Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Fuck you, I won't do what you tell me
Motherfucker
Worthwhile?
One hundred percent....ok so, Killing In The Name Of is one of those generation-defining songs, not to mention all all-time favourite of mine. However, let's see what else this album holds...so...
This is the 1992 debut album from the band, which shot them to international fame. I find it amazing that this was the band's first effort, because it's such a polished and "mature" effort.
Bombtrack is a bit too "nu-metal" for my taste (an unfair criticism since this album pre-dates the genre).
There aren't enough superlatives to describe Killing In The Name Of. It starts with a brilliant guitar riff. Then the lyrics, which are bristling with emotion, to say the least. Then another guitar riff for the ages. Then another. The song is just wall-to-wall excellence, from the gentle simmering through to the intense explosions of angst. Incredible.
The recording quality is also deserving of praise. Even after almost 20 years, it doesn't sound dated. While a modern recording would have a more enveloping bass-guitar sound (chorusing effect, I think?) and more digital effects on the drum sound, this album is still a delight to the ears.
Settle For Nothing has no appeal to me at all. It feels like spoken word, with a mindless "wall of noise" chorus tacked on. Also, the whole song feels a bit disjointed to me. The slow-burn funk verses of Take The Power Back are very nice, although I find this song is let down by its chorus. Know You Enemy has a great swung guitar riff., however the dog's breakfast of the arrangement kills the vibe for me.
Bullet In The Head uses a similar recipe to Take The Power Back, tweaked to perfection. It plods along menancingly at the start, and then the second half explodes thanks to a brilliant riff. Then the vocals kick in to take it even higher, creating a stellar climax.
None of the remaining songs on the album really appeal to me, so let's leave it here. A short, but incredibly intense journey.
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