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Rage Against the Machine

4.7 out of 5 stars 691 customer reviews

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Rage Against The Machine
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Audio, Cassette, November 10, 1992
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Rage Against The Machine - Rage Against The Machine (1992) (Cassette Tape) (US) (Epic Associated ‎- ZT 52959)
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Product Details

  • Audio Cassette (November 10, 1992)
  • Original Release Date: 1992
  • Number of Discs: 1
  • Label: Sony
  • ASIN: B0000028RS
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (691 customer reviews)
  • Amazon Best Sellers Rank: #379,374 in Music (See Top 100 in Music)

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Top Customer Reviews

Format: Audio CD
Someone once confessed their envy of Jimmy Page because he'd written *all* the good guitar riffs, leaving nothing for the rest of us. Well, Rage Against The Machine appears to have stumbled on Jimmy's secret stash of leftovers. But calling these riffs leftovers is doing them an injustice. Each is a behemoth of intensity and groove, while being surprisingly simple and eminently catchy. They form a solid foundation for each song, easily allowing the rest of the band to fall into lock-step formation when needed, but also allowing ample room for variation. And each song is made up of at least four or five of them, all as strong as the first, to create epic five-minute-plus "agit-pop" tunes.
When he's not anchoring the band with those regal riffs, Tom Morello is coaxing previously unheard of sounds from his Frankenstein guitar. "No samples, keyboards or synthesizers used in the making of this recording," claims the liner notes, and it's for Morello's offbeat work that this claim becomes necessary. Every fill and solo is unique, almost anti-guitar, in their sound. 'Bullet in the Head's solo begins with some echo-filled, mechanical sounding distortion. The solo on 'Know Your Enemy' could have been produced by a malfunctioning tape machine. 'Wake-Up' features a solo bathed in extreme echo and Frampton-style talk-boxing. Even his more conventional solos are enormous. 'Settle for Nothing' offers up some some languid jazz lines. 'Freedom' is a fine example of how tasty his playing can be when it's not trying to overwhelm you. And if you love Public Enemy-style sirens with your hip-hop, check out the variations Morello puts on that convention scattered throughout the album (most notably in his rhythm work on 'Fistful of Steel').
Bassist Timmy C gets several moments to shine as well.
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Format: Audio CD
Rage Against the Machine were definitely one of the best bands from the 1990s, and their debut remains their strongest effort. When RATM made it big in the early 90s, they were a breath of fresh air. They borrowed sounds and styles from other bands, like the MC5 and Led Zeppelin, but were also distinctly groundbreaking and original.

First and foremost, they were just such a killer band. Drummer Brad Wilk and bass player Timmy G were an exciting and dynamic rhythm section. Guitarist Tom Morello came up with some of rock's best riffs and solos in years. Singer Zack De La Rocha singing/rapping was intense and urgent, and his lyrics were intelligent and insightful, yet never simplistic or pretentious. The lyrics will make you think, will make you question your life and your values, and societal values and norms. The band sounds raw and intense, yet the production is clean and crisp, so it's easily assessable.

Rage Against the Machine is band that should appeal to all different types of people. There's definitely an element of rap/hip-hop, punk, as well as classic rock. This album never lets up. From the opening "Bombtrack" to the closing "Freedom," every song is intense, and has an infectious groove and catchy riff. It's really impossible to choose any standout, because really the entire CD is quite excellent.

Rage Against the Machine's other two albums "Evil Empire," "The Battle For Los Angeles," and the cover album "Renagades" are also quite good, but I'd start off with the classic debut. Easily their best album and one of the decade's best CDs.
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Format: Audio CD
This is, and always will be, considered Rage Against the Machine's most important work. Rage's signature sound, featuring Tom Morello's belligerent, aggressive guitar riffs and turntable-esque noise, Tim Bob's funky bass, and Zack de la Rocha's vitriolic raps, is fully defined on this album. Their two subsequent albums, although excellent in their own right, do little to improve upon their debut's formula. Unlike most great bands, Rage was fully grown even in its infancy, and was signed after doing only 10 power-packed shows in Los Angeles. Although they presented fresh, worthy material, there was little room for improvement to the band's style, and very little experimentation would have been possible without fundamentally altering the band's sound. This album, therefore, not only has the advantage of being their first album, but it also has the most start to finish quality. Every tune is a highly explosive ball of energy, none of which is clearly superior to any of the others.
Rage Against the Machine also plays the most successful rock-rap fusion ever put on tape. In the current rap-metal feeding frenzy, most bands have opted to mimic Korn (the other band whose work is often referred to as the most representative rap-rock fusion), who rarely sounds anything like rap, although their massive beats are infused with a rap-inspired appreciation for the visceral primacy of rhythm and sound. Also, unlike bands like Limp Bizkit and Incubus, Rage Against the Machine do not cop-out by including a DJ. You may not believe it when you listen to it, but all of the turntable-esque noises that accompany Zack's raps are created by Tom Morello's deft manipulation of his instrument (this information is prominently displayed in all of their albums).
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