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L.D. 50

August 29, 2000 | Format: MP3

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Song Title
Time
Popularity Prime  
30
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1:52
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2:42
30
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4:25
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3:58
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5
4:51
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0:54
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5:15
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5:28
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1:44
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3:15
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6:29
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2:02
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6:04
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5:34
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3:47
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7:06
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17
2:59


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Product Details

  • Original Release Date: August 13, 2000
  • Release Date: August 13, 2000
  • Label: Epic
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:08:25
  • Genres:
  • ASIN: B00138J0PY
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (431 customer reviews)
  • Amazon Best Sellers Rank: #1,815 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

This is one of the best albums I've ever heard.
Dustin Bastian
Every song on this album will grow on you & every time you listen to it, it just gets better.
Glenn Stroud
Very inventive, progressive, excellent lyrics and music all around.
Joe

Most Helpful Customer Reviews

62 of 68 people found the following review helpful A Kid's Review on April 27, 2003
Format: Audio CD
This here is a worthwhile numetal album, chock-full of interludes and long songs. If you've heard 'Dig,' and think you know MuDvAyNe, you're wrong, because no other song is like 'Dig' on this album. Every song is different. To prove that, let me go over the tracks:
Monolith (?/10): This is a pretty cool introduction with some futuristic sound effects and someone giving a freaky speach about evolution. Very entertaining to listen to.
Dig (9/10): I'm well aware that this is a great song, I just don't find myself listening to this song very much. The other songs on the album are a little better than this, I often skip it. Good song, though.
Internal Primates Forever (10/10): Outstanding. Very upbeat, and heavy, Ryknow rocks here! I love the call-and-response in here. Kud rules all!
-1 (10/10): This song is softer than most of the rest, and it really shows Kud's lyrical talents, it is very fun to listen to. The chorus is absolutely brutal, though.
Death Blooms (11/10): I bought the album for this song. It is heavy, melodic, heavy, and then melodic. There are sort of two choruses here, I like the first one better. The end is cool, too.
Golden Ratio (?/10): We have again another filler, this one is a little mellower than Monolith. It connects Death Blooms and Cradle directly.
Cradle (10/10): Pretty good for what it is, it is VERY heavy. It took me awhile to like this song, but once I did, I appreciated its formula: Soft, loud, soft, etc.
Nothing To Gein (10/10): This is a pretty emotional song, it is very heavy, it is also recorded in a magnificent way. This is a standout.
Mutatis Mutandis (?/10): Interlude, just sound effects.
Everything and Nothing (9/10): Pretty good, not really a standout. Kinda heavy, honerable mention.
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28 of 33 people found the following review helpful By The Wickerman on March 8, 2004
Format: Audio CD
To many people, progressive music and "numetal", as it is often called, are polar opposites, and could not possibly go together. One is a simple, brutish, and often sloppy form of music, while the other puts great emphasis on spot-on technical proficiency, and more sophisticated song structures. To mix them is nearly paradoxical. And yet, what we have here is just that, a hybrid of these two styles, and they go together so remarkably well that you wonder how you could have ever concluded otherwise.
I speak of course of Mudvayne, a band with a penchant for crushing, "aggro" riffs, combined with complexity and eclecticism that helps them to stand out from the herd. Perhaps referring to numetal as simple or sloppy music isn't so fair, especially when this band is so far from each of those things. Guitarist Greg Tribbet is a groove demon, full of powerful complex riffage, and some nice melodic arpeggios to mix it up. Bassist Ryan Martinie's gurgling basslines complement the heaviness perfectly, and add a nice funk flavor to it all. Combined with Matt McDonough's furious polyrhythmic drumming, you've got a rhythm section that's nothing short of lethal. Fronting it all is the psychotic Chad Gray. At first listen, he may seem like little more than your average angry numetal vocalist, but keep listening. His voice is constantly shifting in dynamics (not unlike the music itself), and there seems to be a kind of rhythmic precision to his delivery. He's not just barking at random. Sonically, he is equal parts Mike Patton and Phil Anselmo (with a bit of Maynard for good measure), but his style is all his own.
Many may know this band by the opening track, "Dig", and while it is a great opener, it's not at all a good indication of what this band sounds like.
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10 of 10 people found the following review helpful By R. Farmer on January 27, 2005
Format: Audio CD
Relatively simplistic guitar riffs, occasionally whiney vocals, and tight, produced sound may help L.D. 50 appear, at first blush, just another nu-metal band, a la pop rockers Slipknot and Korn. Closer inspection reveals just the opposite: Mudvayne's compositions have an intellectual aspect that simply can't be appreciated without concious attention, and subtleties that can easily be lost at low volumes, or through poor speakers.

Perhaps the most attractive element of the album is the unusual role bassist Ryan Martinie plays; The ensemble's only guitarist, Greg Tribbett, plays more rythm than lead, to Martinie's quicker, far more complex, embellished bass line. It's easy to completely miss out on his contribution at first, especially with inferior stereo equipment, or an untrained ear.

Another unique aspect of L.D. 50's sound is the use of highly unusual time signatures, exemplified by Nothing to Gein's 11/8 meter. Simply put, there's nothing at all "Cookie-cutter" about mudvayne; just listen a little harder!
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9 of 9 people found the following review helpful By digital_conception05 on May 14, 2001
Format: Audio CD
Mudvayne are quickly boxed in with the likes of fellow metallers Slipknot, Disturbed, etc. In truth, Mudvayne can be compared to no one. The technical ability these musicians have with their instruments is nothing short of amazing. The drumming throughout the record is phenomenal...quick time and tempo changes, and crazy off the wall beats and fills flow through the album. The bass player is nothing short of brilliant. Picture a 1970's funk bass player crossed with the ecentricity of Les Claypool. The guitar riffs are heavy and percussive and really drive the song. And the lyrics and vocals are great. The singer really comes across as very personal in his lyrics and his vocal delivery is insane. His screams send chills down your spine, his singing is beautiful, and he spits out his lines in so many different tempos...you were to think they have 2 singers. Overall, the album is fantastic. While there are some songs that seem to be just album fillers (like the numerous interludes that occur between songs) it really doesnt soften the impact that this album has made. It is truly a remarkable record that cannot be defined into one category except for Undescribable Mayhem in Music.
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