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Like We Care a Lot, this record is not for everyone— not even some metalheads/Mike Patton fans — as other reviews on this page indicate.
After making a buzz in the 80s Californian punk underground, Faith No More signed with a label called Slash, which at the time had some kind of affiliation with Warner Bros. Records. This meant that the band's sophomore effort would have widespread distribution.
The most noticeable difference between Introduce Yourself and WCAL is the level of funk/post-punk influence in the music. The boys must have been checking out some of the funky rock tunes from 80s tourmates The Red Hot Chili Peppers, since this feels very much like the weirder, less sex-obsessed cousin of 80s RHCP. Roddy's gothic synths have been reduced to insignificant background noise that randomly pops up (although they will come back with a vengeance on the next two releases) and the riffing still isn't quite as thrashy as Patton-era FNM, although things are certainly a bit heavier overall than before. Chuck Mosley amps up the absurdness of the lyrics, and actually sounds like a normal 80s singer on the more melodramatic tunes ("R n R", "The Crab Song" and "Death March" spring to mind).
It has to be said, I greatly prefer the singles from this record over those from The Real Thing, or even dare I say Angel Dust. Whereas "From Out of Nowhere" and "Falling to Pieces" seem like run-of-the mill 80s heavy pop, "Anne's Song" manages to retain the quirky aesthetic that is such a vital part of Faith No More. It is literally Chuck rambling a bunch of random rhymes to a very saccharine sounding musical backdrop. The re-recorded cult anthem "We Care a Lot" sounds as good as ever. There are no major alterations to the wonderfully cynical lyrics, but it does feel more "crunchy" and metal-like than the ethereal original version.
On the whole, one of the strongest points of this album is how focused it all is. There are no random fillers like "Jim" or "Pills for Breakfast" here. All 10 songs are fairly simple funk rockers, making this FNM's most concise release until 2015's Sol Invictus.
Unfortunately, this and WCAL have been greatly overshadowed by the genius of one Mike Patton. Yes, there is no doubting that Mike is 1000 times the musician Chuck or anyone else will ever be. But on it's own merit, this album is still a fun, colourful and unique little package that stands head and shoulders above the other glittery mainstream trash from 1987.
If, like me, you enjoyed the sound of this album, then I would highly recommended checking out Chuck's later 90s band Cement. It is also funk metal to the bone like this music, but manages to incorporate a whole bunch of other eclectic influences as well.
Well, it's not news for FNM fans that the lead singer of this era, Chuck Mosley, were not the best singer in the world. In fact, the band even took him back in '83 because they couldn't find any better. That's the bad thing with this album, but let's start with a little background of this album...
After their debut album "We Care A Lot" in 1985 they probably got that it sounded a lil' too much New Wave & less Alternative / Metal. On "Introduce Yourself" they found their music & you can hear a quite big difference musicially. This album is a lot heavier but still got those "weird" moments that was shown on their debut.
The album starts off perfectly with a pretty heavy track (for being them of the time) called "Faster Disco". The title doesn't scream rock, metal, alternative or anything they are at all but it's a pretty heavy & defenitely a faster sort of disco. Other tracks that makes this album good are "Chinese Arithmetic", "Anne's Song", & "We Care A Lot". The last two were released as the singles & the last of them became a minor hit & is a FNM classic today.
The production is also pretty good, not professional but it fits their music & it defenitely sounds better than their debut.
The band performs nice a this is by far the album by FNM that shows what a great bassist Bill Gould are. "Big" Jim Martin, Roddy Bottum & Mike Bordin are great here too but their 5th member Chuck Mosley drags this album down pretty much with his singin'. I don't think he's bad, but he isn't good either. There are some tracks that you don't even bother his singin' ain't so great, but all the time when you think of how it would have been if their later singer Mike Patton sang on it... You'll always blame Chuck for not being far as good as Mike.
Stand-out-tracks are: Faster Disco, Chinese Arithmetic, We Care A Lot, Anne's Song & Introduce Yourself.
This comparing between how much better Mike Patton is than Chuck Mosley will never end & it would have been awesome to hear Mike sing on it instead but... Still, this was Chuck´s gig & no one can take that from him.
Easy said, if you like FNM then this is defenitely a album for your collection even though the vocals sounds a bit "I don't give a shit about these songs!".
Has it really been 20 years since this album debuted? In any case, whether it truly belongs on a Metal site is an issue for debate, though its quality is most certainly not. When you throw on "Introduce Yourself", good feelings are evoked even though the musical content isn't overly saccharine or poppy. Faith No More as a whole had come together as a musical unit, establishing a great platform for Chuck Mosley's unique vocal and lyrical approach. This album is certainly miles beyond the debut (a great, bizarre album in its own right), and doesn't reek of " the 80s", an unfortunate symptom that plagues countless scores of releases from the hallowed decade.
"Introduce Yourself" offers a highly palatable combination of hard rocking numbers, easier listening landscapes, and a bit of funk-injected footwork in just the right amounts. Sure, others have pointed to Jim Martin's guitar as the preeminent "Metal" force within the group, but you'll never confuse this with a bay area thrash album. Even when Chuck switches to his shouting/yelling mode, he never comes off as abrasive or harsh for its own sake. There's a certain goofy charm that accompanies him in every verse and chorus, and I haven't heard anything quite like it to this day. The bass consists of fluid pops, thumps, grooves and holds the rhythm section together while still driving the songs. Say what you will about Mike Bordin's drumming, but he pretty much perfected his low key approach to skin-work by this album's release. Smooth fills and dynamics characterize each song. The otherworldly keys hover above the racket, often times pleasantly creeping in and enhancing a section ten-fold. Fortunately, nothing ever sounds slapped together on this release.
Highlights include "Anne's Song", a strange, mid-paced detour into the world of partying and uplifting messages. Martin's abrupt guitar lick halfway through doesn't seem like it would work on paper, but it gels seamlessly with the song. The video is almost as bizarre, and highly recommended. "We Care a Lot" gets a sweet face lift from the debut, with more guitar flourishes and a much cleaner sound to the vocals, not to mention better lyrics. "RN'R" is a bit faster than the other tracks, and is the perfect follow up to "We Care a Lot". "The Crab Song" starts off quiet and brooding, but erupts into a high energy exercise before too long. The remaining tracks range from above average to great. Give "Introduce Yourself" a chance, and I guarantee you'll spin it over and over.
Before the legendary Mike Patton joined the group, there was Chuck Mosley. I was a little skeptical in getting this at first since I wasn't very familiar with Mosley's vocal style. I had heard a few songs of his, none of which I was a big fan of, but had to get this to add to my Faith No More collection. My opinion of Mosley hasn't changed at all. I still think it sounds like he was drunk when recording this stuff, and his voice is a bit irritating. The 'talking' parts at the beginning of songs like "Death March" are annoying, and the lyrics on most of these tracks are just stupid...certainly the worst I've ever heard on any FNM record.
So why exactly did I give this album such a high rating? Simply put, the rest of the band sounds amazing here. Unlike future FNM albums, this one seems to be bass dominated, as evident on the band's first minor hit, "We Care A Lot". I've always thought that Billy Gould was an amazingly underrated bassist, as his work really shines on this album. The guitars are some of the best I've heard on any Faith No More albums, and some of the choruses are downright catchy. The overall feel of this album sounds pretty dark, definitely not as dark as "Angel Dust", but more so than "The Real Thing".
If you're a fan of the band, this one's worth picking up.
I first got into Faith No More about a year and a half ago. I bought all the Mike Patton albums and luckily found the first two Chuck Mosely tapes in my brother's tape collection. So I stole them for myself! It's good that I didn't have to pay for these casue they both suck pretty bad.
Here we have Faith No More's debut album for Slash Records. The band definitely improved with this one. It's a bit more listenable and has WAY better production. Musically the album is a little heavier. They still play funk rock for the most part though. Chuck Mosely still sucks, REALLY BAD.
Here the main songs I can stand are "Faster Disco", "Introduce Yourself", "Chinese Arithmetic" (a very nice guitar riff shows up in this one, fairly metal-ish), and the one song that shows up from the debut "We Care A Lot" (which sounds a lot better here than on the debut).
Definitely a better showing here but the problem is that Faith No More needed a vocalist who was better than average. Many of the songs rely on the vocal and Chuck Mosely has absolutely NO TALENT whatsoever. This hurts some of the songs and kills most of them.
Yet again, this is mostly something to listen to just so you can say you heard it. You can hear it and see how much the band grew going into "The Real Thing" with Mike Patton.
Never before has such great music been tainted with such poor vocals. Chuck Morsley might be one of the poorest vocals I have ever heard. Sure, he beats the hell out of all those mallcore bands, but he is still a weak vocalist. Maybe I am being prejudice. After all, Faith No More did contain one of the most talented vocalists of alltime. But lets judge this one before Patton entered the picture...
Faster Disco is the opening track and like most Faith No More openers, this one starts off with a bang. The bassdrum opens this one up and soon the keyboards and everpresent bass on in. The music is just superb. The keyboards are without a doubt the strongest thing although the guitar-riff is also memorable. When the vocals enter they are not actually that bad. They just could be better, thats all.
Annie's Song is one of my favorites on this album and is actually one of Faith No More's best songs. I would rank this one in the Top 15 Faith No More songs. It has this great bassline throughout the song and even a singalong to it. A nice song that is based on the bass more than anything else. This is a song that could have benefited from better vocals, but it still sounds fine. Like I said, Chuck is not worst vocalist, he sure beats out that fag from Mudvayne, but he does leave something to be desired.
We Care A Lot. Need I say more? This was Faith No More's first hit. It was a minor. The song just has some of the most hilarious lyrics, but this only adds to the song. There isnt much to say about this one. It's just a song that shows the band's goofness but at the same time their strong musicianship. I've heard Patton sing this one live and have some live versions of it. When you hear Patton sing it, its like another song. Once again, the song is not ruined by Chuck's vocals because the music is so strong.
The Crab Song is the best song on this disc. It's just a classic Faith No More song. Starts out as a ballad, enters the metal guitar riffs, soon comes the rapping and you are just in a huge explosion. This song kicks ass even if Chuck is singing it. This song alone is worth the albums's price. A classic 6minute Faith No More album. Listening to this song you can hear how different the band was. No one was like this and the reason they really never hit it big except for The Real Thing is mainly because they were different. Overall, their majorlabel debut is a good one. One of the shorter Faith No More releases but a good one nevertheless. If Patton was singing these songs I would give it a 90. However, he doesnt and with the exception of live versions and As the Wurm Turns, Patton never really rerecorded these songs. Still, this is a worthy album and great introduction to a band that knew no limits.