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Meteora by Linkin Park (CD - 03/25/2003)
 

Meteora by Linkin Park (CD - 03/25/2003)

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Meteora by Linkin Park (CD - 03/25/2003)
"Meteora" (03/25/2003) Heavy Metal Linkin Park, Warner Bros. Records (Record Label)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Enhancements include behind-the-scenes video footage, a screensaver, and weblinks. Linkin Park: Mike Shinoda (vocals, emcee, samples); Chester Bennington (vocals); Brad Delson (guitar, background vocals); Phoenix (bass, background vocals); Rob Bourdon (drums, background vocals); Joseph Hahn (turntables, samples, background vocals). Additional personnel: Joel Derouin, Charlie Bisharat, Alyssa Park, Sara Parkins, Michelle Richards, Mark Robertson (violin); Evan Wilson, Bob Becker (viola); Larry Corbett, Dan Smith (cello); David Zasloff (Shakuhachi flute). Recorded at NRG Studios, North Hollywood, California. "Session" was nominated for the 2004 Grammy Award for Best Rock Instrumental Performance. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Mike Shinoda (vocals, sampler); Chester Bennington (vocals); Brad Delson (guitar, background vocals); Joel Derouin, Mark Robertson , Sara Parkins, Michele Richards, Charlie Bisharat (violin); Evan Wilson, Bob Becker (viola); David Zasloff (shakuhachi); Rob Bourdon (drums, background vocals); Joseph Hahn (sampler, background vocals). Audio Mixer: Andy Wallace. Recording information: Mike's House; MRG Studios, North Hollywood, CA. Perhaps if the cut-'n'-paste remix record Reanimation hadn't appeared as a stopgap measure in the summer of 2002, Linkin Park's second record, Meteora, would merely have been seen as a continuation of their 2000 debut, Hybrid Theory, instead of a retreat to familiar ground. Then again, Reanimation wasn't much more than a way to buy time (along with maybe a little credibility), so it's unfair to say that its dabbling in electronica and hip-hop truly pointed toward a new direction for the group, but it did provide a more interesting listening experience than Meteora, which is nothing more and nothing less than a Hybrid Theory part two. Which isn't to say that Linkin Park didn't put any effort into the record, since it does demonstrate that the group does stand apart from the pack by having the foresight to smash all nu-metal trademarks -- buzzing guitars, lumbering rhythms, angsty screaming, buried scratching, rapped verses -- into one accessible sound which suggests hooks instead of offering them. More importantly, the group has discipline and editing skills, keeping this record at a tight 36 minutes and 41 seconds, a move that makes it considerably more listenable than its peers and, by extension, more powerful, since they know where to focus their energy, something that many nu-metal bands simply do not. (It must be said that there will surely be consumers out there that will question paying a $19.99 retail for a 36-minute-and-41-second record, though some may prefer getting a tight, listenable record at that price instead of a meandering 70-minute mess.) So, it must be said that Meteora does deliver on the most basic level -- it gives the fans what they want, and it does so with energy and without fuss. It's also without surprises, either, which again gives the album a static feeling -- suggesting not a holding pattern for the band, but rather the limits of their chosen genre, which remains so stylistically rigid and formulaic that even with a band who follows the blueprint well, like Linkin Park, it winds up sounding a little samey and insular. Since this is only their second go-round, this is hardly a fatal flaw, but the similarity of Meteora to Hybrid Theory does not only raise the question of where do they go from here, but whether there is a place for them to go at all. ~ Stephen Thomas Erlewine In one of the most highly anticipated follow-ups of recent years, Linkin Park maintains its position at the top of the nu-metal heap with METEORA. The band labored carefully over their craft; for instance, the writing process of leadoff single "Somewhere I Belong" spawned 30 finished choruses before vocalists Mike Shinoda and Chester Bennington arrived at the version found on the album. The combination of Shi

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Queen of the Damned [Soundtrack] [PA] by Original Soundtrack (CD - 02/19/2002)
 

Queen of the Damned [Soundtrack] [PA] by...

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Queen of the Damned [Soundtrack] [PA] by Original Soundtrack (CD - 02/19/2002)
"Queen of the Damned [Soundtrack] [PA]" (02/19/2002) Heavy Metal Original Soundtrack, Warner Bros. Records (Record Label)Original songs by Jonathan Davis and Richard Gibbs. Music composed by Jonathan Davis and Richard Gibbs. Personnel: Shankar (vocals); Jonathan Davis (guitar, keyboards); Brian Welch, James "Munky" Shaffer (guitar); Richard Gibbs (keyboards); Terry Bozzio, Vinnie Colaiuta (drums). An hour's worth of contemporary metal constitutes the soundtrack for the vampire movie Queen of the Damned. The unusual element that lifts this collection beyond being a typical various-artists album masquerading as a soundtrack is the inclusion of five specially written songs by Jonathan Davis and Richard Gibbs that relate, at least slightly, to the film. Davis and Gibbs have persuaded a who's who of metal vocalists -- Wayne Static of Static-X ("Not Meant for Me"), David Draiman of Disturbed ("Forsaken"), Chester Bennington of Linkin Park ("System"), Marilyn Manson ("Redeemer"), and Jay Gordon of Orgy ("Slept So Long") -- to sing their songs. The rest of the album is dominated by tracks from Warner metal albums by the likes of Static-X ("Cold"), Disturbed ("Down With the Sickness"), and Deftones ("Change [In the House of Flies]"), plus a few tracks licensed from other labels and metal bands, including Dry Cell, who preview their forthcoming album with "Body Crumbles." The result is an overview of the metal music of the day, with its crunching guitar chords, pummeling drums, and harsh vocals singing desperate lyrics. The gothic, threatening tone of the music is appropriate to a horror movie, but the soundtrack also does double duty as a genre sampler. ~ William Ruhlmann In Anne Rice's book QUEEN OF THE DAMNED, recurring vampire character Lestadt awakes from a lengthy hibernation and proceeds to remake himself into a rock star of global proportions who ends up attracting the unwanted attentions of head vampire Queen Akasha. Although the late Aaliyah plays the title role in the film, the accompanying soundtrack contains nary a stitch of hip-hop or R&B, instead cleaving to the hard and heavy sounds conjured up by Korn's Jonathan Davis and ex-Oingo Boingo keyboardist Richard Gibbs. Due to contractual obligations, Davis was prevented from singing these songs, therefore the quintet of cuts composed by this duo are sung by an impressive array of talent from the nu-metal world. Marilyn Manson slithers his way through the chilling "Redeemer," Orgy's Jay Gordon haunts the ominous "Slept So Long," and Linkin Park's Chester Bennington makes his solo debut with the eerie "System." Elsewhere, Static-X's namesake Wayne Static growls through the thumping "Not Meant For Me" and Disturbed's David Draiman pours himself into the sweeping "Forsaken," featuring the Middle Eastern-flavored contributions by violinist Shankar. In Anne Rice's book QUEEN OF THE DAMNED, recurring vampire character Lestadt awakes from a lengthy hibernation and proceeds to remake himself into a rock star of global proportions who ends up attracting the unwanted attentions of head vampire Queen Akasha. Although the late Aaliyah plays the title role in the film, the accompanying soundtrack contains nary a stitch of hip-hop or R&B, instead cleaving to the hard and heavy sounds conjured up by Korn's Jonathan Davis and ex-Oingo Boingo keyboardist Richard Gibbs. Due to contractual obligations, Davis was prevented from singing these songs, therefore the quintet of cuts composed by this duo are sung by an impressive array of talent from the nu-metal world. Marilyn Manson slithers his way through the chilling "Redeemer," Orgy's Jay Gordon haunts the ominous "Slept So Long," and Linkin Park's Chester Bennington makes his solo debut with the eerie "System." Elsewhere, Static-X's namesake Wayne Static growls through the thumping "Not Meant For Me" and Disturbed's David Draiman pours himself into the sweeping "Forsaken," featuring the Middle Eastern-flavored contributions by violinist Shankar.

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Believe [PA] by Disturbed (CD - 09/17/2002)
 

Believe [PA] by Disturbed (CD - 09/17/20...

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Believe [PA] by Disturbed (CD - 09/17/2002)
"Believe [PA]" (09/17/2002) Heavy Metal Disturbed, RepriseThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This Limited version of BELIEVE is packaged in a leather-bound book, accompanied by a companion bonus DVD disc. Disturbed: David Draiman (vocals); Dan Donegan (guitar, keyboards); Fuzz (bass); Mike Wengren (drums). Additional personnel: Alison Chesley (cello). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Disturbed: David Draiman (vocals); Dan Donegan (guitar, keyboards); Fuzz (bass); Mike Wengren (drums). Additional personnel: Alison Chesley (cello). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. From the moment the jagged riffing of "Prayer" begins to pour out of the speakers, one thing is quite clear: Disturbed has learned to cut the fat. Their first record was a massively heavy affair, but at times the music was mired in somewhat needless passages. But on Believe, Disturbed takes the sort of jump that their heroes in Soundgarden and Pantera made after their respective breakthrough records. No longer depending on the choppy tempos and percussion-based riffing of the past, guitarist Dan Donegan has made great strides in expanding their sound to include more varied guitar work all around. Take the title track, which moves from a brutal chug to a sweeping chorus that suddenly stops in its tracks and turns into a winding riff that recalls the work of vintage James Hetfield. It's great stuff, the kind of audible theatrics that makes good heavy metal so visceral and potent. Draiman makes an appreciated and notable effort to stretch his vocal boundaries as well, and his performance is one of the most improved of the band. His clear wail is a more emotive vessel this time, while his gravel-throated bark still adds the trademark harsh element to the sound. All of this adds up to a deeply melodic, at times even beautiful treatment of the genre; the kind of record that makes a metalhead proud to be a metalhead. Highlights include the epic and slightly tragic "Remember," Draiman's savage yammering on "Liberate," the dynamic flip-flopping between razor-sharp aggression and spiritual contemplation on "Rise," and the understated power ballad "Darkness." Certain songs do sound a bit too much like other bands for their own good, but this is out of hero worship more than a lack of originality and doesn't affect anything significantly. In the end, Believe is a satisfying slab of aggression from front to back, filled with enough muscle and brains to render the minor faults irrelevant. Where many of the bands that came out at the same time have proved to be one-album wonders, Believe is proof positive that Disturbed is a force of metal that's here to stay. ~ Bradley Torreano Taking the essence of classic metal and making it contemporary is a feat that Disturbed has accomplished with staggering results. While the band's debut only toyed with melodicism (much of THE SICKNESS was derivative of the growing stable of rap metal bands), BELIEVE is Disturbed's musical arrival. Razor-sharp syncopated riffing is melded with rock radio-friendly melodic vocals, making a jaw-dropping first impression with album-opener "Prayer." The track has the requisite elements to make it an instant metal classic. Disturbed's influences peek through their music, but not in a negative sense; it's clear that Pantera, Metallica and Queensryche were among the artists this band cut their teeth on. "Intoxication" revisits the vocal style that broke the band with "Down With The Sickness," but vocalist David Draiman puts much more effort into a vocal approach that doesn't rely on gimmicks, especially with the big chorus in "Remember" and the splayed vocal harmonies in "Believe." Making the leap into rock balladry, the album closes on an emotional note with "Darkness." With BELIEVE, Disturbed show themselves to be much more than a one-trick pony; instead they carry the torch for metal in the new millennium. Taking the essence of classic metal and making it contemporary is a feat tha

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Wonder What's Next by Chevelle (CD - 10/08/2002)
 

Wonder What's Next by Chevelle (CD - 10/...

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Wonder What's Next by Chevelle (CD - 10/08/2002)
"Wonder What's Next" (10/08/2002) Heavy Metal Chevelle, Epic (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Chevelle: Pete (vocals, guitar); Joe (bass, background vocals); Sam (drums). Recorded at Warehouse Studios, Vancouver, British Columbia. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Audio Mixer: Andy Wallace. Recording information: Warehouse, Vancouver, B. C. Photographers: Harold Edgerton; Chapman Baehler. The title of the sophomore Chevelle disc is actually an apt question, as those following the group through the Chicago underground pondered what group would do on a sophomore disc that came with major-label backing and a move from noise-mensch Steve Albini to star-maker Garth Richardson at the production helm. However, any concerns they might have had are quickly allayed and, by the time the disc is over, forgotten about completely. The trio still reminds you of Tool, but unlike the cloning taking place by the unskilled likes of Earshot, Chevelle take the best part of Tool -- the melodrama and occasional nods to Maynard Keenan's vocal style -- and remove the pretension that the prog-metallers are often found to be indulging in. Chevelle than apply what is left within an indie rock mindset that comes through in spite of the slick production that, try as it might, doesn't allow Wonder What's Next to mimic what's on the radio. This doesn't mean that the disc is lacking good songs; quite the opposite, actually: "The Red," the first single, is a pulsating, emotional track built around a nifty bass riff and an excellent chorus; "Comfortable Liar" settles nicely into a post-Sabbath chug complete with superb percussion, and "Closure" is a power ballad that arm-wrestles between power and ballad with no clear winner, save for the listener. Chevelle managed to retain its credibility yet still put out 11 tracks that, while still catchy, offer uniqueness not often heard in more commercial fare, no mean feat. ~ Brian O'Neill With emotionally charged lyrics and heavy, crunching guitars, Chevelle sounds ready to take the hard rock world by storm. Although this album will fit nicely alongside fellow heavyweights Godsmack and Staind, Chevelle does not concentrate on penning deliberately gloomy compositions. The songs on this debut CD are all well crafted and stand on their own as testament to a band that knows what it wants to accomplish. A lush production brings out the thick sound in every instrument, as well as capturing the haunting, melodic vocals. The soaring vocals seem to be floating above a quagmire of chugging, churning riffs, using hope to stay afloat in a sea of murky sound. At times, an angry, aggressive approach is taken, but by the end of every song, a sign of salvation always remains to redeem all those who made their way through.

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Rock Of Ages: The Definitive Collection [5/17] *
 

Rock Of Ages: The Definitive Collection ...

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Rock Of Ages: The Definitive Collection [5/17] *
"Rock of Ages: The Definitive Collection" (05/17/2005) Rock & Pop Def Leppard, Island Records (USA)Def Leppard: Joe Elliot (vocals); Pete Willis, Phil Collen, Steve Clark , Vivian Campbell (guitar); Rick Savage (bass guitar); Rick Allen (drums). The 2005 double-disc set Rock of Ages: The Definitive Collection is the second Def Leppard compilation to be released in the U.S. The first, Vault: Def Leppard Greatest Hits, appeared ten years earlier, and while the band was active in the decade separating the two albums, charting fairly consistently, it didn't have any major hits during that time, so the chief appeal of Rock of Ages versus Vault is that it covers more ground. Vault had 15 songs. Rock of Ages has 35, including all of the songs on Vault. Actually, the first disc of Rock of Ages functions as an expanded version of that earlier comp, adding two cuts. The second disc skips around their career, wisely concentrating on their early-'80s albums, which were somewhat under-represented on Vault, and adding a new song for good measure (a cover of Badfinger's "No Matter What," which is from their "forthcoming covers album"). While this may be too much Def Leppard for some casual fans -- for those listeners, the 2004 import-only collection Best of Def Leppard is a good choice, since it expands on Vault -- it nevertheless is the best overview of the group's career yet assembled, since it has not only the hits, but the sleek, glammy pop-metal that earned them the reputation as one of the biggest and best bands of the '80s. ~ Stephen Thomas Erlewine In the mid-1980s, there were few hard-rock bands as popular as Sheffield, England's Def Leppard. Influenced by the glam rock of Queen, Slade, and the Sweet, the quartet reveled in the style's high-energy elements, while trading the outlandish imagery for a no-frills, denim-clad look that made them even more accessible to the masses. With 1983's PYROMANIA and its delayed follow-up punch, 1987's HYSTERIA, Def Leppard became an international phenomenon, unleashing hit after hit, including the riff-heavy, shout-along singles "Rock of Ages," "Pour Some Sugar on Me," and "Armageddon It." This collection presents every song on the previously released VAULT: GREATEST HITS 1980-1995, along with an entire second disc of additional album tracks, including the AC/DC-like "High 'N' Dry (Saturday Night)" and HYSTERIA's anthemic ode to "Women." Throughout the decades, the group endured its share of upheavals and tragedies--drummer Rick Allen lost an arm in a 1985 accident and guitarist Steve Clark died in 1991--but they continued recording into the 21st century (see the 2002 track "Now"), revealing a determination that most of their peers lacked. For fans of '80s hard rock, this 35-track compilation is essential.

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Reanimation by Various Artists/Linkin Park (CD - 07/30/2002)
 

Reanimation by Various Artists/Linkin Pa...

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Reanimation by Various Artists/Linkin Park (CD - 07/30/2002)
"Reanimation" (07/30/2002) Heavy Metal Various Artists, Warner Bros. Records (Record Label)REANIMATION is an album of remixes of songs from HYBRID THEORY. Linkin Park: Mike Shinoda (vocals, programming, samples); Chester Bennington (vocals); Brad Delson (guitar, bass, background vocals); Phoenix (bass); Rob Bourdon (drums, background vocals); Joseph Hahn (turntables, programming). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. The remix album -- the time-honored tradition of buying time between records. Often, these are inconsequential affairs (Limp Bizkit's New Old Songs leaps to mind, for some reason), but if a band is smart, they can use this time-buying ploy to their advantage, redefining their sound somewhat, or at least reaching out for that elusive street credibility. The latter option is especially true for bands that have a big, big chart hit on their hands but little critical respect or reputation as a hip band. Which brings us to Linkin Park's Reanimation, a generous 20-track remix record of their debut Hybrid Theory that the band has vaguely alluded to as their art project. That means the group has left the hamfisted alt-metal of their debut behind, turning this record over to rappers, remixers, DJs, and assorted producers to give it a darkly hip, electronic edge. This may not be particularly pleasing to those who loved the angst-ridden rock theatrics of the debut, but it's a damn sight more interesting than that debut, helping Linkin Park distinguish themselves from the adolescently tortured rap-rock pack. The paradox is, of course, that the band sounds more original when filtered through the likes of Kutmasta Kurt, Alchemist, Pharoahe Monch, Aceyalone, and Jonathan Davis, among others, but any change is welcome, really (well, apart from the apparent decision to leave grammar and spelling behind; every song title is an "arty" interpretation of the original title -- "Paper Cut" is "Ppr:Kut," "Cure for the Itch" is "Kyur4 th Ich," etc. -- resulting in a silly mish-mash of letters and numerals). Some of this works quite well, some of it is kind of juvenile (really, does Motion Man need to repeat "Linkin Park -- remix" over and over again on his rap?), much of it is only slightly recognizable from the original, it's too long, and compared to contemporary arty rock (Radiohead, Flaming Lips, Clinic, Trail of Dead, System of a Down, Interpol, etc.), it really isn't that arty. But, compared to what they've done before, and compared to their peers, Reanimation is arty and a welcome step in the right direction. ~ Stephen Thomas Erlewine The runaway success of Linkin Park's debut album HYBRID THEORY was a phenomenon the rock world had seldom seen since Guns 'N Roses turned the rock world on it's ear with APPETITE FOR DESTRUCTION. With the band preparing a follow-up, an eclectic assembly of both underground and mainstream contributors de- and re-construct the music of Linkin Park on REANIMATION, under the direction of bandmember Mike Shinoda. While the requisite remixes are present, REANIMATION is not your typical remix album. Black Thought (of the Roots) chops up Linkin Park samples for his own rap spotlight on "X-Ecutioner Style," an approach also taken up on "H! Vltg3" by Pharoahe Monch and Dilated Peoples members Evidence and DJ Babu. "Enth E End" gets reinvented by veteran producer Kurtmaster Kurt, with verses laid down by the up-and-coming MC Motion Man. Korn's Jonathan Davis embellishes "1Stp Klosr" with his slow-boiling intensity, while Staind's Aaron Lewis adds emotive harmony vocals to "Krwling." The enhanced portion of the disc includes a music video for "Pts. Of Athrty," as well as links to an internet tool kit that guides fans in the creation of Linkin Park fan sites.

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Ten Thousand Fists [PA] by Disturbed (CD - 09/20/2005)
 

Ten Thousand Fists [PA] by Disturbed (CD...

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Ten Thousand Fists [PA] by Disturbed (CD - 09/20/2005)
"Ten Thousand Fists [PA]" (09/20/2005) Heavy Metal Disturbed, RepriseDisturbed: David Draiman (vocals); Dan Donegan (guitars, keyboards); Mike Wengren (drums). Additional personnel: John Moyer (bass guitar). It started in 2000 with "Down with the Sickness." Disturbed's thick, rhythmic take on alt-metal was perfect music for stalking bloody zombies, and vocalist David Draiman's jaw-snapping Pavlovian grunts made the trigger fingers of first-person shooters itch. There were threads of other groups in the sound -- Pantera's wrenching power, Slipknot, the ill-lighted parlor games of Tool -- but Disturbed held their own from the start. If 2002's Believe downplayed Draiman's guttural responses a little, that tact's long gone for 2005's Ten Thousand Fists. From Todd McFarlane's evocative wronged misfits artwork -- Suicide Girls stand fists upraised next to ghoulish fiends and disenfranchised truckers -- to the rousing staccato of the title track and the "Sickness" rewrite "Stricken," Disturbed solidify their stance as the black knights of gaming-console rock. Creepy electronics slither behind Dan Donegan's guitar, and he mostly forsakes soloing to concentrate on the visceral groove. When he's not hacking like a chained-up pit bull, Draiman emotes from the valley of reverb (that's next to the valley of death), and his moments of epic roar make the songs' choppier parts more effective. Now, "Overburdened" takes the epic stuff a little too far. Draiman starts off the song in narration, muttering "Fate is so unkind" like a monster who's been given the power to feel. But even in its swirling pretentiousness, you can't deny his intensity. Luckily the majority of Fists sticks to mid-tempo punishers that pound back anger-gritted teeth and no anesthesia. (Remember, Disturbed's tours are underwritten by J?germeister, the black licorice firewater that punches Saturday night in the face.) "Deify" rails against blind devotion to political leaders and "Sons of Plunder" stalks at a faster, more aggressive faster heart rate, while "Decadence" and "Sacred Lie" drop into the rhythmic grip that by mid- to late album is almost comfortable in its gloomy thump. (Disturbed's ill-advised cover of Genesis' "Land of Confusion"? No comment.) Ten Thousand Fists does start to sound the same after a while. But those bloody zombies aren't going to stop pouring though the doorway, so it's a good thing it has at least 12 burly alt-metal rockers. Fire! ~ Johnny Loftus Five years after Disturbed's crushing debut, the Chicago nu-metal stalwarts offer their third full-length, TEN THOUSAND FISTS. Reunited with long-time producer Johnny K and new bassist John Moyer (Union Underground), Disturbed's return boasts a revitalized edge. TEN THOUSAND FISTS carries the metallic fire of THE SICKNESS, perfectly balanced with the melodic sensibility of 2002's BELIEVE. From the mosh pit-inspiring title track to the provocative and socially conscious lyrics of tracks such as "Deify" and "Sacred Lie," it is abundantly clear that Disturbed has further evolved their brutal-yet-refined approach. TEN THOUSAND FISTS also features striking booklet artwork by comic book legend Todd McFarlane.

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Chronicles: Kiss/Hotter... [Long Box] [6/21] *
 

Chronicles: Kiss/Hotter... [Long Box] [6...

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Chronicles: Kiss/Hotter... [Long Box] [6/21] *
"Chronicles [Long Box]" (06/21/2005) Rock & Pop Kiss, MercuryCHRONICLES contains: KISS (1974)/HOTTER THAN HELL (1974)/ DRESSED TO KILL (1975). Kiss: Gene Simmons (vocals, bass instrument); Ace Frehley, Paul Stanley, Peter Criss. Personnel: Ace Frehley, Paul Stanley (vocals, guitar); Peter Criss (vocals, drums); Adam Simmons (vocals). Additional personnel: Bruce Foster (piano); Bobby McAdams (hand claps). Audio Remasterer: Joseph M. Palmaccio. Recording information: Bell Sound Studios NY (10/1973); Electric Lady Studios, New York, NY (10/1973); Village Recorder, Los Angeles, CA (10/1973). Photographers: Joel Brodsky; Norman Seeff; Bob Gruen. This Chronicles box set brings together the first three legendary records by Kiss -- Kiss, Hotter Than Hell and Dressed to Kill -- in a single box set. Unfortunately, other than the albums themselves being classics, there are no bonus tracks, no remastering, nor any additional material to speak of. So unless you don't already own these, or prefer to have them stored in a different format than jewel casing, the original single discs might just be the way to go; if anything for the ease of storage. ~ Rob Theakston

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Greatest Hits, Vol. 1 [PA] by Korn (CD - 10/05/2004)
 

Greatest Hits, Vol. 1 [PA] by Korn (CD -...

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Greatest Hits, Vol. 1 [PA] by Korn (CD - 10/05/2004)
"Greatest Hits, Vol. 1 [PA]" (10/05/2004) Heavy Metal Korn, Epic (USA)This release includes a bonus DVD. Korn: Jonathan Davis (vocals, bagpipe); Brian Welch, James Shaffer (guitar); Fieldy (bass guitar); David Silveria (drums). A decade after changing the metal landscape drastically with their self-titled debut juggernaut, Korn got the best-of treatment just as their standing began to seem increasingly shaky, commercially at least. Greatest Hits, Vol. 1 sadly isn't the disc it ideally could be, but it nonetheless summarizes how steady Korn were over the years, developing their sound oh so slightly from one album to the next and, in the process, coming up with several unquestionably killer songs every go-round. The band's six full-lengths resulted in enough of those killer songs to fill this best-of to the brim; in fact, there are quite a few more that could have been compiled here if there were more space on this single-disc release (a double disc would have been definitive). As it stands, however, practically every song here is a highlight in and of itself, with the sole exceptions of the below-par "Alone I Break" and a pair of album-opening covers: Cameo's "Word Up!" and Pink Floyd's "Another Brick in the Wall, Pts. 1-3." These newly recorded covers are here undoubtedly to bait the legions of Korn fans who already own all the band's albums but are loyal enough to purchase this best-of as a way to hear these songs. And yes, they're quite curious, so much so that you'll want to give them a listen if you're a fan (download them, though -- they're curious, no doubt, but certainly not worth the price of this disc alone). The band's "Word Up!" cover is awesome, and the Pink Floyd cover is overwrought, yet enticingly so. Then again, these two songs are so well known that you have to wonder, what's the point? Like Korn's previous cover of Metallica's "One," though, the point seems to be one of curiosity rather than one-upmanship. In any event, these covers aren't the best way to start off this best-of -- not at all -- nor is the reverse chronological sequencing ideal. Because Korn developed their sound over the years, even if only slightly, it'd have been better to map out that progressive trajectory here, rather than hear the band regress from the elaborate, theatrical bombast of their later albums to the stripped-down naked rawness of their fierce debut. These quibbles aside, it's worthy stating again that nothing but great songs are featured here. If you're new to Korn, the most influential and successful metal band of the '90s, this disc should blow you away -- that is, assuming you're a fan of extreme music with a dark, disturbing edge. But if indeed you're new to Korn, you'd be better off skipping over this best-of and heading straight for their self-titled debut (their one undisputed classic), and then moving chronologically forward through the band's catalog. Each album stands well on its own, albeit some better than others, and here you're only getting the tip of each iceberg. If money is a concern, however, and you can only afford one Korn disc for your collection, don't think twice about picking up Greatest Hits. You won't be disappointed. No chance of that. Plus, there's a bonus DVD here of Korn's 2003 show at CBGB's that will give you a good taste of what the band is like live. ~ Jason Birchmeier GREATEST HITS VOL. 1 is a 17-track primer for Korn, a key force behind the "nu metal" tsunami that swept through pop music in the mid-to-late 1990s. Led by frontman (and former coroner's assistant) Jonathan Davis, these California natives weave low-tuned guitars, hip-hop-fueled bass lines, and bleak imagery into memorable songs like the bile-fueled stomp-fest "Right Now," goth-tinged "Alone I Break," and frenetically raw "Freak on a Leash." Davis's struggle with family dysfunction is a consistent theme, from the band's self-titled 1994 debut (a foreboding "Clown"), right up through 2003's TAKE A LOOK IN THE MIRROR (an uber-heavy "Did My Time"). Korn also keeps pace with peers Marilyn Manson and Limp Bizkit (who both recorded unlikely covers) by adding a pair of new tracks--a faithful readin

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Heavy Metal Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Heavy Metal Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Meteora by Linkin Park (CD - 03/25/2003) - Phobia: Collector's Edition [PA] by Breaking Benjamin (CD - 04/17/2007).