When I opened this album, my first thought was, “please don’t let this be yet another tribute disc consisting of unknown death metal and industrial bands doing bad covers.” Fortunately, the CD turned out to contain a pretty even split between known and unknown bands, with a noticable lacking in the “bad death metal and industrial covers” department.

Some of the covers like Electric Frankenstein’s “High Voltage”, Fukemos’ “Thunderstuck” and Honky’s “Dirty Deeds” stick true to AC/DC’s originals, while others like Upper Crust’s “Back in Black”, Dwarves’ “Big Balls” and Ironboss’ “Whole Lotta Rosie” pump some originality into these classic songs. Regardless of the takes on the songs, all the bands seem to encompass that whole “AC/DC rock and roll” attitude, which is what this disc is really about.

I’ve sat here for an hour, listing to this disc and trying to think of something more to say. Check out the track listing. If you like what you see, pick it up — it’s definitely $10 well spent. Other than that, I can’t really think of anything else of say. Chalk this up as my shortest review ever.

No applause, please.

01. Chapstik – Beating Around The Bush
02. Upper Crust – Back In Black
03. Electric Frankenstein – High Voltage
04. REO Speedealer – Rocker
05. Ironboss – Whole Lotta Rosie
06. Zeke – Downpayment Blues
07. Dwarves – Big Balls
08. Chrome Cranks – Dog Eat Dog
09. Honky – Dirty Deeds
10. Supersuckers – Rock and Roll Singer
11. Lollipop – Girl’s Got Rhythm
12. Voltage – Riff Raff
13. Fuckemos – Thunderstruck

Despite Hearse’s claims of being a “Swedish melodic death metal” band, there’s a hell of a lot more to them than that. During my first listen to Armageddon, Mon Amour, the sophomore offering from the band, I also heard a lot of Gorefest, Entombed, and good old-fashioned thrash thrown in the mix for good measure as well.

Don’t get me wrong; I can see where the melodic death metal comparisons come from. “Mountain of the Solar Eclipse”, the opening track of the disc, is filled with double bass and death-like single stringed riffs. But when the solos kick in, the track takes a serious turn toward the thrash metal genre. And that’s really the basis of this CD — 11 kick ass heavy tunes with a death metal sound and vocals combined with thrashy riffs. The songs have so many little parts and influences that it would be hard for me to classify this as anything but simply “heavy”.

Johan Liiva (ex-Arch Enemy) delivers his patented gravelly howls constantly throughout the disc which probably adds to the death metal comparisons. Listen to Liiva’s performance, and you’ll realize what so many other bands have been trying to do over the years. In fact,the whole album’s like this — it’s simply a guide on what to do “right” for so many other bands who have failed trying. The vocals are just one of the great performances on the disc. A couple of minutes into “Crops of Waste” there’s a breakdown that will show you just how tight these guys really are. Tracks like “Cambodia” and “Tool” show off the band as a whole.

I haven’t written much this week for the simple fact that I’ve had Hearse’s Armageddon, Mon Amour stuck in my car CD player for the past several days. Hearse hasn’t tried to reinvent the wheel; rather, they’ve taken classic metal influences and combined them rather perfectly into something new.

01. Mountain Of The Solar Eclipse
02. Turncoat
03. Crops Of Waste
04. In Love And War
05. Ticket To Devastation
06. Tools
07. Cambodia
08. Sodi
09. Play Without Rules
10. Determination
11. Armageddon, Mon Amour

Despite whether or not you personally enjoy his work, Rob Zombie knows how to tell a story. Whether through music, movies, or simply speaking, the guy does a good job of stringing together interesting tales. The soundtrack to Zombie’s latest film, a remake of the 1978 classic horror film Halloween, is no different.

What is different this time around is the lack of original material. (Then again, I’m still trying to forget Zombie’s version of “Brick House 2003” from his House of 1000 Corpses Soundtrack (Review.) Zombie’s Halloween sountrack consists of twelve tracks: two Tyler Bates scored tracks from the film (“Halloween Theme 2007” and “The Shape that Stalks Laurie”), and ten classic hits from the 70s. Each of the twelve tracks are preceeded by a short sample from the film, bringing the overall number of tracks to twenty-four.

The first half of Zombie’s remake takes place in the 1970s, focusing on Michael Myers’ childhood. Songs from that era have been pulled and used to connect the samples and tell a complete story. After seeing the film and listening to the soundtrack I doubt you’ll think of Nazareth’s “Love Hurts” and KISS’s “God of Thunder” in the same light. In that regard, Zombie is able to breath new life into old tunes.

Production quality varies among the presented tracks, with some of the older tracks such as The Misfits’ “Halloween II” and Iggy Pop’s “1969” sounding muted and under produced compared to the others. Then again, I’m pretty sure both of those artists would take that as a compliment. Most of these songs originally appeared on 8-tracks anyway; I’m guessing “high”-fidelity had a completely different meaning back then.

Although the music presented here is all essentually kid-friendly, the in-between movie samples are definitely not. While some of the soundtrack’s songs (like Alice Cooper’s “Only Women Bleed”) may have been controversial when they were originally recorded, there’s nothing offensive contained within. That stands in direct contrast to the audio samples, which contain f-bombs aplenty.

01. These Are the Eyes (Dialogue)
02. Halloween Theme 2007 by Tyler Bates
03. Is the Boogieman Real? (Dialogue)
04. (Don’t Fear) The Reaper by Blue Öyster Cult
05. Are You Saying Michael Did This? (Dialogue)
06. Love Hurts by Nazareth
07. I Hope She Likes Cripples (Dialogue)
08. Baby, I Love Your Way by Peter Frampton
09. A Taco Deluxe Supreme (Dialogue)
10. Tom Sawyer by Rush
11. Driven By Pure Animal Instinct (Dialogue)
12. Let It Ride by Bachman Turner Overdrive
13. Trick or Treat, Baby (Dialogue)
14. God of Thunder by KISS
15. Satan’s Mother (Dialogue)
16. 1969 by Iggy Pop
17. Talking About The Anti-Christ (Dialogue)
18. Only Women Bleed by Alice Cooper
19. Needs to Get Laid (Dialogue)
20. Halloween II by The Misfits
21. Was That the Boogieman? (Dialogue)
22. The Shape That Stalks Laurie by Tyler Bates
23. The Scream (Dialogue)
24. Mr. Sandman by Nan Vernon

This CD had me saying “Ho Ho Ho” from the very beginning — and not just because of the three ho’s found in the CD artwork. We Wish You A Hariy Christmas is the perfect holiday gift for that mullet wearing, Camaro driving man in your life.

We Wish You A Hariy Christmas sports a sticker on the front which reads, “80’s Metal Rules!” and “Contains Absolutely No Nu-Metal”. True to its words, this holiday disc from Koch contains eleven Christmas hits performed by some of the greatest hair bands of the 80’s.

Several of the songs are Christmas classics, like Warrant’s version of “Father Christmas” and Gilby Clarke’s rendition of “I Saw Mommy Kissing Santa Claus.” Other tracks, like Danger Danger’s “Naughty Naughty Christmas” and Pretty Boy Floyd’s “Happy Family” were songs I’d never heard before.

And in fact, I believe most of these songs were recorded specifically for this compilation. While “Naughty Naughty Christmas” found its way to The Santa Claus 2 soundtrack, I don’t think I’ve heard any of these versions before. And that’s a cool deal — nothing sucks more than buying a compilation album only to find that you’ve already heard half the tracks on other albums.

The only bone I had to pick with this album was with the liner notes. While Koch does give us the band, website, lineup and studio information for each song recorded, they don’t tell us when they were recorded, or who did the original versions.

Still, that doesn’t take away from this fun holiday album. Ten of the eleven tracks are old school rockers, with only Faster Pussycat’s version of “Silent Night” ending up as some techno-drum machine nightmare. Everything else here sounds like it could have appeared on the first season of the Headbanger’s Ball — just what the elves ordered.

We Wish You A Hariy Christmas is a perfect stocking stuffer for the dude in your life who still uses Aqua-Net, or the chick you know who just hasn’t let go of those ankle-high pointy black boots. Should work good as the soundtrack for your late night egg-nog drinking parties, or just as background music while your little headbangers open presents.

01. Father Christmas (Warrant)
02. Naughty Naughty Xmas (Danger Danger)
03. Happy Holiday (Enuff Z’Nuff)
04. Run Run Rudolph (LA Guns)
05. Everyday Should Be Like Christmas (Bullet Boys)
06. Jingle Bell Rock (Tuff)
07. Won’t Be Home for Xmas (Every Mother’s Nightmare)
08. I Saw Mommy Kissing Santa Claus (Clarke, Gilby)
09. Happy Family (Pretty Boy Floyd)
10. Santa’s Back in Town (Roxx Gang)
11. Silent Night (Faster Pussycat)

Time and music have a funny relationship. In one way, it seems like just yesterday that I was listening to Appetite for Destruction for the first time. But when you stop and put a pencil to it, it’s actually been seventeen years.

It’s amazing that Guns N’ Roses’ legacy still remains today. After releasing an album, an EP, an album of covers, and a double album, the band disintegrated. By the time the band released “You Could Be Mine,” Steven Adler (drums) was out, Izzy Stradlin (guitar) was missing, and the band had added Dizzy (on keyboards). Five years after the band exploded, they imploded.

Guns N’ Roses “officially” broke up in late 1993, rougly ten years ago. For half of that time, we’ve been hearing about Chinese Democracy, Axl Rose’s new album with an all new GN’R lineup. By playing life a couple of times and leaking a song snippet or two to a couple of radio stations, Axl has managed to keep his band in the news despite the lack of a new album. The ex-Gunners have managed to use this exposure to their advantage as well, recruiting Scott Weiland (ex-Stone Temple Pilots) as a vocalist and calling themselves Velvet Revolver. Despite all these bands writing all this music, no one’s released a damn thing.

Until now. Universal Music proudly presents Guns N’ Roses Greatest Hits (Volume One, no doubt).

GN’R officially released five albums — none of them out of print or difficult to find. Fans of the band who already own all five albums will be disappointed to find no new material here. Greatest Hits consists of the band’s big radio singles, and a few cover tunes. If you were a fan of “Welcome to the Jungle”, “Sweet Child O’ Mine” and “Paradise City” from Appetite for Desctruction, you’re be one happy rocker. If you were a fan of other songs (like “Mr. Brownstone”, “Anything Goes” and “Rocket Queen”) you’ll be SOL here.

With only room for fourteen songs, it seems like a waste to include tracks like “Ain’t it Fun,” “Since I Don’t Have You” and “Sympathy for the Devil” on the disc.

I listened to the entire thing and enjoyed it thoroughly. I miss Guns N’ Roses and can’t wait to hear what both camps have in store for us in the future. However, the world has changed a lot since 1987. For the price most double albums (and many single ones) you can buy a CD-Burner (if, for some reason, your computer didn’t come with one). If you’re any sort of GN’R fan you already own the albums, and if you own the albums you can create this one. If you’re not a collector, save your cash and wait for both Guns N’ Roses and Velvet Revolver’s new albums.

You know, I’ve actually been to Billings, Montana. I don’t know what there is to be so angry about. Seemed like a nice place to me. Try telling that to Grudge, the latest metal band hailing from the beautiful northwest.

After popping Grudge’s debut album Forgiveness into my CD player, I thought it started out sounding like most of the other nu-metal albums I’ve heard recently. By the end of the second song, I had written off the band as yet another hard-alternative band.

How wrong I was. Once Grudge gets their radio singles out of the way, they begin to rock.

Fans of classic metal, double-bass, and chunk-rock will enjoy this disc. Even during the first couple of songs on the disc, you can feel the momentum slowly building, churning. Once Grudge gets the ball rolling, they push it fast and hard all the way to the finish line, 44 minutes and 10 tracks later.

Traces of Corrosion of Conformity, Sevendust, and Faith No More can be heard throughout the disc, even though they really don’t sound like any of those bands. The vocal work on the disc is very emotional, and even the growling is stylish. The fretwork covers a lot of ground, everything from palm-muted grooves to 80’ish solos. Grudge’s drumming reminded me a lot of Chaos AD-era Sepultura, with lots of short bursts of double bass and constant grooving.

“Hate Me”, “Suck Factor”, “12 Gauge”, and “Pissed Sick” all stand out as outstanding tracks. I’d recommend the disc for any Staind fans who are looking for something just a touch heavier. Any fans of pre-Korn metal will definitely enjoy the album. As long as these guys can stay pissed off and have something to write about, I think they’ll do just fine in today’s metal scene.

01. Forgiveness
02. Panaphobic
03. Pissed Sick
04. New Seed
05. Carni
06. 12 Gauge
07. Suck Factor
08. Wave of Hate
09. Filth
10. Hate Me

For work yesterday I ended up spending eight hours in my car (round trip to Dallas and back). While some people think of that as a pain in the ass, I prefer to think of it as getting paid 34.5 cents a mile to listen to new music and come up with reviews!

The first disc that worked it’s way into my changer (and has since worked it’s way back out) was the self-titled release from Florida-based Groovenics. Both their bio and website proclaim that the Groovenics are “The future of heavy music as we know it. If this is the future of heavy music, then please dear God, kill me now so that I may live in the past forever.

I hate to start out right off the bat by picking on a band’s bio because I really feel that a band’s sound should talk louder than their bio – however, the beginning of their bio says that fans of “Incubus, Mr. Bungle, A Perfect Circle and Deftones” should enjoy their music. First of all, I am a fan of Mr. Bungle, A Perfect Cirle, and the Deftones, and the Groovenics should not even consider themselves in the same ballpark as those bands. Second of all, I think this band sounds *exactly* like Incubus. I don’t know about you, but I certainly don’t think of Incubus as “the future of heavy music as I know it”. In fact, as of this writing, Incubus has the number one video on VH1. Incubus, Groovenics, and anyone else who sounds like those two bands do not constitute the future of heavy music. To be honest, I don’t think they consitute the future of much of anything.

Their online biography also mentions that “each member [of the band] draws from their own pool of stylistic influences, tapping into metal, punk, funk, pop and electronica.” Can’t argue with that; there’s plenty of punk, funk, pop, and electronica thrown in all over the place. An older website I found that pays tribute to them says that they combine “hardcore, jazz, industrial, ska, hip-hop, punk, latin, surf rock, and anything else they can get their hands on.”

Apparently combining “hardcore, jazz, industrial, ska, hip-hop, punk, latin, and surf rock” sounds a lot like Korn, because that’s what the majority of the guitars sound like on this album. The Groovenics have adopted the well known “feedback” sound – You know, guitar tracks that go “chunka-chunka WAAA, chunka-chunka WAAA-WAAA.” The majority of the songs do in fact remind me of Incubus. The drum and bass work are solid and provide a good platform for the rest of the band to build on, but the heavy keyboards and weak guitar don’t do much to take the music up a level. The vocal work is probably the most annoying thing on the record – sometimes it’s good, and sometimes it’s awful. K*rl Michaels (I’m sure his friends knew him when he was just Karl) takes the most annoying parts of Serj Tankian’s (System of a Down) vocal style and multiplies them to new heights. At one point, I actually thought that Michaels was doing a Jim Carrey impersonation. His singing at times is decent, but his screaming gets old. Fans of the genre may enjoy the album, but not being a fan of the band, nothing jumped out at me and drew me into their world.

Like most new bands currently trying to break ground, the band has a spectacular website online. www.groovenics.com has a ton of pictures, songs, multimedia, desktop wallpapers, and other goodies out there waiting for you. I found the website to be much more entertaining than the CD. Both the website and the packaging of the CD are very professional and clean in appearance, and do a good marketing job.

Groovenics follow the current trend of including a nu-metal version of an 80’s classic by tacking on their version of Def Leppard’s “Pour Some Sugar On Me.” I’m all for covering old classics (I rather enjoyed Alien Ant Farm’s recent version of “Smooth Criminal”), but for some reason this one doesn’t do anything for me. The bottom line with it is, it’s not any better than the original. Screaming over and adding distortion to old 80’s songs doesn’t necessarily make them better.

As for the rest of the songs, there’s no sense in me going through and ripping each one apart individually. The overall vibe of the music is not as “heavy” as bands like, say Linkin Park or Papa Roach. Is the band talented? Yes. The songs show strong pop sensability and will give lots of young teenage boys and girls the pseudo-angst they need to make it through junior high. The songs have a lot of “rapping” over the verses and screaming during the choruses, a definite pattern which much be followed in the nu-metal world. However, if you’ve been into music for any length of time and “know” music, you’ve heard this before – and you didn’t care much for it the first time, either.

People won’t be talking about the Groovenics’ second album. In fact, in a year, they won’t be talking about this one either. Groovenic’s self-titled disc is a small fish in a big sea of nu-metal crap. From what I’ve found on the internet, it looks like they’re a pretty good live band and have a pretty large following in West Palm Beach. Unfortunately, I’m not sure that’ll be enough to take them to the top. If their sole idea of marketing is to target the metal crowd, they should probably rethink that plan very quickly. If, however, they can get one of their acoustic/electric songs played on TRL just once, the sky will probably be the limit and we’ll be stuck hearing this band for a long time. The Groovenics have a specific market in mind – angry youth. Kids who are angry enough to want to rock but are too young to know who Max Cavalera are will be the most likely to pick this disc up.

Harmless rock intended for nu-metal fans. Not, however, the future of heavy music.

01. Just Right
02. Windchill
03. Teach Me
04. RAM
05. Spooky
06. Shiver
07. Scratch and Sniff
08. She’s a Freak
09. Chopsticks
10. Superstar
11. Booty Barn
12. Get it Started
13. Pour Some Sugar On Me

I’m sure somebody somewhere thought Six Feet Under covering AC/DCs Back in Black album in its entirety was a good idea. After all, AC/DC’s 1980 album is a classic example of sex, drugs and rock and roll with a side order of violence. No stranger to those same topics (as heard on songs such as Burning Blood, Revenge of the Zombie, and Feasting on the Blood of the Insane), it would seem as through Six Feet Under and AC/DC’s Back in Black would be a match made in Hell. Unfortunately, somewhere along the way things went terribly wrong.

AC/DC fans have been split for more than a quarter century now between Bon Scott (AC/DC’s original front man) and Brian Johnson, his replacement. After Scott left the band (and the planet; he choked to death on his own vomit), Johnson joined the band and as a tribute to all that is Bon Scott, the band (along with a little help from Mutt Lange) wrote and recorded the bands seventh studio album, Back in Black. Johnson’s vocal style and delivery differed from Scott’s, and fans have been arguing over who was better ever since.

In a distant third would be Chris Barnes, lead growler of Six Feet Under and former lead singer of Cannibal Corpse. Barnes’ vocal delivery consists of little more than one long monotonic grunt. And, at least for a few minutes, it works; lines like “You’re only young, but you’re gonna die”, and “if you’re into evil you’re a friend of mine”, sound convincing enough. But as the album goes on, Barnes’ death metal delivery becomes less and less applicable. By the time we reach Given the Dog a Bone, the shtick seems silly; by You Shook Me All Night Long, it just seems stupid.

Even worse than Barnes is guitarist Steve Swanson, who simply isnt as good as Angus Young (who is?). Swanson attempts to hide the fact by hiding behind frequently pitch-bending notes and plenty of whammy solos, but the difference is blatantly obvious in well-known riffs such as the opening of You Shook Me All Night Long. Even worse is the heavy distortion and dropped tuning, which creates a muddy mess and completely strays from the dynamics AC/DC originally delivered. While Swanson is obviously a talented guy, the mix does him no favors. Terry Butler (bass) and Greg Gall (drums) more or less stick to the original material.

Six Feet Under could have done something really neat with this tribute and made these songs their own by adding double bass or changing the tempos perhaps. Instead, they recorded ten fairly straightforward cover songs and growled over the top of them. I cant imagine either AC/DC or Six Feet Under fans getting a kick out of Graveyard Classics 2 more than once. Its like one of those weird, alternate universe things comic book fans drool over like if Superman and Han Solo hung out for a day. At the end of the day, Han Solo and Superman dont really have that much in common. Then again, neither do AC/DC and Six Feet Under.

The sole point of reviewing a CD is, for me, the reviewer, to try and convey to you, the reader, what a CD sounds like. Many reviewers talk about what genre a band is in. Others try and describe a CD’s sound by comparing it to bands the reader may already be familiar with. (“This sounds like Metallica with a little Britney Spears thrown in,” for example.) With that in mind, let me tell you what Godflesh’s latest CD, Hymns, sounds like.

When I was about eight years old, my father decided to put a new engine into his Blazer – a big block 454 out of a ’70 Corvette Stingray. After a couple of months of working on the project, it was time to test everything out. It was the middle of December. With dad in the truck and me standing in front of it, he started the engine. The headers weren’t hooked up, and it was SO loud. Common sense told me to try and stuff my mittens into my ears – but I didn’t. I stood there, listening to the excrushiatingly loud “buh-buh-buh-buh” of the idling engine and feeling the rumble in my stomach, which felt SO good. Dad yelled something to me out the window, but all I could do was smile, wince, and give him the thumbs up.

That’s what Godflesh sounds like.

A slow, heavy, crushing wall of pain that tickles and upsets your stomach at the same time. That’s Hymns. Those of you who weren’t thrilled with the experimental sound on the last couple of albums (SoLaH and Us & Them) will be glad to find Godflesh have returned “home”. By keeping the riffs simple, the guitars tuned down, the drums wonderful and the vocals in your face, Godflesh have churned out a winner. I’ve heard the word “bleak” used to describe the overall album sound – accurate, I’d say. Certainly not an album I’d want to listen to while alone and with a loaded gun in the house.

You want band comparisons? Maybe slower Prong, maybe heavier Clutch, with a little Melvins thrown in for good measure. When some people hear a blast beat they say, “that’s heavy!” For me, when you hear a six minute song that is filled with guitars turned down to B and matching bass, constantly licking and teasing you into thinking it’s going to speed up or explode or climax at any moment, eventually rewarding you with a massive onslaught of brutal mass … THAT’S heavy. Quit thinking about 130 beats a minute and respect 13.

Much of the new album has clean vocals, which marks a bit of a direction change from the last few albums. There’s a split between drum machine tracks and live drums, but to tell you the truth I had trouble telling

which tracks were which. The guitars and bass mix together in a dirty low end swamp, but you can still tell them apart in the mix.

The CD booklet leaves quite a bit to the imagination. The photography of sparks, swirls, and flames is interesting, but I’d trade a lyric sheet for it in a second. In the 8 page booklet you get a track listing, a picture of the band, a “thanks” page and a lot of pictures of fire. The Godflesh website has a collection of lyrics as interpreted by listeners, but nothing official by the band.

Godflesh isn’t for everybody. You can’t dance to it. You can’t even walk to it, really. Everytime the CD’s on I end up stomping around the house very slowly like Godzilla in one of those old films – much to the enjoyment of my wife.

01. Defeated
02. Deaf Dumb and Blind
03. Paralyzed
04. Anthem
05. Voidhead
06. Tyrant
07. White Flag
08. For Life
09. Animals
10. Vampires
11. Antihuman
12. Regal
13. Jesus

One of the most popular rap acts of the mid-1980s was DJ Jazzy Jeff and The Fresh Prince. Lighthearted hits such as Parents Just Don’t Understand and Girls Ain’t Nothing but Trouble introducted the duo’s family-friendly style of rap to the masses through radios everywhere, and in 1998 the pair appeared on the pilot episode of Yo! MTV Raps, elevating the duo’s status to Beastie Boys/Run DMC levels. In 1989 the group won the first rap Grammy ever.

Jazzy Jeff & Fresh Prince’s Platinum & Gold Collection is just one of three greatest hits collections released by record companies over the past few years. Others include Jazzy Jeff and The Fresh Prince – Greatest Hits and Very Best of DJ Jazzy Jeff and The Fresh Prince. All of these have similar tracklistings, and should be available in the bargain bin of your choice.

Younger fans of the genre may not remember pre-gangster rap artists such as the Fresh Prince, who bordered on novelty act with hits such as Parents Just Don’t Understand, Girls Ain’t Nothing but Trouble, I Think I Can’t Beat Mike Tyson and A Nightmare on My Street. Humorous lyrics and non-abrasive beats made the duo accessible for all ages. The group’s silly music videos appealed to younger fans while the humorous and fluid rhymes kept older crowds entertained. With the group’s overall light tone it is easy to overlook how good DJ Jazzy Jeff actually was; a pioneer of the turntable field, Jeff’s skills are highlighted throughout the disc.

No Fresh Prince compilation would be complete without the group’s massive hit single Summertime, which appears here in its original format (previous packages have contained remixes or edits). Summertime hit #1 on the US R&B charts in 1991 and earned the group their second Grammy.

The rest of the collection’s songs are pulled equally from the group’s five studio albums, from 1987’s Rock the House to 1993’s Code Red. Conspicuously missing are Will Smith’s solo efforts (Gettin’ Jiggy with it, Men in Black, Welcome to Miami, Just the Two of Us, Wild Wild West, etc.) For those you’ll need to pick up the first of presumedly multiple solo Will Smith Greatest Hits albums.

01. Parents Just Don’t Understand
02. A Nightmare on My Street
03. Summertime
04. Boom! Shake the Room
05. Girls Ain’t Nothing but Trouble
06. I Think I Can Beat Mike Tyson
07. I’m All That
08. He’s the DJ, I’m the Rapper
09. Too Damn Hype
10. Pump Up the Bass
11. Rock The House
12. Just One of those Days