The Ultimate Collection (Hip-O/Universal). Review by Terry Eagan.Īfter postponing the original show date to make history in Cuba, Audioslave finally arrive in Orlando to play an intimate venue in the midst of their arena tour. In Bias, former CBS News insider Bernard Goldberg alleges that the "liberal" media is brainwashing viewers. The year was 1982, and Marshall Crenshaw was thundering like the fireworks fi… Smokehouse Serenade (Highlander Records).
And while Puddle of Mudd must feel flattered to be compared to Nirvana, such lame efforts as “Sydney” will undoubtedly make Kurt Cobain turn in his grave. “Banal,” “generic” and “vapid” are the words that most succinctly sum up this mediocre excuse for an album. On the latter, he repeatedly shrieks “Sticks and stones may break my bones but words will never hurt me.” The likes of “Sydney” and “Freak of the World” merely reveal his limitations full stop.
Tracks like “Heel Over Head” and “Bottom” expose vocalist and songwriter Wes Scantlin’s lyrical limitations.
From the chugging opener, “Away From Me,” to closing track, “Time Flies,” it’s a constant stream of bland grunge lite and modern rock by numbers with virtually none of the hooks that at least gave Come Clean some semblance of appeal. Life On Display is so bad, it is almost unbearable to listen to its entirety. Now, slightly over two years later, the band returns with a record that deserves to send them back into obscurity as quickly as they left it. Somehow, Nirvana clones Puddle of Mudd managed to find overnight success with their debut album, Come Clean.
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