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1992 studio album by Faith No More From Wikipedia, the free encyclopedia
Angel Dust is the fourth studio album by American rock band Faith No More, released on June 8, 1992, by Slash and Reprise Records. It is the follow-up to 1989's highly successful The Real Thing, and was the band's final album to feature guitarist Jim Martin. It was also the first album where vocalist Mike Patton had any substantial influence on the band's music,[5][6] having been hired after the other band members had written and recorded everything for The Real Thing except vocals and most of the lyrics.[7][8][9] The band stated that they wanted to move away from the funk metal style of their prior releases, towards a more "theatrical" sound.[10][11]
| Angel Dust | ||||
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| Studio album by | ||||
| Released | June 8, 1992 | |||
| Recorded | Late 1991-January–March 1992 | |||
| Studio | Coast Recorders and Brilliant Studios, San Francisco, California[1] | |||
| Genre | ||||
| Length | 58:47 | |||
| Label | ||||
| Producer |
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| Faith No More chronology | ||||
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| Singles from Angel Dust | ||||
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Angel Dust is Faith No More's best-selling album to date, having sold over 2.5 million copies worldwide. It also debuted at number 10 on the Billboard 200, making it the band's only top-ten album in the United States.
Following the success of their previous album The Real Thing and its subsequent tour, Faith No More took a break for a year and a half before beginning work on the follow-up, Angel Dust. During this time Mike Patton rejoined his high-school band Mr. Bungle to record their eponymous debut album.[12] They decided not to "play it safe" and instead took a different musical direction,[13] much to the dismay of guitarist Jim Martin.[14] Martin also did not like the title of the album as chosen by keyboardist Roddy Bottum. In an interview taken while they were in the studio he said that "Roddy [Bottum] wanted to name it Angel Dust, I don't know why, I just want you to know that if it's named Angel Dust, it didn't have anything to do with me."[15] He also stated that Bottum was the one who came up with a basic concept of a bird front cover and a meat locker back cover.[16]
Bottum stated that he chose the name because it "summed up what [they] did perfectly" in that "it's a really beautiful name for a really hideous drug and that should make people think."[5] Similarly, the artwork contrasted one beautiful image with a gruesome one by depicting a soft blue airbrushed great egret on the front cover (photographed by Werner Krutein) while on the back is an image of a cow hanging on a meat hook (created by Mark Burnstein).[17] Both bassist Billy Gould and Mike Bordin said that the image on the rear of the album is not based on support for vegetarianism but rather a preview of the music, suggesting its combination of being "really aggressive and disturbing and then really soothing", the "beautiful with the sick".[12][17]
The photo of a group of Russian soldiers with the band members' faces inserted was edited by Werner Krutein and used as the cover of the "Midlife Crisis" single. The band had originally planned for this but then did not like the final product.[12] Mike Bordin described the situation:
That was a thing the record company really tried to foist on us. They really tried to fuck with our layout, and sent us these fucking pictures of us, just our heads. It was like this, they wanted us to have a poster inside the record consisted of our five heads on a black background, everything was black, the whole inside, and it's like, 'Fuck you.' We're going to make our cover, we made our record, we produced it our way, we wrote our songs, we played them our way, it sounds like us.[12]
The writing for Angel Dust took up most of 1991[18] with large portion of the songs being written by either Billy Gould, Roddy Bottum, Mike Bordin, and for the first time, Mike Patton.[5][7][18] Regarding this Patton said:
There had never been any question of my staying in the band. We started writing the music for this album, and being part of something so fundamental was what made sure of it for me. The Real Thing had been like someone else's, someone else's band, it had felt like an obligatory thing. They hadn't needed a damn singer, it was just that they had to have a singer. That's why I was there, that's why Chuck was there, we weren't needed there.[18]
Some attributed this to its sonic difference with its predecessors, however, Mike Patton credits it to being "better at playing what [they] hear in [their] heads"[7] and went on to say that "before, we used to kinda cheat around, and play around what it was. We could never translate it into the band, and we're getting better at doing that. Like, we wanted to do a real lazy, sappy kinda ballad, so we covered the theme from Midnight Cowboy! And there's even a song that sounds like The Carpenters!"[7] In a trend that started when then-vocalist Chuck Mosley lived in Los Angeles while the rest of the band resided in the Bay Area, the band would record demo tapes of the songs and exchange them between each other in Los Angeles before sending them to Jim Martin so that he could work on his guitar arrangements, after which he would send them back for approval.[19]
Album producer Matt Wallace stated there was a great deal of tension between Jim Martin and the rest of the band that made the recording sessions difficult. Speaking on the acrimony, Wallace said:
Just before making Angel Dust, Jim Martin's dad died. That was a pretty big thing, obviously. I remember I spoke to Jim, and I know the guys in the band did too. But during Angel Dust, there was a very, very noticeable lack of enthusiasm on his part. I mean, was he there? Yeah, he did go there and play. But a lot of times, he'd be playing these noodle-y things, and the band and I were like, 'Dude, what the hell? Play some heavy guitar s--t on this, man! We need what you do." It was challenging. Plus, he kept calling the record "Gay Disco" -- every time they'd play something, he'd say, [dismissively] "Eh, this is a bunch of gay disco." It's too bad, because he's really talented, but again, this is a band that just knew what they wanted to do.[20]
The lyrics for Angel Dust were written for the most part by vocalist Mike Patton. He got his inspiration for the lyrics from many different places such as questions from the Oxford Capacity Analysis, fortune cookies and late-night television. After engaging in a sleep deprivation experiment, he wrote "Land of Sunshine" and "Caffeine":[7] "I drove around a lot in my Honda, drove to a real bad area of town, parked and just watched people. Coffee shops and white-trash diner-type places were great for inspiration."[21]
Songs with lyricists other than Patton include "Be Aggressive" by Roddy Bottum (about fellatio);[22] "Everything's Ruined", by Mike Patton and Billy Gould; "Kindergarten" by Mike Patton and Roddy Bottum; and "Jizzlobber", by Jim Martin and Mike Patton, which according to Patton, is about his fear of imprisonment. However, Gould, in response to a question by a fan, suggested that the song is about a porn star.[13]
For the recording of Angel Dust, Faith No More were once again assisted by Matt Wallace, who had produced all of the group's previous studio recordings. They entered Coast Recorders in late 1991, originally set to track a total of 17 songs; however after writing two more while in studio ("Malpractice" being one of them), a total of 19 were recorded.[1][10] At that time, the final song titles had not been chosen so they were often referred to by the following working titles, some of which continued to be used internally by the band, including on their live set lists:
While 13 tracks were released on the standard album, the sessions also produced a cover of the Commodores' "Easy", a reworking of the previously recorded "As the Worm Turns", and a song called "The World Is Yours". In 1992-93, "Easy" and the re-recorded version of "As the Worm Turns" were both included on certain editions of Angel Dust, in addition to appearing on other releases such as EPs and singles. "The World Is Yours" was posthumously released on the band's first compilation album Who Cares a Lot? The Greatest Hits, which came out in October 1998, six months after Faith No More's original split. While the songs "Das Schutzenfest" and the Dead Kennedys cover "Let's Lynch the Landlord" were both released along with "Easy" on an EP in late 1992, at least one of these songs was not actually recorded during the Angel Dust sessions: "Let's Lynch the Landlord" was recorded in Bill Gould's bedroom[25] and produced by the band,[26] prior to the Angel Dust sessions, for Virus 100, a Dead Kennedys tribute album. While it is unclear as to whether or not "Das Schutzenfest" is from the Angel Dust sessions, Matt Wallace is listed as the engineer for this song[26] but is given no producer credit (in contrast with the co-producer credit he is given for Angel Dust).
When the album was being written in 1991, the band went on a seven show mini-tour of Argentina, Brazil and Japan, where they debuted early versions of "The World Is Yours" and "RV". This run of shows occurred between August and October 1991, and ended with a single show in Oakland, California on October 12, 1991, as part of the Day on the Green festival. The first performances of "The World Is Yours" and "RV" came during an August 31, 1991 concert in Buenos Aires, Argentina, and the two songs would go on to be played several more times during the mini-tour.[27] The other songs from the Angel Dust sessions only started being performed live in 1992. To date, the 1991 performances of "The World Is Yours" remain the only times the song is known to have been played live.
There were many samples used on Angel Dust, to the point that it was called a "gratuitous"[8] amount and record label executives were concerned about the volume of samples used.[7] They came from such sources as Simon and Garfunkel, Diamanda Galás, Z'EV, and The Wizard of Oz.[7] The Simon and Garfunkel sample is from the first bar of their song "Cecilia" and appears throughout the drum track of "Midlife Crisis". "Malpractice" contains a four-second sample of the second movement of Dmitri Shostakovich's String Quartet No. 8 as performed by the Kronos Quartet, on their album Black Angels; track 8, "Allegro molto", at 2:10. It features in four points towards the end of the song at 2:56, 3:02, 3:22 and 3:26. Many of the original samples used in the songs were recorded by Roddy on a Digital Audio Tape recorder whilst "just whilst wandering out and about".[28] "Crack Hitler", as well as featuring samples of sirens in the background,[7] features a sample in the intro of Iris Lettieri reading a flight announcement at the Rio de Janeiro-Galeão International Airport.[29] She then tried to sue the band for using her voice without permission.[28] There are also samples of aboriginal chanting, amongst the sound effects from Sound Ideas, in the background of "Smaller and Smaller".[30] Also, a brief succession of sounds, including a police car siren and a warp noise, similar to what Frank Zappa abundantly made use of on his album Joe's Garage is recognizable in the song "A Small Victory". The song "Midlife Crisis" contains a sample of "Car Thief" by the Beastie Boys. The intro of "Caffeine" features sounds of animals, of which monkeys and a wolf can be distinguished. The B-side "The World Is Yours" by far featured the most samples of any songs, and was even referred to as "The Sample Song" by the band. The intro alone features a death sentence by rapid fire (the words "Aim. Fire!" can be heard), and an elephant. The bridge of the song includes a recording of Budd Dwyer's suicide that was broadcast on TV in 1987.
Faith No More started the tour to promote Angel Dust shortly after the album's completion on the European leg of the Use Your Illusion Tour with Guns N' Roses and Soundgarden,[31] which Bottum described as a "complete European vacation" due to their light concert schedule.[32] In an interview taken on June 6, 1992, Billy said:
This is really just the beginning for us, Last time we toured, with The Real Thing, I left home at the age of 26 and got back when I was 28. Some of my friends had moved away, some had gotten married, some had had kids—I had a hard time dealing with that. This time I'm 29, and I know I'm gonna be on the road until I'm 31. Fuck, I don't even wanna think about it.[17]
They continued on this tour through the North America leg with Guns N' Roses and Metallica[31] before splitting off on their own European tour through Finland, Sweden,[33] Denmark, Norway, seven performances from November 4–11 in Germany, the Czech Republic, Austria, 3 more performances in Germany, Belgium, Germany again, the Netherlands, Wales, England, where they played at the Cambridge Corn Exchange on November 23 then three nights straight at the Brixton Academy from November 25–27 and on the following night at the NEC Arena in Birmingham before going through Ireland,[34] Scotland, where they played the first 4 nights of December in the Barrowland Ballroom before going back through England, Belgium, 3 performances from the December 8–10 in France, 3 performances from the December 12–14 in Spain, France again, Italy, Switzerland and Austria again before having a break for Christmas and New Year.[35] They began touring America again in mid January 1993 in Seattle, Washington,[36] and finishing in Utah a month later in mid February.[37]
From April to May 1993, the band embarked on a run of shows in the Pacific, first playing in Honolulu, Hawaii, and then on the islands of Guam and Saipan (which is part of the Northern Mariana Islands).[38][39] These run of concerts concluded with a four show tour of Japan, a thirteen show tour of Australia and a two show tour of New Zealand (that was later extended to five shows).[38][40] The Australian tour covered seven of the eight states and territories in the country, including the island state of Tasmania.[38] The only state/territory that wasn't covered in the Australian tour was the remote Northern Territory.[38] Following the performances in these countries, the band was going to tour Singapore, Hong Kong, and Indonesia in mid-May 1993, but cancelled these planned shows and instead did another three concerts on New Zealand's South Island.[38] While in Guam during April 1993, Gould remembered that they went to a military bar that was showing hardcore pornography on the televisions, saying that later this bar started playing a karaoke version of "I Started a Joke", by British-Australian group the Bee Gees. A few years later, Faith No More released a studio cover of "I Started a Joke", with Gould claiming that the experience in Guam had inspired them to record the cover. He recalled in 2015, "it was like God speaking to us: 'You have to do this song.'"[39]
The band returned to Europe for a show in Germany on May 29 and the following day in Vienna then in Budapest.[41] On June 2 they played at Rotterdam Ahoy followed by 4 performances in Germany from June 3–7 and one in Slovakia on June 10. Towards the end of June they performed on individual nights in Sweden, Denmark, Norway and Portugal[42] then a few days later on July 3–4 in Torhout and Werchter, Belgium followed by one last show in Germany, on July 9, and a headline show at Ruisrock Festival in Turku, Finland July 10 before the final show of the tour in Stratford Upon Avon on July 17.[43] The band had planned to tour Peru, Brazil and Venezuela in August 1993,[44] but these dates were cancelled due to issues with Jim Martin.[45]
Despite reportedly being unhappy with the band's change in direction on Angel Dust, Martin has since claimed that he was pleased with their live performances on the Angel Dust tour. He said in 2012, "live performances were always very strong. From my perspective, we came across a lot heavier than the records. Over time, the chord progressions and the arrangements would morph in subtle ways that would make the set heavier than the studio version."[46]
The songs "Malpractice" and "Smaller and Smaller" were rarely or never played on the Angel Dust tour and subsequent tours. "Malpractice" would be performed a few times during the band's Second Coming Tour in 2009, before again being dropped from their setlist in following years. It has been claimed that "Malpractice" and "Smaller and Smaller" were both performed twice on the Angel Dust tour, although the details of these performances are in question, and no live recordings have ever surfaced.[47][3] In a 2012 interview, Gould stated that they didn't perform "Smaller and Smaller" since it was mid-tempo in nature, and having too many of those types of songs in their setlist would make their shows "boring". Gould said, "for some reason or another, we tend to gravitate towards what is called 'mid-tempo' in our writing... In other words, songs that are not fast, but not exactly ballads either." He added that, "'Smaller and Smaller' while pretty grandiose in concept, always felt too long and too plodding to even consider doing live. And truth be told, we were never quite as attached to that one as some of the others."[3]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [48] |
| Entertainment Weekly | B[49] |
| Kerrang! | 3/5[50] |
| Los Angeles Times |  [51] |
| NME | 8/10[52] |
| Pitchfork | 8.8/10[53] |
| Q | [54] |
| Record Collector | [55] |
| Rolling Stone | [56] |
| Select | 5/5[57] |
Angel Dust was met with extensive critical acclaim. One critic wrote that the album is "one of the more complex and simply confounding records ever released by a major label"[58] and similarly, another called it "the most uncommercial follow-up to a hit record ever".[49] After hearing the album, the band's label warned them that releasing the album would be "commercial suicide".[59] The single "A Small Victory" is described as a song "which seems to run Madame Butterfly through Metallica and Nile Rodgers, reveals a developing facility for combining unlikely elements into startlingly original concoctions".[60]
The songs "Malpractice" and "Jizzlobber" have been called "art-damaged death metal" and "nerve-frazzling apocalyptic rock" by contrast with the "accordion-propelled" Midnight Cowboy theme cover that follows.[56] AllMusic calls the album a "bizarro masterpiece", citing the vocals as "smarter and more accomplished" than its predecessor The Real Thing.[48] It gave the album 4.5 stars out of 5, calling it one of their album picks.[48] Kerrang! was less enthusiastic, considering Angel Dust's variety of styles "a personality disorder, of sorts, which undermines its potential greatness."[50] In 1992, Spin commented that "there are slow, scary songs, and not as much funk-metal thrash as the average fan would expect."[61]
The album was also called an "Album of the Year" in 1992 by seven different publications in four countries, making the top 10 in three of them and the top position in one, and was also named the "Most Influential Album of all Time" by Kerrang! despite an initially lukewarm review.[62] Brad Filicky of CMJ New Music Report praised the album in 2003, reflecting, "Faith No More was often lumped in with the funk metal masses that were so popular in the early 90s, but after the success of The Real Thing, the group's first album with Mike Patton, FNM grew tired of the trappings and limitations of the genre. So, rather than release that era's equivalent of Significant Other, the band flipped the script entirely and dropped an experimental bombshell on the scene."[63] The 2009 book Encyclopedia of Heavy Metal describes the album as "a notoriously difficult album to listen to aside from the radio-friendly cover of the Commodores' 'Easy'."[64]
In 2017, Rolling Stone ranked Angel Dust as 65th on their list of "The 100 Greatest Metal Albums of All Time".[65] In a 2018 Louder Sound article, Hoobastank singer Doug Robb listed it as one of the ten albums that changed his life.[66] Oceansize frontman Mike Vennart has also named it one of the albums that changed his life.[67] Mr. Bungle guitarist Trey Spruance labelled it as a "glorious record" in 2016.[68] In March 2023, Rolling Stone ranked the album's second track, "Caffeine", at number 55 on their "100 Greatest Heavy Metal Songs of All Time" list.[69] Alex Tefler of The Philadelphia Inquirer refers to Angel Dust as "one of the most deliriously strange records ever to appear on a major label."[70]
| No. | Title | Lyrics | Music | Length |
|---|---|---|---|---|
| 1. | "Land of Sunshine" | Billy Gould, Roddy Bottum | 3:45 | |
| 2. | "Caffeine" | Gould, Patton | 4:29 | |
| 3. | "Midlife Crisis" | Bottum, Mike Bordin, Gould, Patton | 4:19 | |
| 4. | "RV" | Bottum, Patton, Gould | 3:41 | |
| 5. | "Smaller and Smaller" | Gould, Bordin, Bottum, Wallace | 5:11 | |
| 6. | "Everything's Ruined" | Patton, Gould | Gould, Bottum, Patton | 4:35 |
| 7. | "Malpractice" | Patton | 4:02 | |
| 8. | "Kindergarten" | Patton, Bottum | Gould, Jim Martin | 4:31 |
| 9. | "Be Aggressive" | Bottum | Bottum | 3:43 |
| 10. | "A Small Victory" | Gould, Bottum, Bordin, Patton | 4:58 | |
| 11. | "Crack Hitler" | Gould, Bottum, Bordin, Martin | 4:40 | |
| 12. | "Jizzlobber" | Martin, Patton | Martin | 6:40 |
| 13. | "Midnight Cowboy" (instrumental) | — | John Barry | 4:13 |
| Total length: | 58:47 | |||
All lyrics are written by Mike Patton, except where noted
| No. | Title | Lyrics | Music | Length |
|---|---|---|---|---|
| 14. | "Easy" (Commodores cover) | Lionel Richie | Richie | 3:09 |
| No. | Title | Lyrics | Music | Length |
|---|---|---|---|---|
| 14. | "Easy" | Lionel Richie | Richie | 3:09 |
| 15. | "As the Worm Turns" | Mosley | Bottum, Gould, Mosley | 2:39 |
| No. | Title | Lyrics | Music | Length |
|---|---|---|---|---|
| 1. | "Easy" (Cooler Version) | Richie | Richie | 3:09 |
| 2. | "Das Schützenfest" | Bottum, Bordin, Gould, Patton, Martin | 2:58 | |
| 3. | "As the Worm Turns" | Mosley | Bottum, Gould, Mosley | 2:41 |
| 4. | "Let's Lynch the Landlord" | Jello Biafra | Biafra | 2:55 |
| 5. | "Midlife Crisis" (Video Mix) | Bottum, Bordin, Gould, Patton | 3:53 | |
| 6. | "A Small Victory" (R-Evolution 23 (Full Moon) Mix) | Gould, Bottum, Bordin, Patton | 7:21 | |
| 7. | "Easy" (Live in Munich September 11, 1992) | Richie | Richie | 3:12 |
| 8. | "Be Aggressive" (Live in Munich September 11, 1992) | Bottum | Bottum | 3:42 |
| 9. | "Kindergarten" (Live in Munich September 11, 1992) | Patton, Bottum | Gould, Martin | 4:17 |
| 10. | "A Small Victory" (Live in Munich September 11, 1992) | Gould, Bottum, Bordin, Patton | 4:52 | |
| 11. | "Mark Bowen" (Live in Munich September 11, 1992) | Gould, Mosley | Gould, Bordin | 3:16 |
| 12. | "We Care a Lot" (Live in Munich September 11, 1992) | Bottum, Mosley | Gould, Bottum | 3:59 |
| 13. | "Midlife Crisis" (Live in Dekalb, IL September 20, 1992) | Bottum, Bordin, Gould, Patton | 3:34 | |
| 14. | "Land of Sunshine" (Live in Dekalb, IL September 20, 1992) | Gould, Bottum | 3:38 | |
| 15. | "Edge of the World" (Live in St. Louis, MO September 18, 1992) | Gould, Bottum, Bordin | 3:16 | |
| 16. | "RV" (Live in Dekalb, IL September 20, 1992) | Bottum, Patton, Gould | 3:52 | |
| 17. | "The World Is Yours" | Bottum, Bordin, Gould, Patton, Martin | 5:52 | |
| Total length: | 68:06 | |||
There were several different bonus discs released with various editions and formats of the album.
This disc came with the third and fourth pressings of the Australian release, it contains four tracks labeled to be from a free concert at Munich, Germany on November 9, 1992. Although the date is correct, the venue is not, as it was recorded at Grugahalle Essen. (Cat no. D30953 and TVD93378 (RMD53378) respectively).[71]
This disc was a promotional release on Limited Edition pressings of Angel Dust in France. On the back it reads "ne peut être vendu séparément, offert avec l'album 'Angel Dust' dans la limite des stocks disponibles",[71] which translates to "offered with the album Angel Dust while stocks last, not to be sold separately"
This disc was released with limited edition UK LPs as a double vinyl pack. The first disc (with or without the bonus disc) lacked the tracks "Crack Hitler" and "Midnight Cowboy"; the track "Smaller and Smaller" appeared as the last track (Cat no. 828 326–1).[71]
This disc was a promotional release on Limited Edition pressings of Angel Dust in Europe released on August 24, 1992 (Cat no. 828 321–2), and was also released separately in a slimline case (Cat no. FNMCD3). The questions were printed inside the packaging with answers on the CD listing 18:41.[71]
| No. | Title | Length |
|---|---|---|
| 1. | "Its three years since your last studio album. Are you nervous about releasing the new album?" | |
| 2. | "How do you feel about releasing Angel Dust?" | |
| 3. | "What inspired Angel Dust?" | |
| 4. | "When did you start recording Angel Dust?" | |
| 5. | "What was your major concern when you came to record the album?" | |
| 6. | "Was it an enjoyable experience recording Angel Dust?" | |
| 7. | "What frame of mind were you in when you recorded Angel Dust?" | |
| 8. | "What difference did it make this time round having mike involved from the very start of the project?" | |
| 9. | "Is there anything you weren't happy about?" | |
| 10. | "The title Angel Dust is not a track on the album. What's the story behind it?" | |
| 11. | "What made you choose the title of the album?" | |
| 12. | "Where does the inspiration come for your songs?" | |
| 13. | "Do you all usually agree on the songs?" | |
| 14. | "How do you write your songs?" | |
| 15. | "Do you deliberately set out to provoke with your songs?" | |
| 16. | "Did you record much material for the album?" | |
| 17. | "Why did you choose to do a cover of 'midnight cowboy'?" | |
| 18. | "What is "Crack Hitler" about?" | |
| 19. | "What's "A Small Victory" about?" | |
| 20. | "Why did you choose to work with producer Matt Wallace again?" | |
| 21. | "How does Angel Dust compare to your last studio album The Real Thing?" | |
| 22. | "What changes have taken place between the two albums?" | |
| 23. | "Do you think you diluted or compromised your sound in a way to make it more commercially palatable?" | |
| 24. | "What do you think the press will have to say about Angel Dust?" | |
| 25. | "Are you affected by what the critics say?" | |
| 26. | "How do you feel about fame?" | |
| 27. | "What difference has success made to you?" | |
| 28. | "Do you think your original fans have stuck by you as you've moved up the scale?" | |
| 29. | "Do you get nervous playing stadium gigs in front of thousands of fans?" | |
| 30. | "What was your worst ever gig?" | |
| 31. | "Does the band have a sense of humour?" |
Faith No More
Production
| Year | Publication | Country | Accolade | Rank | |
|---|---|---|---|---|---|
| 1992 | Musik Express Sounds | Germany | "Albums of the Year" | 1 | [72] |
| 1992 | Raw | United Kingdom | "Albums of the Year" | 8 | [73] |
| 1992 | Vox | United Kingdom | "Albums of the Year" | 10 | [74] |
| 1992 | The Face | United Kingdom | "Albums of the Year" | 17 | [75] |
| 1992 | The Village Voice | United States | "Albums of the Year" | 26 | [76] |
| 1992 | Muziekkrant OOR | Netherlands | "Albums of the Year" | 36 | [77] |
| 1992 | Q | United Kingdom | "Albums of the Year" | * | [78] |
| 1995 | Raw | United Kingdom | "90 Essential Albums of the 90s" | * | [79] |
| 1996 | Visions | Germany | "The Best Albums 1991–96" | * | [80] |
| 1999 | Panorama | Norway | "The 30 Best Albums of the Year 1970–98" | 3 | [citation needed] |
| 1999 | Visions | Germany | "The Most Important Albums of the 90s" | 22 | [81] |
| 2000 | Terrorizer | United Kingdom | "The 100 Most Important Albums of the 90s" | * | [82] |
| 2002 | Revolver | United States | "The 69 Greatest Metal Albums of All Time" | 36 | [citation needed] |
| 2003 | Kerrang! | United Kingdom | "50 Most Influential Albums of All Time" | 1 | [62] |
| 2006 | Metal Hammer | United Kingdom | "The 200 Greatest Albums of the 90s" | * | [citation needed] |
| 2022 | Guitar World | United States | "The 30 greatest rock guitar albums of 1992" | 2 | [83] |
| "*" denotes an unordered list. | |||||
Weekly charts
|
Year-end charts
|
| Region | Certification | Certified units/sales |
|---|---|---|
| United Kingdom (BPI)[99] | Gold | 100,000^ |
| United States (RIAA)[100] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
| Region | Date | Label | Catalog | Notes | [71] |
|---|---|---|---|---|---|
| United Kingdom | June 8, 1992 | Slash, London | 828 326-1 | Limited edition, includes the Midlife Crisis 12". | [101] |
| 828 401-1 | Does not include tracks 11 & 13 | ||||
| 828 321-1 | |||||
| Netherlands | |||||
| Germany | [102] | ||||
| Colombia | |||||
| Brazil | Slash, London, PolyGram | Does not include tracks 11 & 13 |
| Region | Date | Label | Catalog | Pressing | Notes | [71] |
|---|---|---|---|---|---|---|
| United States | June 8, 1992 | Slash, Reprise | 9 26785-2 | First | [103] | |
| Canada | June 16, 1992 | CD 26785-2 | [104] | |||
| United Kingdom | June 8, 1992 | Slash, London | 828 321-2 | Early copies came with the Interview bonus disc. | ||
| Germany | [105] | |||||
| France | Early copies came with the Woodpecker from Mars disc. | |||||
| Brazil | London, PolyGram | 828 321-2 | ||||
| Australia | Slash, Liberation | TVD93363
RMD53363 |
'Red Square' picture disc. | [106] | ||
| Japan | June 12, 1992 | Slash, London | POCD-1081 | with extra track "As the Worm Turns". | ||
| South Africa | Slash, RPM | CDSLASH2 | ||||
| Czechoslovakia | Slash, London, Globus | 210 134-2 | Gold Edition, 1000 individually numbered copies with gold discs. | |||
| United Kingdom | January 29, 1993 | Slash, London | 828 401-2 | Second | with extra track "Easy". | [107] |
| Japan | POCD-1111 | with extra tracks "Easy" and "As the Worm Turns". | ||||
| Brazil | London, PolyGram | 828 401-2 | with extra track "Easy". | |||
| Australia | Slash, Liberation | D30953
PRD93/7 |
'Bird photo' picture disc with "Easy" and Free Concert in the Park. | [108] | ||
| TVD93378
RMD53378 |
Third | 'Bird photo' picture disc with "Easy" and Free Concert in the Park. | ||||
| Slash, London | 828 401-2 | Polydor generation re-release | ||||
| United Kingdom | Slash, Liberation | TVD93378
RMD53378 |
'Bird photo' picture disc with "Easy" and Free Concert in the Park. | [109] | ||
| 3984 28200 2 | with extra track "Easy". | [110] | ||||
| United States | July 2008 | MoFi, Rhino | UDCD 787 | First | Album has been completely remastered from the original master tapes by Rob LoVerde at Mobile Fidelity Sound Lab under license from Warner Bros. Incorporated. Manufactured by Rhino. Does not contain extra track "Easy". | [111] |
| Region | Date | Label | Catalog | Notes | [71] |
|---|---|---|---|---|---|
| United States | June 8, 1992 | Slash, Reprise | 9 26785-4 | Early copies came in a rectangular LP art picture box. | [112] |
| United Kingdom | Slash, London | 828 321-4 | |||
| Germany | |||||
| France | |||||
| Brazil | |||||
| Australia | Slash, Liberation | ??? ??? | |||
| Brazil | London, PolyGram | 828 401-4 | Second pressings with extra track "Easy" | ||
| United Kingdom | January 29, 1993 | Slash, London | |||
| Poland | PolyGram | [113] |
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