Alice In Chains

Dirt


Tracks: 13, total time: 57:37, year: 1992, genre: Alternative Metal

1992 Columbia Records

Originally Released September 29, 1992

AMG EXPERT REVIEW: Dirt is Alice in Chains' major artistic statement and the closest they ever came to recording a flat-out masterpiece. It's a primal, sickening howl from the depths of LayneStaley's heroin addiction, and one of the most harrowing conceptalbums ever recorded. Not every song on Dirt is explicitly aboutheroin, but Jerry Cantrell's solo-written contributions (nearly half the album) effectively maintain the thematic coherence -- nearly every song is imbued with the morbidity, self-disgust, and/orresignation of a self-aware yet powerless addict. Cantrell's technically limited but inventive guitar work is by turns explosive,textured, and queasily disorienting, keeping the listener off balance with atonal riffs and off-kilter time signatures. Staley'sstark confessional lyrics are similarly effective, and consistently miserable. Sometimes he's just numb and apathetic, totally desensitized to the outside world; sometimes his self-justificationsbetray a shockingly casual amorality; his moments of self-recognition are permeated by despair and suicidal self-loathing. Even given its subject matter, Dirt is monstrously bleak, closely resembling the cracked, haunted landscape of its cover art. The albumholds out little hope for its protagonists (aside from the much-needed survival story of "Rooster," a tribute to Cantrell's Vietnam-vet father), but in the end, it's redeemed by the honesty of its self-revelation and the sharp focus of its music. [Some versions of Dirt feature "Down in a Hole" as the next-to-last track rather than the fourth.] -- Steve Huey


Amazon.com essential recording
Alice in Chains were initially tagged with the "grunge" moniker, when in fact their haunting, ponderous sound was far closer to the progressive rock of Queensryche. Their second album, Dirt, is a moody, portentous affair, filled with occasionally inspired riffing from guitarist Jerry Cantrell and hair-tossed wailingfrom singer Layne Staley. Perhaps the band got lumped in with Generation X because their lyrics focused upon depression, death, and drugs. Certainly, titles such as "Down in a Hole," "Junkhead,"and "Hate to Feel" didn't leave much room for doubt as to Cantrell's perspective. The quartet did have a slightly lighter, almostpoppy side to them, though, as "God Smack" and "Hate to Feel" indicate. Ultimately, Dirt is classic angst rock. --Everett True


Half.com Details
Producer: Alice In Chains, Dave Jerden

Album Notes
Alice In Chains: Layne Staley, Jerry Cantrell (vocals, guitar); Michael Starr (bass); Sean Kinney (drums).

Additional personnel: Tom Araya (background vocals).

Recorded in 1992.

Brutal and hard but exciting and surprisingly melodic, DIRT made Alice In Chains national stars in 1992 after being around theSeattle alternative rock scene for many years. They produce a blindingly together sound, with the bass of Mike Starr able to switch between following the bass drum beat and cloning Jerry Cantrell's guitar note for note, albeit a few octaves lower. They have such polish that they are often reminiscent of the heyday of Led Zeppelin. Lyrically they plow the familiar angst furrow with tracks such as 'Junkhead', 'Sickman' and 'God Smack'. Equally satisfying are 'Them Bones' and 'Rooster', which saw them start in a direction that led to Jar Of Flies two years later.

Industry Reviews
...The pain and insight that went into these 12 songs make Alice In Chains shine above and beyond most of its Seattle neighbors... - Rating: A
Entertainment Weekly (10/16/1992)

Recommended - ...There's a brutal, though troubling, honesty in the lyrics...as a means of cutting yourself open and letting the listener look inside, Alice In Chains has certainly spit out a mouthful...EXTD=nSpin (11/01/1992)

8 - Very Good - ...At their best guitarist Jerry Cantrell's towering riffs and singer Layne Staley's impassioned caterwaul make for a dramatic, vital dose of New Metal...
Vox (12/01/1992)
EXTD=n...a big leap forward from 1990's FACELIFT. Where the latter was buried deep under water, DIRT surfs with abandon...
Alternative Press (03/01/1993)

4 stars out of 5- ...DIRT's layered harmonies and fashionable nihilism transformed AIC from sludge metal also-rans to short-lived stars of the post-grunge landscape...
Q (02/01/2002)

...a big leap forward from 1990's FACELIFT. Where the latter was buried deep under water,DIRT surfs with abandon...
Alternative Press (03/01/1993)


-- RELATED INFO ------------------------------------------------------------------------------------------------
from RobertChristgau.com

Consumer Guide Review: Dirt [Columbia, 1992]

A heroin album, take it or leave it--"Junkhead" certainly isn't "ironic" and probably isn't "fictional" either. Crunch crunch crunch, riff riff riff--way harder, louder, and more metallic than Soundgarden ever will be. But the price of this power is that it's alsouglier and stupider--the sound of hopeless craving. Sitting herewith my "books and degrees" (well, degree), I very much doubt that if I "opened my mind," as resident sickman Layne Staley suggests, I'd be "doing" like him (er, the narrator of the song). I'll wait for my own man, thank you. B


-- RELATED INFO ------------------------------------------------------------------------------------------------
from EW.com

Entertainment Weekly Music Review
Dirt (1992)
Alice in Chains
Reviewed by Janiss Garza | Oct 16, 1992
GRADE A

Lead Performance: Alice in Chains; Genre: Rock

Dirt is somber psychedelia, a brooding chronicle of the hell of drug addiction set to slow, Black Sabbath-like rhythms.The pain and insight that went into these 12 songs make Alice inChains shine above and beyond most of its Seattle neighbors. A
Originally Published in issue #140 Oct 16, 1992
EXTD=n

-- RELATED INFO ------------------------------------------------------------------------------------------------
from PopMatters.com

ALICE IN CHAINS
Dirt
(Columbia)
US release date: 29 September 1992
by Michael Christopher

The Darkness of Dirt

With 1990's Facelift, before Nirvana blew the scene wide open, Seattle's Alice in Chains were getting a metal push, thrown on tour with the likes of Slayer and Megadeth, repeatedly booed off stagein a genre where they didn't belong. In early 1992, on the bare boned acoustic EP SAP, with its laid back and richly textured depth, the band erased the record company promoted image in only foursongs. And just in case the music itself didn't get the point across, on the back cover, the band members are shown urinating ontheir own old press photos, showing a none too thinly veiled viewof their immediate past.

Still, nothing could prepare the music industry for what was to be the encore.

That June, the video for "Would?" was released to promote the soundtrack to the film Singles, and it showed a completely different Alice in Chains.They looked decidedly non-metal, as a throbbing bass line and tribal drumbeat intermingled with scenes from the Cameron Crowe love letter to early '90s Seattle. Singer Layne Staley, with shorn and slicked back blond hair, defiantly screamed "If I would / Could You?," words that also signaled the cathartic ending to a landmark Alice album released in late that September.

To get to that resolution was a dark trip unlike any seen throughout the grunge era. Nothing was held back, no flaw left buried and no drug reference went unsaid. From the absolutely scorching bombast of theopener, "Them Bones", two-and-a-half minutes of furious screaming, patented harmonizing between Staley and Cantrell and a downright relentless chugging riff, it was clear that this record was intent on separating itself form the Pacific Northwest pack.

"Dam That River" continues the breakneck pace, with Staley's sneering "Oh, you couldn't dam that river / And maybe I don't give a damn anyway" letting loose not with anger or malice -- but rather matter-of-fact disgust while spitting out the lyrics, which, likemany on Dirt, were penned by Cantrell.

"Rain When I Die" slows the tempo slightly, but the passionate depression only grows. Cantrell wah-wahs his way through the only effort on the record with writing credit given to all four band members, which was enough, since the guitarist needed some serious demons exorcised on his own, made clear on the track which followed, "Down in a Hole".Lyrics had already set the tone for nearly the whole record -- and it's not pretty. The love for heroin. The pain caused by heroin. The torturous withdraw from heroin. The vast wasteland of self-destruction and loneliness when heroin is your only friend. Makeno mistake, this is the deepest and most blatant exploration of addiction on record ever. "Down in a Hole" simply confirmed it andexemplified everything Dirt was about.. Starting off unassumingand pleasant enough with a sparse guitar intro, the track quicklyturns the bleak knob to black. By the time Staley laments "I have been guilty / Of kicking myself in the teeth", one gets the sense the noose has already been lowered.

Giving further credence to the theory that Dirt is actually conceptual in nature, "Downin a Hole" was the second to last track on the original pressings, but didn't exactly carry the theme of hope that would come with attempting to extract oneself from the grip of heroin as the songs progressed. It was subsequently moved to the fourth song slot, just before "Sickman", a title self-explanatory in its own right. The song shifts gears from drums mimicking a racing heartbeatand a chopping guitar to a melancholy break, only to rise again before dropping into the swells of Staley and Cantrell finding vocal synchronization once again.

The album isn't completely about heroin though. There is a break from the drugs to a topic justas depressing; Cantrell's dedication to his Vietnam vet father,"Rooster", addresses the desire to make it out of the war and coming home only to find a country where he was looked upon as anything but a hero. Even with its almost ballad like tendencies, "Rooster" still remains classic Alice in terms of heaviness, and fitsright in alongside everything else on Dirt.

The centerpieceof the record is undoubtedly the trilogy of Cantrell/Staley compositions, disturbingly showing that they shared the same headspace, the mind of a junkie. "Junkhead" is the quintessential form ofmusic that Alice in Chains perfected and later became known as "sludge rock". The guitar and bass together sound like they're being dragged through the La Brea Tar Pits, and Staley slogs his vocals through the murk in tandem. Praising the drug, chastising those who dare to criticize, "Junkhead" is the ultimate pro-heroin song, with its celebratory ending "I do it a lot! / Say, I do it alot!" Yet by the time the title track kicks in, the come down isobvious, as the symptoms of withdraw have driven the user's mindto thoughts of suicide. The track is even more swampy than "Downin a Hole", if only for its complete hopelessness. "God Smack" isthe brink of schizophrenic insanity, with Staley taking on no less than three tones to his range. Heroin by this point has becomean all-consuming religion to the junkhead.

After a brief, seemingly maddening, nameless interlude, (later titled "Iron Gland"on the Music Bank box set), "Hate to Feel" jumps back and forthin both theme and sound, spiraling downwards before rising back quickly with the help of a slicing guitar riff. Less schizoid than"God Smack", but no less back and forth with a conflicting rageand despair waging battle throughout the song before coming to head in a furious mish mashed ending.

"Angry Chair" is Staley'sway of confronting his demons, facing them through the pain, andrecognizing that it's all been a terrible, life-threatening mistake. It has a brooding darkness that segues perfectly into the redemption sought in "Would?"

What makes Dirt so amazing, is that it was so real. This wasn't heroin dabbling resulting in someflash of artistic genius. This was drugs controlling the situation so powerfully that there was almost nothing else to use as subject matter, because that would've been faking it. In retrospect,it's obvious that nothing was contrived. Bass player Mike Starr was the first casualty, leaving under a cloud of drug-fueled rumors immediately after touring for the record. Alice in Chains themselves never quite got it together after the album, though still putting out viable, and just as dark material with another acoustic EP and a self-titled LP, but playing only a handful of dates tosupport the releases. Perhaps the fragile state of Staley, tragically evident in the 1996 Unplugged concert shows why. The singerwould battle through addiction on his own, living Dirt over andover again before he finally succumbed to the vices just over a year ago. The record wasn't celebratory by any means -- but you'llbe hard pressed to find a more brutally truthful work laid down-- and that's why it will always be one of the greatest records ever made.

-- 23 September 2003



AMAZON.COM CUSTOMER REVIEW
An early 90s classic, April 20, 2005
By Daniel Maltzman(Arlington, MA, USA)

Alice In Chains sophomore album "Dirt," stands as the band's most popular and most critically acclaimed album. "Dirt" stands alongside Nirvana's "Nevermind", Pearl Jam's "Ten" and Soundgarden's "Badmoterfinger" as an essential album ofthe grunge era. Much like "Ten" "Badmoterfinger" and "Nevermind,""Dirt" was an album that many inferior bands, i.e., Godsmack, borrowed from. Although the Seattle group was categorized as a grunge band, they were also distinctly a metal band, although they did write a fair amount of acoustic material.

"Dirt" is one ofthe most powerful, genuinely harrowing, intense, depressing albums of all-time. Some singers are very contrived and put on an act,a fake pain or rage (like Gavin Rosdale or Fred Durst). But with"Dirt," when you listen to these songs, you can hear the pain insinger Layne Staley's voice. These songs were written by someonewho was at absolute rock bottom. The themes of the album-drug addiction, loss, depression, regret, nihilism, hopelessness, come across as so real that this album is somewhat difficult to listento. What makes this album especially sad is the knowledge that Staley would eventually succumb to his drug addiction.

Althoughthe nature of this album and its frontman is heartbreaking, there is no denying the greatness of the band and these songs. LayneStaley and guitarist Jerry Cantrell were one of the best, if notbest, guitar/singer teams from the 90s. The 60s had Jagger/Richards, the 70s had Perry/Tyler, the 80s had Slash/Rose, and the 90shad Staley/Cantrell.

Staley's voice is eerie, powerful, and hauntingly beautiful. It's not so much the dark lyrics that make these songs so powerful, it's the way Staley delivers them. Thesesongs sound lived in.

Cantrell's playing on this album is simply terrific. Each song has a terrific, intense riff, and one ortwo killer solos. These songs are instantly catchy and memorable.The songs combined the sludgy guitars and riffs of Black Sabbath, and the beauty and melody of the Beatles. Bassist Mike Starr and Drummer Sean Kinney provided an exciting and dynamic rhythm section.

Although there were several singles and radio staples from this album, I feel that this album is best appreciated when listened to as a whole. There isn't any filler and each song is essential to the flow and cohesiveness of the album. The album starts out with "Them Bones," and the listener is immediately throwninto the hell that Staley is feeling. "Damn that River" is another powerful, no-holds-bar up-tempo metal song. "Rain When I Die,"is more mid-tempo, but just as intense. "Down in a Hole," one ofthe album's slower songs, sounds like a man who has been struggling personal demons in vain, and has finally given up all hope ofever being free. The somewhat offbeat "Sickman" has an almost insane feel. The soft-spoken "Rooster" is an ode to Cantrell's father, and tells the story of his embittered return home from the Vietnam War. "Rooster" is one of the finest radio staples from the 1990s. "Junkhead" tells the story of the depths that drugs take the user. It shows how everything becomes irrelevant once the useris addicted. The sludgy title track "Dirt" tells how despondent Staley feels. This is probably one of the bleakest songs ever recorded. "God Smack" (the title of which inspired the third-rate rip-off) rocks hard and is what the band Godsmack could only dream of creating. "Iron Gland" is a non-song that helps break the paceand gives the listener a little reprieve from the very intense CD. The album comes back and closes with the mid-tempo "Hate to Feel", the infectious "Angry Chair," and the radio staple "Would?"

Despite the fact that most of these songs are hard-rockers, none sound similar and the album never gets monotonous. Each song iscarefully crafted and meticulously delivered.

Even though "Dirt" doesn't get the recognition and praise as some of its contemporaries, it is easily just as inflectional and as well constructed. And although many inferior bands tried to copy the Alice In Chains sound, there was only one Alice In Chains. "Dirt" is a masterpiece and sounds as fresh and invigorating today as it did in 1992. It is an essential album from the early 90s and is a cornerstone to a modern rock collection.


AMAZON.COM CUSTOMER REVIEW
Purity Over Rot, April 2, 1999
By A Customer


Ever feeldead-pan depressed, terminally lethargic, or slowly drowning in your own bloated apathy? If so I recommend AIC's filthy, gritty, soured masterpiece aptly titled "Dirt." This foray into heroin addiction, self-doubt, and utter societal confusion pillages the soul of all feeling but leaves the listener with a calming empathetic sense of sanguine expectation. This toxic fermentation makes the lowest of low understand the leprous fallacies of life, which slowly nibble away at the very tender fabric of an individual's spirit.

Now for the tunes. Carefully crafted into three sections this tortorous album goes from really bad, to even worse, and then to a state of pseudo-positivity. The opener "Them Bones" relentlessly crushes the skull of any unprepared listener and then quickly shifts into an even higher gear of underappreciation with "Dam That River." The third track "Rain When I Die" emphasizes howtruly alone we all are with lyrics like "Is she ready to know myfrustration/Slowly fogging my lights/Slow castration." By now mytherapy session turns to a complete nightmare as "Sickman" utters a woeful tale of dissillusionment and unforgiven behavior, onlyto be followed by the Vietnam epic of "Rooster." The next four tracks mark the second part of this intoxicating contorted behemoth. Full blown addiction to chaos (or in Layne Staley's case heroin) pushes a normal person to near suicidal thoughts in these warped accounts of dangerous living and numbs the mind of all trivialdistractions that life has to offer (i.e. love, happiness, or understanding). Then, while near the depts of despair, the album shifts to a sketchy and possibly achievable sense of change, healing, and expected recovery from a hellish prison sentence of pain.In the emblazened confession of "Angry Chair," the tormeneted addict finally accepts his insanity and screams out "I don't mind yeah, I don't mind/Lost my mind yeah, can't find it anywhere." Coming to grips with this disease is the first step towards redemption and "Down in a Hole" expresses this sentiment even further withbeautiful structured lines like "I have been guilty of kicking myself in the teeth" and "I'd like to fly, but my wings have beenso denied." The finale, "Would?" is perhaps the most uplifting and melodious of the AIC catalog with phrases like "Am I wrong, have I run too far to get home?/Have I gone, left you here alone?" In an attempt at cleasing his body, mind, and soul of the toxins which afflict his psyche, the half-inebriated Staley makes an offer to be the person that he was before the demons twisted his fragile shell. Whether as a pesonal promise or an attempt at conciliation with a former lover or friend, Would? brilliantly works on multiple levels.

In sum, "Dirt" is a psychological masterwork that documents many of the problems of not just herion addicts butall of those who struggle with self-doubt, pain, rejection, andaimlessness. A serious piece indeed, which stands out as one of the most creative and original albums of the 1990s. Not for the faint-of-heart but still digestable for the masses willing to soundout their problems with the best of the worst.


AMAZON.COMCUSTOMER REVIEW
A hard, uncompromising testimonial of addiction., February 7, 2003
By Shotgun Method (NY... No, not *that* NY)

Probably Alice In Chains' greatest album (although Jar Of Flies comes close), Dirt is a harrowing quasi-concept album that chronicles the life of a drug addict. It is the most emotional and darkest album to come out of the Seattle scene, and possibly one of the most depressing albums ever, right up there with Joy Division's Closer.
Like Joy Division's final album, Dirt is almost impossible to listen to at times. Not that it's bad, just the opposite--the lyrics are so insufferably bleak that it'll send some listeners searching for the straight blade. From beginning to end you feel the self-destruction from drug abuse and depression (something that lead singer and guitarist Layne Staley knew all too well). There is no hope, no silver lining to this cloud.

As a band, few Seattle acts approached Alice In Chains' musical talent.Layne Staley and Jerry Cantrell take turns at vocals and songwriting, and both do a fantastic job of conveying the darkness and gloom central to this album. As guitarists that took their inspiration from Van Halen and Metallica in technical playing, these guys could put the punkish Kurt Cobain to shame (although Kurt was great in his own right). Together Jerry and Layne lay down dark, sludgy riffs that make Black Sabbath seem almost bubblegum by comparison.

The album as a whole is dominated by doomy chords, sudden uptempo shifts, and unconventional time signatures. Highlights include the startling Them Bones (which causes the listener tojump on first listen), the hard-hitting Dam That River, the badtrip of Rain When I Die and Down In A Hole, the Vietnam epic Rooster (a ode to Cantrell's veteran father), the pitch-black Junkhead (Staley's arguably most confessional song), the creepy Angry Chair, and the dark closer Would? Dirt is a pummeling, brutal album. At the end, the listener is left without a clear resolution. The only emotion shown at the end by the protagonist of Dirt is surrender to his own demons--very powerful indeed.

I can't givethis album a five-star rating--filler tracks such as Hate To Feeland the title track prevent me from doing so. Still this ranks as one of the most powerful albums of any era, and is a haunting depiction of Seattle's dark side. Buy it, unless you are a manic-depressive or have any hint of suicidal tendencies. Also buy the acoustic EP Jar Of Flies, which is an essential companion to Dirtand shows a different side to Alice In Chains' sound.


AMAZON.COM CUSTOMER REVIEW
The Needle, the Damage, and the Best MusicEver Recorded, February 14, 2006
By Britton Thompson "Britton"(University of Alabama)

The best album recorded in the 1990s.Period.

Alice In Chains' "Dirt" was so far apart from the rest of the Seattle sound, thus being head and shoulders above allthe others. I know Nirvana's "Nevermind" was what started the sonic revolution known as Grunge, but it does not hold half the substance and quality DIRT contains. DIRT is a masterpiece that can withstand the test of time because the themes of DIRT(death, drugs, sickness, and sadness) will be obstacles prevelant in humanityuntil the end of time.

The music is so heavy; dwelling in thedark, murky areas of human emotions. The only song that doesn'tfit in is "Rooster", and the reason I say that is because Roosteris a song about survival. When all hope seems lost and everyoneelse around you is dying, you find the strength to persevere through adversity. The themes on DIRT coincide with the order in which the songs are played. The first four tracks-Them Bones, Rain When I Die, Dam That River, and Down in a Hole are all about misery, and hopelessness. They set up the next theme-drugs and the intense hell they bring about-from Sickman, Junkhead, Dirt, God Smack, Iron Gland, Hate to Feel, Angry Chair, and finally "Would?", asong with a glimmer of hope that promises redemption-"If I could,would you?". The songs and themes set up a hidden storyline: sadness and depression leads you to drugs, which only leads you to rock bottom, after you have acheived the absolute lowest is when you can begin your ascension back to the top.

My personal favorite on this album is "Would?". With its thundering bass line, and intoxicating sound, it alone will put you in an altered-state.

Layne Staley's lyrics may be a psychiatrist's dream job, buthis vocals are phenomenal. His tortured screams and haunting chants are what sets this album apart from anything else I have everheard. You can feel the emotion in his voice, you feel the torment in his soul. Listen carefully to the eerie prophecies that arethe lyrics in "Them Bones", "Rain When I Die", and "Down In A Hole". Prophecies that Layne ultimately fulfills when he is found adecomposed corpse on his couch, an apparent Heroin overdose frombeing surrounded by intraveinous drug paraphenalia. What is so remarkable is that everything from DIRT is fulfilled--he died all alone, rotting in his own exile and decay.

Also, this was thelast album recorded with original bassist Mike Starr, which in myopinion is what led to A.I.C.'s demise. When Starr left, the energy he brought with him left also. Although Mike Inez was a veryskilled musician, he was a business decision and never really seemed to fit with the band.

If you had only $15 bucks in your pocket, was stranded in the desert, dying of starvation and someone offered you the choice of buying a meal or Alice In Chains' "Dirt", you should buy "Dirt".

Its that damn good.


AMAZON.COM CUSTOMER REVIEW
A SEASON IN HELL ! (Dirt was one of the verybest albums from the Seattle alternative rock revolution of theearly 1990s), January 19, 2009
By ol' nuff n' den sum (the Virginia coast, USA)

Sometimes... Life is hell.

I am weary, Idie. This is the grave and I am turning into worms, horror of horrors! Satan, you clown, you want to dissolve me with your charms. Well, I want it. I want it! Stab me with a pitchfork, sprinkleme with fire.
Arthur Rimbaud
from A Season In Hell (Night InHell)

Toll due, bad dream come true
I lie dead, gone undera red sky
I feel so alone, gonna end up a
Big ole pile of them bones
Alice In Chains
from Dirt (Them Bones)

Dark? Hopeless? You bet. But like the dance with the devil and insanity that is Arthur Rimbaud's A Season in Hell, the suicidal torment andlonely mortality of Alice In Chains' Dirt is an uncomfortable element of the reality that is necessary to define the essence of the human experience.

In the early 1990s, four alternative rockbands from Seattle played a major role in saving rock n' roll from the juvenile stranglehold of 1980s hair-metal and synthesizedcorporate pop-rock. Nirvana, Pearl Jam and Soundgarden led a newgrunge/rock movement while Alice In Chains' eerie heavy-metal/blues-from-the-dark-side style featured creepy off-key vocal harmonies, cerebral introspective lyrics and heavy electric guitar rock/metal.

Dirt (1992) was AIC's sophomore album, their multi-platinum-selling breakthrough and one of the best rock music albumsof the 1990s.

The album's themes are tormented and quite disturbing, but the apocalyptic hoplessness is tempered by a top-notch collection of perfectly performed and produced songs that are much more melodious and professional than what you might expect from this type of album. Dirt features a variety of atmosphere, smart production details and musical surprises such as the minor-keyclassical guitar calmness that accompanies the lyrical sorrow and frustration of Down In A Hole.

Down in a hole, losin' my soul
Down in a hole, out of control
I'd like to fly
But my wings have been so denied

Dirt is a great album, and although it's depressing aura and macabre subject matter won't appeal to everyone, the music itself is thoughtfully crafted, authentic and exciting. The electric guitar work on the album rocks, and the eerie vocal harmonies are remarkably weird, captivating and very well done. Alternative Rock, Heavy-Metal, Grunge, whatever. This isjust really great music!

"...I've tried to hide myself from what is wrong for me." ID3G: 254

1.2:30Them Bones
2.3:10Dam That River
3.6:02Rain When I Die
4.5:39Down In A Hole
5.5:30Sickman
6.6:16Rooster
7.5:10Junkhead
8.5:17Dirt
9.3:51God Smack
10.0:44Iron Gland
11.5:17Hate To Feel
12.4:48Angry Chair
13.3:26Would?


Discid: rock / 950d7f0d


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