Angel Dust is the fourth studio album by American rock band Faith No More, released on June 8, 1992, by Slash and Reprise Records. It is the follow-up to 1989's highly successful The Real Thing, and was the band's final album to feature guitarist Jim Martin. It was also the first album where vocalist Mike Patton had any substantial influence on the band's music,[4][5] having been hired after the other band members had written and recorded everything for The Real Thing except vocals and most of the lyrics.[6][7][8] The band stated that they wanted to move away from the funk metal style of their prior releases, towards a more "theatrical" sound.[9][10]
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Angel Dust is Faith No More's best-selling album to date, having sold over 2.5 million copies worldwide. It also debuted at number 10 on the Billboard 200, making it the band's only top-ten album in the United States.
Following the success of their previous album, The Real Thing and its subsequent tour, Faith No More took a break for a year and a half before beginning work on the follow-up, Angel Dust. During this time Mike Patton rejoined his high-school band Mr. Bungle to record their eponymous debut album.[11] This situation had an effect on the band, since drummer Mike Bordin thought the writing process was like the state of a "magic slate" having been "completely covered in writing; there was not any more room for any more writing on that slate, so we all went and said all right, and erased everything, and started writing new stuff," and Patton was creatively revitalized.[11] They decided not to "play it safe" and instead took a different musical direction,[12] much to the dismay of guitarist Jim Martin.[13] Martin also did not like the title of the album as chosen by keyboardist Roddy Bottum. In an interview taken while they were in the studio he said that "Roddy [Bottum] wanted to name it Angel Dust, I don't know why, I just want you to know that if it's named Angel Dust, it didn't have anything to do with me."[14]
Bottum stated that he chose the name because it "summed up what [they] did perfectly" in that "it's a really beautiful name for a really hideous drug and that should make people think."[4] Similarly, the artwork contrasted one beautiful image with a gruesome one by depicting a soft blue airbrushed great egret on the front cover (photographed by Werner Krutein) while on the back is an image of a cow hanging on a meat hook (created by Mark Burnstein).[15] Both bassist Billy Gould and Mike Bordin said that the image on the rear of the album is not based on support for vegetarianism but rather a preview of the music, suggesting its combination of being "really aggressive and disturbing and then really soothing", the "beautiful with the sick".[11][15]
There had never been any question of my staying in the band. We started writing the music for this album, and being part of something so fundamental was what made sure of it for me. The Real Thing had been like someone else's, someone else's band, it had felt like an obligatory thing. They hadn't needed a damn singer, it was just that they had to have a singer. That's why I was there, that's why Chuck was there, we weren't needed there.[16]
While 13 tracks were released on the standard album, the sessions also produced a cover of the Commodores' "Easy", a reworking of the previously recorded "As the Worm Turns", and the posthumously released "The World Is Yours". While the songs "Das Schutzenfest" and the Dead Kennedys cover "Let's Lynch the Landlord" were both released along with "Easy" on an EP in late 1992, at least one of these songs was not actually recorded during the Angel Dust sessions: "Let's Lynch the Landlord" was recorded in Bill Gould's bedroom[22] and produced by the band,[23] prior to the Angel Dust sessions, for Virus 100, a Dead Kennedys tribute album. While it is unclear as to whether or not "Das Schutzenfest" is from the Angel Dust sessions, Matt Wallace is listed as the engineer for this song[23] but is given no producer credit (in contrast with the co-producer credit he is given for Angel Dust).
There were many samples used on Angel Dust, to the point that it was called a "gratuitous"[7] amount and record label executives were concerned about the volume of samples used.[6] They came from such sources as Simon and Garfunkel, Diamanda Galás, Z'EV, and The Wizard of Oz.[6] The Simon and Garfunkel sample is from the first bar of their song "Cecilia" and appears throughout the drum track of "Midlife Crisis". "Malpractice" contains a four-second sample of the second movement of Dmitri Shostakovich's String Quartet No. 8 as performed by the Kronos Quartet, on their album Black Angels; track 8, "Allegro molto", at 2:10. It features in four points towards the end of the song at 2:56, 3:02, 3:22 and 3:26. Many of the original samples used in the songs were recorded by Roddy on a Digital Audio Tape recorder whilst "just whilst wandering out and about".[24] "Crack Hitler", as well as featuring samples of sirens in the background,[6] features a sample in the intro of Iris Lettieri reading a flight announcement at the Rio de Janeiro-Galeão International Airport.[25] She then tried to sue the band for using her voice without permission.[24] There are also samples of aboriginal chanting, amongst the sound effects from Sound Ideas, in the background of "Smaller and Smaller".[26] Also, a brief succession of sounds, including a police car siren and a warp noise, similar to what Frank Zappa abundantly made use of on his album Joe's Garage is recognizable in the song "A Small Victory". The song "Midlife Crisis" contains a sample of "Car Thief" by the Beastie Boys. The intro of "Caffeine" features sounds of animals, of which monkeys and a wolf can be distinguished. The B-side "The World Is Yours" by far featured the most samples of any songs, and was even referred to as "The Sample Song" by the band. The intro alone features a death sentence by rapid fire (the words "Aim. Fire!" can be heard), and an elephant. The bridge of the song includes a recording of Budd Dwyer's suicide that was broadcast on TV in 1987.
Faith No More started the tour to promote Angel Dust shortly after the album's completion on the European leg of the Use Your Illusion Tour with Guns N' Roses and Soundgarden,[27] which Bottum described as a "complete European vacation" due to their light concert schedule.[28] In an interview taken on June 6, 1992, Billy said:
Angel Dust was met with extensive critical acclaim. One critic wrote that the album is "one of the more complex and simply confounding records ever released by a major label"[49] and similarly, another called it "the most uncommercial follow-up to a hit record ever".[40] After hearing the album, the band's label warned them that releasing the album would be "commercial suicide".[50] The single "A Small Victory" is described as a song "which seems to run Madame Butterfly through Metallica and Nile Rodgers, reveals a developing facility for combining unlikely elements into startlingly original concoctions".[51]
The songs "Malpractice" and "Jizzlobber" have been called "art-damaged death metal" and "nerve-frazzling apocalyptic rock" by contrast with the "accordion-propelled" Midnight Cowboy theme cover that follows.[47] AllMusic calls the album a "bizarro masterpiece", citing the vocals as "smarter and more accomplished" than its predecessor The Real Thing.[39] It gave the album 4.5 stars out of 5, calling it one of their album picks.[39] Kerrang! was less enthusiastic, considering Angel Dust's variety of styles "a personality disorder, of sorts, which undermines its potential greatness".[41] In 1992, Spin commented that "there are slow, scary songs, and not as much funk-metal thrash as the average fan would expect."[52]
The album was also called an "Album of the Year" in 1992 by seven different publications in four countries, making the top 10 in three of them and the top position in one, and was also named the "Most Influential Album of all Time" by Kerrang! despite an initially lukewarm review.[53] Brad Filicky of CMJ New Music Report praised the album in 2003, reflecting, "Faith No More was often lumped in with the funk metal masses that were so popular in the early 90s, but after the success of The Real Thing, the group's first album with Mike Patton, FNM grew tired of the trappings and limitations of the genre. So, rather than release that era's equivalent of Significant Other, the band flipped the script entirely and dropped an experimental bombshell on the scene."[54] In 2017, Rolling Stone ranked Angel Dust as 65th on their list of "The 100 Greatest Metal Albums of All Time".[55] Oceansize frontman Mike Vennart named it one of the albums that changed his life.[56] Mr. Bungle guitarist Trey Spruance labelled it as a "glorious record" in 2016.[57]
This disc was a promotional release on Limited Edition pressings of Angel Dust in France. On the back it reads "ne peut être vendu séparément, offert avec l'album 'Angel Dust' dans la limite des stocks disponibles",[58] which translates to "offered with the album Angel Dust while stocks last, not to be sold separately"
Make and Model: A classic moper from Moz and company off their iconic 1986 album The Queen is Dead, in which the eternally glum singer pines to go out and see people and live the life of a care-free joy rider.
"On the outside, I was the All-American kid," Hodne says in a 2019 parole hearing, the year before he died. "I was given a full scholarship. I had colleges coming to see me in high school, offering to buy me cars to go to school, to give me money. I chose Penn State and did very well there the first semester . . . And to understand what happened from here, I actually have to go back to the decisions I made when I was 12 or 13 or even younger. The football was everything, my self-worth. It was who I was. It was also where I expressed what you might deem negative emotions. I never dealt with anything in my life, and I stored it up and turned it into anger on the football field, and it made me a very good football player. When I first started playing, I wasn't very aggressive, and they taught me to channel my emotions and become where you don't have empathy for people. The other team is your enemy, and it is your job to destroy them. So I started to develop at a very young age my view of [being] a man was that you didn't show emotion. I had older brothers; if I cried in front of them, they made fun of you. So I really didn't have any other coping mechanism other than you just internalize it and bring it on to the football field." 2ff7e9595c
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