Metallica’s St. Anger - Full Album

Metallica’s St. Anger was released ten years ago today. Since sometimes brilliant art is misunderstood and under-appreciated upon its initial debut and is only later recognized for the work of genius that it is, I was hoping that making myself sit through St. Anger all the way through for the first time since roughly June 6, 2003, would somehow turn me around on this album.

So I’m sad to report that St. Anger still has all the problems today that it did then: the drums sound like shit, the songs are too long, Hetfield’s vocals sound like shit, the lyrics were patently written by people in the throes of therapy, the bass sounds like shit, there are no guitar solos, the guitars sound like shit, the documentary Some Kind of Monster is more entertaining than the album itself, everything sounds like shit.

And yet…
If we consider the longevity of the work as an object of discussion and study to be the single greatest achievement any artist can realize, than the fact that we’re still conversing about St. Anger a decade later proves that it is special, in the strictest sense of the word: it’s “distinguished by some unusual quality,” “readily distinguishable from others of the same category,” and “other than the usual.” If the Load albums are bad because of their poorly-executed pandering to mid-90s radio rock and Death Magnetic is bad because it’s such a bland attempt to recreate the band’s glory days, St. Anger is a much more noteworthy form of bad: it is so badly misguided as to make the creators appear to be insane. After all, what other explanation could there be for four grown men (yes, I’m including Bob Rock) who have collectively sold more albums than there are stars to listen to this and think, “Nailed it!“
I think this is part of the reason why St. Anger is still a work of fascination to this day. It is a work of creative hubris, but it’s also a truly singular vision in a way that most albums, good or bad, never are. It’s their world, sucker.

For one thing, there’s the riffs: there are actually some really good ones on this album. Riffs that don’t sound just like everything else Metallica have ever written, but still rock, and don’t feel forced or trendy. As Kerry King told Terrorizer magazine, “This part [of the title track where the pace picks up] could be entertaining as hell, but I just can’t get past the mix… those [other] songs [on the album] are alright, but there’s no reason for those songs to be seven minutes long, let along eight or nine.” It Metallica had even one key member of their inner circle who had the balls to tell truth to power, it’s entirely possible that St. Anger might have actually redeemed the band for blowing their Load.

Which is certainly how the album was heralded. Recall, for example, Revolver‘s June 2003 issue, which featured Metallica on the cover, and described the album thusly:

“St. Anger – loud, complex and unremittingly brutal. The album is easily the bands most purely metallic offering since 1988′s …And Justice For All. Heavy riffs and wicked time changes abound and instruments jump out of the speakers with demonic fury. St. Anger is merciless; just when you think a song is heading for an exit, another monster riff comes along and knocks you on your ass!”

I suspect I’m not the only Metallica fan who bought into that hype. Keep in mind that in 2013, Metallica have had another ten years to be ridiculous; in 2003, a time when they totally kicked ass didn’t seem so distant, and thus, redemption felt achievable. I sat through that entire stupid MTV Icon thing just to hear a minute of “Frantic,” and that truncated, largely instrumental, shitty-production-free snippet sounded promising.
Which, I think, brings us to the other other reason why St. Anger still gets attention: for many of us, it ended the denial, the nail in Metallica’s coffin, the moment when we absolutely had to stop lying to ourselves and admit that the band we knew and loved was dead. (If we were Star Wars geeks, St. Anger would be Revenge of the Sith.) St. Anger was a sad, shocking milestone.

And the craziest part about the album? Metallica in no way, shape, or form learned from their mistake. In fact, eight years later, they got behind the wheel and wrecked the car even more fantastically than they did with St. Anger.

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Green Day’s ¡TRE! - Full Album

Green Day’s ¡TRE! - Full Album

If nothing else, looking at the ¡UNO! ¡DOS! ¡TRE! album trilogy Green Day has released in the past four months, we should be impressed by the sheer songwriting prolificacy Billie Joe Armstrong and his brothers in pop-punk arms have put on boisterous display. This band that’s been going since 1987 just tacked on another third to their studio recording catalog, and did so, it seems, with incredible ease. If there was any question before, who is the most proficient rock band in mainstream America? We’ve found our answer.

But simply because you can do something, is that a reason why you should do something? The big hype around this trilogy was that, following a decade of outlandish conceptual rock-operas and musicals, it would be a return to form for MTV’s favorite snotty East Bay trio, with not just one album, but three of them. But even that idea, for this gang of middle aged eyeliner-wearing, hair-dying, tattooed, John Varvatos-modeling designer punks, is a gimmick. And it begs the question: Why not show some creative restraint and make just one really good album?

To be sure, these records are no slouches, and each would be good enough make a hit for probably any young band out there today. ¡TRE! (out today, December 11), the latest batch of songs, is packed with bittersweet confection, handling matters of the heart, society, politics and just breaking out and getting free, rock-and-roll style. Lyrically, Armstrong mostly favors the macabre in contrast to the songs’ catchy pop sensibilities, twisting clichés and familiar phrases around into instantly accessible sing-alongs ready and coming to a stadium near you. (Once he beats addiction and returns from rehab, that is.)

More than the others, thankfully, ¡TRE! stays consistent throughout in a tone that feels absolutely natural to the band. Where ¡UNO! was supposed to be a throwback to classic Green Day but felt more like pandering to the youthful masses, ¡TRE! blends a mixed pace of punchy broadsides and heartfelt ballads that could pick up right after 1997′s Nimrod and 2000′s Warning without a problem. And where ¡DOS! was a charming-but-imperfect love affair with retro garage rock, ¡TRE! bests it too by resting on catchy hooks in its appeal rather than suddenly resorting to grave robbing.

In turn, ¡TRE! was supposed to be the epic album, reportedly filled with the odds-and-ends leftovers, so it feels ironic that it would be the best of the bunch and seem the most complete. Unlike the others, there are no blaring missteps of ill-advised genre mash-ups. And instead of all the posturing, it’s just a straightforward songwriting love affair that seems fitting to the band’s age and place.

The opening track “Brutal Love,” could easily fit in a Nashville bar backed by a country outfit or in a Las Vegas casino with a big band as Armstrong croons out his heartache, line by line. “Sex, Drugs & Violence” is an ode to rock and roll’s favorite bed partners, while “X-Kid” is a ripe alternative teenage anthem and “Dirty Rotten Bastards” is a marching, Pogues-like chantey until it breaks into an atomic freak out, all worth note. If this collection is the “epic” pack of songs, we could induce the band put some lessons learned from American Idiot and 21st Century Breakdown to use here too. Only, this time around, they’re not restricted to a single, partially-pretentious concept or narrative line. Rather, this is Green Day as we’d hope and expect today — a big band playing big, honest songs.

Still, despite ¡TRE!‘s successes, and those on ¡UNO! and ¡DOS! before it…37 songs in four months? The whole package is overkill that could have easily been cut in half (or a third) for one really solid album that had fans and non-believers alike giving props and singing praises of Green Day’s return. Instead, now, even as ¡TRE! is released, it doesn’t stand alone, but rather as a confused part of some greater gimmick. It’s a contrivance. But for what purpose? For us to see how easy songwriting can be? Sorry, but that’s not compelling, mostly because it can always be better and more challenging. And even when you’ve won five Grammys and sold over 65 million records worldwide, that’s still something worth striving for.

The Best Song Wasn’t The Single: No song is more adventurous or dynamic than “Dirty Rotten Bastards.”

Best Listened To: While cruising suburbia, reflecting on your hard-up teenage existence with nothing to do and no place to go.

source: http://idolator.com/7323052/green-day-tre-album-review

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A Day To Remmber - Homesick Ful Album

A Day To Remmber - Homesick Ful Album

Homesick adalah album studio ketiga oleh A Day to Remember , diproduksi oleh Chad Gilbert , Andrew Wade dan Chris Rubey, dan dirilis pada bulan Februari 2009. Fitur album bahan tertulis sementara band ini telah tur. Beberapa lagu album muncul di band MySpace profil sebelum rilis album. Ia telah datang untuk dianggap sebagai album terobosan band, menjual 22.000 kopi di minggu pertama, dan mencatat di nomor 21 di US Billboard 200 . Hal ini juga memetakan di nomor 165 di Inggris. Ini adalah album terakhir band ini menampilkan Tom Denney pada gitar. Sebuah rilis ulang dengan lagu tambahan yang dirilis pada Oktober 2009. Beberapa album lagu yang tersedia untuk Rock Band .

1. "The Downfall of Us All" – 3:26
2. "My Life for Hire" – 3:33
3. "I'm Made of Wax, Larry, What Are You Made Of?" – 3:00
4. Featuring Mike Hranica of The Devil Wears Prada
5. "NJ Legion Iced Tea" – 3:31
6. "Mr. Highway's Thinking About the End" – 4:17
7. "Have Faith in Me" – 3:08
8. "Welcome to the Family" – 3:00
9. Featuring Vincent Bennett of The Acacia Strain
10. "Homesick" – 3:56
11. "Holdin' It Down for the Underground" – 3:23
12. "You Already Know What You Are" – 1:27
13. "Another Song About the Weekend" – 3:45
14. "If It Means a Lot to You" – 4:03

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Damon Albarn - Democrazy Full Album

Damon Albarn - Democrazy Full Album

Democrazy is a 2003 vinyl-only double EP by Damon Albarn, frontman of British rock band Blur, the animated group Gorillaz and most recently the unnamed band behind the album titled "The Good, the Bad and the Queen". Albarn recorded these songs, which are little more than demos, during the US leg of Blur's tour for Think Tank in various hotel rooms. He then decided to issue the result, on 8 December that year, in a double 10" vinyl set on his Honest Jon's label that was said to be limited to 5000 copies (although this figure is probably too low). On 22 December Albarn showcased the demos at a live gig in London's Neighbourhood club. One of the songs, "I Need a Gun", was extended and performed as "Dirty Harry" by Gorillaz on their album Demon Days. The track "A Rappy Song" has often been mis-labeled as an unnamed Gorillaz' track featuring Bootie Brown & Cee-Lo Green, however the song is little more than a remix made by a fan.

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Abandon All Ships! [EP] [2009] Full Album

Abandon All Ships! [EP] [2009] Full Album

The EP, being Abandon All Ship's first production, was criticized by many magazines in Canada and the US principally by their style, eurodance and metalcore. However, the first song "Pedestrians Is Another Word for Speedbump" and "Megawacko" along with the other songs were the basis for the band's full-length debut album, Geeving. They launched the EP in North America in July, and started to gain the attention of Underground Records and Rise Records after they appeared on Disband performing songs from this release.
The EP is the only physical release by the band to have member Martin Broda playing drums. He would later shift his position in the band to playing bass by the time of preparing for Geeving.

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Rancid - Let The Dominoes Fall (2009)

Rancid - Let The Dominoes Fall (2009)

Let the Dominoes Fall is the seventh studio album by the American punk rock band Rancid. It was released on June 2, 2009 through Hellcat Records. It is their first album of new material in nearly six years, following 2003's Indestructible, and their first with drummer Branden Steineckert, who joined the band in 2006 after the departure of founding drummer Brett Reed.
The span of nearly six years between Indestructible and Let the Dominoes Fall was Rancid's longest gap between studio albums in their career. The band had begun working on new material after their temporary hiatus in 2004,[10] but showed no signs of a new album until January 2008, when they announced that they had begun recording with producer and Bad Religion guitarist Brett Gurewitz. The writing and recording process was finally finished in February 2009.
The album's first single "Last One to Die," was released on April 7, 2009 via the band's Myspace page. As of May 26, 2009 the album can be heard on MySpace entirely."Up To No Good" was released as the album's second single.
A deluxe edition of the album was also released on June 2, 2009. In addition to the regular album, it includes a bonus CD featuring twelve of the songs from the album in acoustic form, a DVD featuring a documentary about the making of the album, three posters and four guitar picks. It debuted at #11 on the Billboard 200, making this Rancid's highest charting album to date.

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Victor Hutabarat -Tembang Kenangan Full Album

Victor Hutabarat -Tembang Kenangan Full Album

Victor Hutabarat (lahir di Palembang pada 29 Agustus 1955) adalah seorang penyanyi Indonesia yang populer pada tahun 1980-an. Penyanyi berdarah Batak ini telah banyak menelurkan album lagu pop Indonesia dan album lagu Batak yang cukup laris di pasaran pada masanya. Disamping itu juga beberapa album rohani. Ia juga piawai membawakan lagu-lagu nostalgia asing yang populer pada tahun 1950-1980an. Sehingga kerap tampil mengisi mengisi acara-acara Tembang Kenangan di stasiun televisi perintah dan swasta nasional.

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Iwan Fals - Singel Hits Full Album

Iwan Fals - Singel Hits Full Album

Iwan Fals yang bernama lengkap Virgiawan Listanto (lahir di Jakarta, 3 September 1961; umur 51 tahun) adalah seorang Penyanyi beraliran balada dan Country yang menjadi salah satu legenda hidup di Indonesia.
Lewat lagu-lagunya, ia 'memotret' suasana sosial kehidupan Indonesia pada akhir tahun 1970-an hingga sekarang, kehidupan dunia pada umumnya, dan kehidupan itu sendiri. Kritik atas perilaku sekelompok orang (seperti Wakil Rakyat, Tante Lisa), empati bagi kelompok marginal (misalnya Siang Seberang Istana, Lonteku), atau bencana besar yang melanda Indonesia (atau kadang-kadang di luar Indonesia, seperti Ethiopia) mendominasi tema lagu-lagu yang dibawakannya. Namun demikian, Iwan Fals tidak hanya menyanyikan lagu ciptaannya sendiri tetapi juga sejumlah pencipta lain.
Iwan yang juga sempat aktif di kegiatan olahraga, pernah meraih gelar Juara II Karate Tingkat Nasional dan Juara IV Karate Tingkat Nasional 1989, sempat masuk pelatnas dan melatih karate di kampusnya, STP (Sekolah Tinggi Publisistik). Iwan juga sempat menjadi kolumnis di beberapa tabloid olah raga.
Kharisma seorang Iwan Fals sangat besar. Dia sangat dipuja oleh kaum 'akar rumput'. Kesederhanaannya menjadi panutan para penggemarnya yang tersebar di seluruh nusantara. Para penggemar fanatik Iwan Fals bahkan mendirikan sebuah yayasan pada tanggal 16 Agustus 1999 yang disebut Yayasan Orang Indonesia atau biasa dikenal dengan seruan OI. Yayasan ini mewadahi aktivitas para penggemar Iwan Fals. Hingga sekarang kantor cabang OI dapat ditemui di setiap penjuru nusantara dan beberapa bahkan sampai ke mancanegara.

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Megadeth - United Abominations Full Album

Megadeth - United Abominations Full Album

The new Megadeth album was highly expected and has gained some of the highest chart positions for the band in many years. This was surely mainly due to Megadeth active touring in the past three years, their new record label Roadrunner and the dedication of their fans. While many people seem to expect another Rust in Peace this will propably never happen ‘cause all records are products of their time. With the comeback record, The System Has Failed in 2004 Megadeth surely was a one man band supported by session musicians. The album however showcased some of the most powerfull tracks since the classic Countdown to Extinction, in the form of Blackmail the Universe, Kick the Chair and The Scorpion and you knew to expect something good for the future. With a steady line-up that grew together while touring Megadeth is once again a true band and this can be heard on their latest release United Abominations.

The album opener Sleepwalker really showcases this statement, all the members seem to have had input in this track with James Lomenzo delivering some well executed basslines in the beginning, good melodic solos by Glen Drover and very good drumming by Shawn Drover, all lead tightly by the brainchild himself, Dave Mustaine. One that really pops into a listeners mind is the fact of this album consists of very different tracks and tons of solos. The songwriting here is very good with some suprising time changes on few tracks and the voice of Dave Mustaine has never been as captivating. The riffing on this album really uses elements from all the albums in the bands catalogue and some new elements have been thrown in as well with some progish vibe here and there. The controversial À Tout Le Monde is a good remake of the classic but with a more mainstream rock feel, a good remake but pales in comparison to the original and breaks the more aggressive vibe of the album a bit. The songs are heavy, yet melodic and catchy demonstrated best with the single track Washington Is Next!.

From a lyrical point of view this album really has a lot to say. Now the title really showcases only one aspect of the album which is political, but there ain’t more than four tracks dealing with politics. The rest well, some of getting even or revenge, some biblical references, human relationships and the closing track Burnt Ice showcases the tragedy of a drug addict.

Now the production is very good with thick basslines and clear solos although at times the rhythm guitar could’ve been thicker and personally I’m not a fan of the basic thrash metallic floppy bass drum sound. United Abominations is a very good album by Megadeth, not their best work but truly impressive of a band with such a long history of complications. If you liked albums like Countdown to Extinction and Cryptic Writings, United Abominations is almost as diverse as those and this definitely is the most solid and natural release with the...


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DEWA 19 - Bintang Lima Full Album

DEWA 19 - Bintang Lima Full Album

Bintang Lima adalah album kelima karya grup band Dewa yang dirilis pada tahun 2000. Di album ini Dewa memperkenalkan 2 personel barunya, yaitu Once sebagai vokalis dan Tyo Nugros sebagai drummer. Kehadiran 2 personel baru ini membawa angin segar pada musik Dewa. Album ini meledak di pasaran dan sukses terjual hingga mencapai 1,7 juta keping. Album ini merupakan album tersukses sepanjang karier Dewa. Album ini mencetak sejumlah hits termasuk

1. "Mukadimah"
2. "Roman Picisan"
3. "Dua Sejoli"
4. "Risalah Hati"
5. "Separuh Nafas"
6. "Cemburu"
7. "Hidup Adalah Perjuangan"
8. "Lagu Cinta"
9. "Cinta Adalah Misteri"
10. "Sayap-Sayap Patah"
11. "1000 Bintang"

 

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Sublime - Contact Buzz Full Album

Sublime - Contact Buzz Full Album

Sublime was an American ska punk band from Long Beach, California, formed in 1988. The band's line-up, unchanged until their breakup, consisted of Bradley Nowell (vocals and guitar), Eric Wilson (bass guitar) and Bud Gaugh (drums and percussion). Michael 'Miguel' Happoldt also contributed on a few Sublime songs, such as "New Thrash". Lou Dog, Nowell's dalmatian, was the mascot of the band. Nowell died of a heroin overdose in 1996. In 1997, posthumous songs such as "Santeria", "The Wrong Way", "Doin' Time", and "April 29, 1992 (Miami)" were released to U.S. radio.
Sublime released three studio albums, one live album, five compilation albums (one of which also contains never-before released material), three EPs and one box set. Although their first two albums—40 Oz. to Freedom (1992) and Robbin' the Hood (1994)—were quite popular in the United States, Sublime did not experience major commercial success until 1996 with their self-titled third album, released two months after Nowell's death, which peaked at number 13 on the Billboard 200, and spawned the single "What I Got", which remains the band's only number one hit single (on the Billboard Alternative Songs chart) in their musical career. As of 2009, the band has sold over 17 million albums worldwide, including about 10 million in the U.S. alone.
In 2009, the surviving members decided to reform the band with Rome Ramirez, a young guitarist and self-admitted Sublime fan from California with a similar vocal sound.However, not long after performing at Cypress Hill's Smokeout Festival, a Los Angeles judge banned the new lineup from using the Sublime name. This was because Nowell had owned rights to the Sublime name, and as a result, they were not allowed to use it without approval and permission from his estate. In January 2010, the lawsuit was settled and the new lineup now performs together as Sublime with Rome, who released their debut album Yours Truly on July 12, 2011. Five months after its release, Gaugh announced his departure from the band.


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The Used - VULNERABLE Full Album

The Used - VULNERABLE Full Album

Vulnerability is commonly defined as “the inability to withstand the effects of a hostile environment.” It can be a time frame, when “defensive measures are reduced, compromised or lacking” or more personally, the soul-shaking moment when we stare in a mirror, finally seeing every last flaw. The answer is to somehow find the strength to heal, repair and improve, and for the Used, music is that salvation.

Turning personal adversity into art is the Used’s trademark, and the band’s fifth full-length, Vulnerable, was a record that simply had to be made. It marks a particular triumph for singer Bert McCracken, who is now reenergized after suffering a broken hand and elbow last year, falling from a stage in Orange County, Calif., and then spending four months getting surgery and recuperating. The experience partially birthed the title and concept of Vulnerable.

“Me feeling that vulnerability kind of sparked this creative fire inside of me,” says McCracken. “This record’s really about becoming more than just who you are, and allowing yourself that vulnerability to be a more powerful person. It’s a lot more positive than a lot of records we’ve written in the past. I think everyone could use some positivity nowadays.”

The Used—which also includes guitarist Quinn Allman, bassist Jeph Howard and drummer Dan Whitesides (who replaced original drummer Branden Steineckert in 2006)—formed in Orem, Utah in 2001, signing to Reprise Records that same year. Championed by producer and collaborator John Feldmann, the band issued their gold-certified Self-Titled debut in 2002, quickly cementing the Used as leaders among the post-hardcore elite, thanks in part to unforgettable singles like “Box Full of Sharp Objects,” “The Taste of Ink” and “Buried Myself Alive.” The band then released the CD/DVD combo Maybe Memories in 2003, now certified platinum, featuring B-sides, live cuts, demos and unreleased tracks, while still another gold record followed—2004’s In Love And Death—spawning singles “Take It Away,” “All That I’ve Got” and “I Caught Fire.”

After Steineckert’s 2006 departure, the band regrouped and issued 2007’s Lies For The Liars, hitting #5 on the Billboard Top 200, later naming Whitesides as their permanent drummer. The retooled outfit’s newfound solidarity led to 2009’s Artwork, which peaked at #10 on the Billboard Top 200, and featured Whitesides on the recordings for the first time. As if that weren’t enough to keep a band busy, since 2001 the Used has also destroyed countless stages the world over, touring with a who’s who of modern rock and heavy music contemporaries, and have been featured acts at major festivals like Warped Tour, Taste of Chaos, Ozzfest, Projekt Revolution and the UK’s Reading and Leeds festivals.

Still, after more than a decade’s worth of relentless touring and recording, the Used’s members recently needed to take some much-deserved time off. McCracken’s longtime writing partner Allman tied the knot, while Whitesides also exchanged vows and welcomed a baby into the world. McCracken spent much of his recovery in a haze of painkillers, then “awoke” to a creative limbo, in an entirely unfamiliar emotional space. At this point 2 years had passed and the band had completed numerous writing sessions that would last for 2 months at a time and in the end came out with more then 60 songs ideas. Thus when McCracken’s inspiration struck to record the songs, it came about in an entirely different fashion than the band’s previous method; with his drummer and guitarist temporarily unavailable, McCracken and Howard teamed up with Feldmann to take on the initial writing on their own while incorporating the 60 ideas they had previously worked on.

“We went in with Feldmann and wrote 11 songs and recorded them in 11 days. It was pretty magical,” says McCracken. “It was a bit more of the record I wanted to make. I think Quinn and Dan were stoked about that. I could go in one day and be like, ‘I really like the vibe of ‘Bombs Over Baghdad,’ so let’s start with a bass line and a drum beat like that.’ It was the most amazing time; the most fun I’ve had making a record.”

McCracken and Co. emerged from Feldmann’s studio toting the 12 tracks that comprise Vulnerable, the band’s first full-length since departing Warner Bros. Records. Without a label for the first time since their debut, the band opted to go indie, forming their Anger Music Group imprint, which will be distributed through Hopeless Records. The release of Vulnerable marks a new chapter in the band’s enduring career, at a time when the Used’s music is organically evolving, as well.

“I think [Vulnerable] is really new for us. There’s a lot of hip-hop influence, beats and drum and bass kind of stuff, but it’s also still a Used record, by all means,” explains McCracken. “Just like any other Used record, it’s a horse of many colors: There are a lot of soft and heavy sounds, there are a lot of brutal, sharp, bright sounds, and the tempos are anywhere from ultra-slow to super fast and heavy. There are a lot of different conceptual feelings on the record.”

Opening track and leadoff single “I Come Alive” sets the tone for the record from the start, with the sort of “down, but not out” sentiment McCracken has always channeled into  his lyrics. “The song, for me, is about falling down or hitting the ground; when things happen to you in life,” says McCracken. “That’s pretty much what ‘Box Full of Sharp Objects’ was about as well, on the first record. Taking a hit can be the most inspirational thing that can happen to you.”

The drive to overcome all obstacles, whether physical or emotional, also informs “Put Me Out,” which McCracken says centers on “the turmoil from a relationship you could have with anyone in your life; how people just kind of feel cheated and fucked over sometimes. Falling down and rising above that can make you a more powerful and stronger person.”

Album closer “Together Burning Bright” ends the journey on a romantic, yet appropriately darkly tinged note. McCracken says the song was heavily inspired by the Chuck Palahniuk book Damned, as well as the film Melancholia.

“Maybe the end of everything, so long as you can be with the person you love, everything will be alright, no matter what,” McCracken says. “It’s kind of a sappy, end of the world song.”

That may be true, but for now the Used’s world is far from ending. With Vulnerable slated for a March 26^th, 2012 release, a world tour behind the record will follow, including appearances at Warped Tour, Soundwave in Australia, dates in Asia and Europe, and full headlining runs through the U.S., not to mention a DVD in the works to commemorate their decade-plus anniversary. The Used may have spent recent years nursing wounds and taking honeymoons, but 2012 and beyond will be all about bringing Vulnerability, and its uplifting message, to the masses.

“This record is for all those people who weren’t the coolest people around. We never were. This record’s for kids like us, who just love music, because it saves their lives every day,” McCracken says. “At the end of the day, I’m the only one who has to live and die with myself. I want to make it a good one for me. I only have one life to live.”

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All American Reject (When The World Comes Down Full Album)

All American Reject (When The World Comes Down Full Album)

 The All-American Rejects adalah sebuah grup musik asal Amerika Serikat yang dibentuk pada 1999 di Stillwater, Oklahoma. Personil grup musik ini terdiri dari Tyson Ritter (vokal dan bass), Nick Wheeler (gitar dan backing vocal), Mike Kennerty (gitar dan backing vocal), dan Chris Gaylor (drum dan perkusi). Hingga saat ini The All-American Rejects telah merilis tiga album studio yaitu The All-American Rejects pada tahun 2002, Move Along pada tahun 2005, dan When The World Comes Down pada tahun 2008 .

Background information
Origin	Stillwater, Oklahoma, United States
Genres	Alternative rock, power pop, pop punk
Years active	1999–present
Labels	Doghouse, DreamWorks, DGC, Interscope [1][2][3][4]
Website	www.allamericanrejects.com
Members	Tyson Ritter Nick Wheeler Mike Kennerty Chris Gaylor
Past members	Tim Campbell

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