from a recent Rolling Stone interview:
“I thought [firing guitarist Jim Martin] was as big if not bigger a mistake than getting rid of me — just because he had a lot of pull with the big part of their crowd at the time. And he was ‘the personality,’ y’know? There was something people could identify to. After Jim, they were going through a string of different guitar players, and I couldn’t name one of them. That Jagger/Richards, Plant/Page thing was gone.”
Alright, I love Jim Martin as much as the next guy, but come on, dude. Let’s look at some facts:
