The Real Thing is the third studio album by American rock band Faith No More, released on June 20, 1989 by Slash and Reprise Records. It was the first major release by the band not to feature vocalist Chuck Mosley. Instead, the album featured Mike Patton from the experimental/funk band Mr. Bungle
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Fusion Faith No More. Band's List Fusion Faith No More The Real Thing. Band Name Faith No More. Album Name The Real Thing. Released date 20 June 1989. Labels Slash Records. Recorded at Studio D. Music StyleFusion. Members owning this album390.
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His insane, wide-ranging musical interests would have to wait for the next album for their proper integration, but the band already showed enough of that to make it an inspired combination. Bottum, in particular, remains the wild card, coloring Jim Martin's nuclear-strength riffs and the Bill Gould/Mike Bordin rhythm slams with everything from quirky hooks to pristine synth sheen.
Being that I was not even 13 at the time, that album immediately went over my head. But as I was saying about that booklet, I decided to give FNM another chance (Hey, if Fred Durst and Co. like it, it MUST be good, right"), and it’s been love ever since. Growing out of that collection of songs quickly, I turned my focus back onto that certain album that had eluded me earlier. And so it was, I thumbed through the F section of the store’s albums and found what many fans consider to be their first great album, The Real Thing. There were only three songs on the greatest hits cd that represented this lp, and I certainly did come to this album rather cold.
But while The Real Thing represents an important chapter in Faith No More's history, there's a reason why the album barely registers on the setlists of the band's current tour: a lot of it is hard to extricate from its date of origin. And that's a function of both its connection to a long-past funk-metal zeitgeist and the band's own subsequent development. However, Patton's long-abandoned MC moves aren't the only thing that marks The Real Thing as a definite product of 1989. While the dubbed-out title track centerpiece and the explosive "Zombie Eaters" (a template for the sort of stentorian power ballads FNM friends Metallica embrace on The Black Album) serve powerful displays of Patton's melodic/monstrous extremes, he had yet to fully emerge as the hydra-headed vocal dynamo we know him as today, while the unnecessary note-for-note cover of.