Rage Against The Machine

Not for me but I’m sure there’s some middle school kid who needs to hear this dn

Generally first time listening to a whole metal album… ngl my ears alr hurt in the first song Most of the time I can’t hear the lyrics Generally deep lyrics throughout I don’t have much anger in me to resonate with this album But their usage of instruments is really quite cool

For what it is, I think it is really good. The only thing wrong is that it just isn't my preferred style of music. I think it is a shame, because I think that if I were into this genre, I would really enjoy this album. There are definitely some songs that I found quite interesting to listen to. My issue with albums of this genre is that instrumentally, it is always the same throughout... Yeah, there are some interesting things they can do at times with those instruments, but I would like a bit of variation, maybe with different instruments throughout. I didn't have an issue with the vocals... they worked well with the style and sound, so no complaints on that end really. I just think that I don't kind of vibe with the lyricism of most heavy tracks, but I can appreciate some of the creativity behind them. Standouts: Killing In the Name Know Your Enemy Freedom

The album was good included protest and rebellion against the whole system "machine" , the album was not that screamy easy to listen and understand,

#15 - Rage Against the Machine - Rage Against the Machine ⭐️⭐️⭐️⭐️⭐️ I’ve never actually listened to a Rage Against the Machine album. I’ve just heard the radio songs. This album is absolutely fantastic. It’s so sincere and authentic and full of…rage…against machines… Considering that this album is right in the wheelhouse of what I was listening to in the 90s, I’m surprised that I never looked into it. I have a very good friend who doesn’t like them so that probably influenced me to avoid them. But this debut album is so strong that I plan to listen to it again for sure. It’s the first new five star album that I’ve covered in this project so far.

Dios sabe que lo intenté.

Incredible energy

Ignoring that this is another album that my Republican Cop dad loved until he realized that it was making fun of him and now hates it, which is basically an automatic 5 stars, holy shit, this kicks ass. Killing In the Name is beloved and well known, but every song on this album is so angry, correctly, and it's amazing. Maybe my only complaint is the band likes to do that "repeat the same phrase while slowly building up more anger" thing a few too many times, but that's not a huge deal.

Harkens back to a very specific point in the 90s rock scene that was very deeply against what America was becoming--a country of quiet disdain so that polite society's vanity would remain undisturbed. An excellent blend of the 80s/90s "rap" (if you can call Rage's vocals that) and heavy rock, both used in service towards a greater, angrier message. This album is perfect in service to its namesake, it is an angry group of people that want you to stand up against the large-looming shadows of oppressive capitalism, discrimination, hatred, and worst of all, the societal rationalization of these practices. It wants you to "Rage Against the Machine".

The tragedy of listening to this album in 2026 is hearing Rage call out exactly where things were headed 34 years ago and knowing nothing was done to stop it. Their music is filled with anger at the system and begging people to hear them and see it. Sadly, we heard nothing. As for the music itself, it’s angrier than I tend to prefer anymore. But the skills on display are nothing to scoff at. The drums and guitar, though often discordant, are on point. The vocals really highlight the anger and frustration. Solid album and a message we need now more than ever.

3,5

Plucky, angry, infectious rage canistered into a formula that many have attempted to replicate and have failed to do so. Rage brings a powerful call to action with their lyrics that would make the meekest man pissed off at how the world has sanctioned him. The base lines control you with a groove, and Tom Morello is a visionary. Great start.

Super

Samey throughout but I dig it.

Well, this takes me back to junior high.

"Killing in the Name" faz parte da banda sonora da minha adolescência. "Know your enemy" é incrível. "Wake up" é chef's kiss! Continua atual, mesmo 24 anos depois!

Excuse my language, but I frickin love this album! It really resonates with the feelings I have about the slight inconveniences I face in my white-collar life ✊🏻. #corporatewageslavesunite

I too would like to rage against the machine.

It's wild this album still feels very relevant and on the nose almost 25 years later. Timeless, and if you wanted a more in depth review - fuck you I won't do what you tell me.

Aggressive, technical, and energetic - this album makes its message clear and loud with scathing vocals, driving bass, and precise rhythms. Unlike many other albums on this list, the tracks on this album that didn't become humongous hits were still on message and carried the passion and quality songwriting of the other tracks. This stands as a hallmark of a great album wherein the hit tracks hook you for a listen, but the remaining tracks do not lose your attention or appreciation. Township Rebellion receives a gold star for its funky, syncopated, rhythm - an example of the technical nature of the musicianship on this album that is sometimes overshadowed by its loudness or political messaging.

90s alt rock. Very political debut. Hard and angry, pretty great.

Really not my thing.

listened to this at eastern state penitentiary and it was fire

The kind of music Little Timmy listens to when his mum doesn't let him have ice cream for breakfast

God

Loved this album in high school and love it now. Perfection. 100000/10. No notes. I just wish they were here now making music when we really need them the most! 😭

Not my cup of tea. Bullet in the head was a fav

just not as good as evil empire

Classic

Obra prima absoluta, revolucionário em diversos sentidos.

Meh1

6 - AVERAGE

Bomb

I have gotten a few rap/rock records that I have gotten and I have very much disliked. This is not a record in that conversation. This is not a rap/rock record, this is a statement. When this came out, I remember being absolutely blown away by the sounds coming from Morello's guitar and the power of the words by De La Rocha. I listen to it now and the words are still accurate. The music stands up. The words, unfortunately, still matter. Wake up.

give your guitarists head bro

A fun reunion with Zach and his anger. This isn't especially good, but it's not bad either. Nostalgia tips this in a positive direction as well. The land of the free? The one who told you that is your enemy. 😀

ну...таке нормісне

I appreciate the passion and enthusiasm...this stuff rocks hard. But there were a few times I didnt know the song had changed and even strarted it over again. Evil Empire has a bit more diversity. 3.5

really good! so much energy in all of these, especially killing in the name of. hard to not get swept up with it

Full of classics but get annoyed by his teenage crisis voice ! Also, many songs are using the similar riff which makes you feel that you're listening the same song over and over

Heavy hitting songs. Can be a little one dimensional at times so has it's time and place but might skip a song or two

The best RATM album and still sounds as fresh on 2026 as it did when it came out. It’s ability to ramp up emotions in the listener is a solid feat.

This is something that i usually don't listen, or ever. However, this album was a delight. LOVED LOVED LOVEDDD the guitar sounds. I think my favorite songs from the album would be 'Killing in the name' and 'Take the power back'. Overall, I would rate this album a 7/10.

Metal lite

I mean, it’s Rage Against the Machine. Unique sound and just a standout record overall

Єдина моя претензія до альбому це його надмірна однорідність, десь після другої третини складається відчуття, що слухаєш одну й туж пісню знову і знову. Але це не так вже й велика проблема, бо ця пісня розйобує. Пробивний бас, металічні барабани, агресивний вокал і енергійна гітарна робота, що ще потрібно для хорошого металу? Особливо сподобалась пружність цього альбому, під нього прям хочеться стрибати й кивати головою. Оцінка: низька-середня 8

Perfect. Nice and heavy.

Another album where it's hard to separate nostalgia from quality. Who am I kidding? This is a solid gold five. Unfortunately it's as relevant (if not more) now than it was then.

Un classico

Such an excellent set of musicians. The thickest chunkiest rhythm section in popular rock maybe. Tom may be hooked on pentatonic led zeppelin riffs, but it really works. Beautiful sensitive rhythmic accompaniment from zack, with that sprinkle of genuine young-person rage.. I'm always going to love this record

3.5, for the good mems

Rage doing Rage things. Fantasy angry funk album.

Had this on vinyl and cassette. I remember the song “Freedom” was the very first time I ever heard RATM in the 90’s. I was in the 7th grade.

Started out digging this but then it got too redundant. Fight the war, fuck the power, all that stuff over and over. Still bangs though.

It's a 5/5 after a few brews with your boys but a 3/5 when sober

몰랐는데 앨범 표지가 엄청 강렬하네 국밥락 조음! 젊음의 패기가 느껴짐!

Did you do what they told ya?

I like the band, hate the rapping. So Audioslave for the win. skipping this one

Yesterday I went into the Cantina at the new Star Wars land at Disneyland and the bartender leans over, sneakily gives me this, and whispers, “It’s not often we get a Resistance General in here. Thank you for your service.” I almost cried.

bu grubu seviyorummm bu albümü biliyordum güzel

I appreciate this album I can definitely see why it would be considered a classic I just thought it was repetitive Not a huge rap rock fan I liked Bullet in the Head though Bombtrack intro was cool

I fuckin love it, what a great recommendation

10/5 and somehow more timely now than when it was released...

This is my 310th review and my first 5/5. That's all that needs to be said.

Es un rock un poco pesado para mi gusto pero la verdad lo disfruté.

It is such an energetic album. The politically-themed angst throughout the album is even more so relevant as time passes. 8/10 [KEEP]

Fine for what it was and the time of its release. Doesn't hold up.

Сара 2 Марко 4

Álbum foda, som da hora. Fico de cara o quanto eles repetem a mesma coisa na letra da música. O cara escreve 2 linhas e repete 20 vezes. Mas várias clássicas aqui que me lembram a banda, Tony Hawk e o show do PH no Big Bowling.

Gostei mais do que eu imaginava que iria gostar. Apesar de não ser tão fã dos berros descontrolados que o cara dá as vezes, as músicas em si achei bem divertidas. Elas pedem uma batidinha de cabeça. Até adicionei mais algumas que eu não conhecia. Enfim, me surpreendeu bem positivamente, não fica chato, é divertido, tem o tamanho certo. 4 estrelas bem sólidas.

These guys are PISSED OFF and make me pissed off. There is little fairness in the world but a heaping pile of stinking hypocracy that we live in every day. But if you're going to be this angry, at least you can bang your head to this. Rock on guys.

One of the top 10 albums of all time for me. Shaped music and political messages in music until today.

I've been in a fucking foul mood the last few weeks, absolutely terrible. This was lovely and cathartic to listen to.

I know it’s good wasn’t in the mood to listen tho may listen another day

didnt like it bc of the rap

I respect the rage but do not like the music much. I added “Killing in the Name” to my playlist.

52 minutes and 55 seconds in a rage room with this on at max volume would do more for my mental health than 30 years of therapy. No matter how many times I play it, it never stops being groovy as fuck, and, more importantly, the words never fail to impact my every emotion, make me rage, drive me to tears, all the while filling me with the satisfaction of being understood. One of the darkest entries on this list, but one that truly gave my life meaning from the moment it first graced my ears.

6 stars!

Me encanta la onda de este album pero las repeticiones se hacen medio densas y ya para el final me sonaba medio igual. Igual descubri mucho banger 8/10

I can appreciate the lyrics, but just not my fave type of music

Sorry not my genre….love the album cover though. What an incredible moment in history

Good but repetitive

It’s practically perfect. Such good bass riffs. a good, funky, thought provoking album

What is there to say. Eons ahead of its time, this music still feels fresh, relevant and more powerful than ever. My favorite thing to do as a corporate drone was to put on this album after lunch and see how quickly my productivity turned into rage.

Never really got into these American alt rock bands from the 90s and it is evident in my ratings for albums from Cypress Hill, Beastie Boys, RHCP, System of Down, Limp Bizkit etc. There are elements in each of these songs that are good and Tom Morello is an excellent guitarist, but the style of the music is just not my thing at all and I feel like his skill is kind of lost in the midst of it. I felt like a lot of the songs sounded the same and followed the same recipe. By the time I got to Township Rebellion, it sounded like the same song I had heard already. I respect the importance of this album, I respect the political commentary, but I am not going to listen to it again. I didn't come away from this listen feeling like I had missed something or wanted to go explore more of their back catalogue. Worst song is Settle for Nothing, standout is obviously Killing in the name, with a shoutout to Wake Up. 3 stars

This album is a masterpiece. The kick drum is so hard and punchy and when underlined by the heavy riffs it produces such a heavy slow impactful sound. The funky bass sounds like it was supposed to be in a different band, but it works so well. The energy, message and attitude of the vocals and lyrics work really well and their repetition mirrors and matches the repeating patterns in the rythem. And then there's the wild guitar magician who breaks up all the repetitive patterns and heavy slow sounds by producing sounds from the guitar that I frankly didn't think were possible. This keeps the tracks interesting and varied while also making the contrast so much more obvious when the tracks then drop down in the heavy riffs Standouts Killing In the Name Bullet In the Head Wake Up Township Rebellion 5/5

Alright… has a handful of good ones.

It's dated as hell but it still rocks pretty hard. His voice is extremely annoying though. I couldn't make it through a whole concert of this but I can deal with a little RATM every now and then.

What can I say? It’s all bomb tracks One of my first cds I bought

Ma première performance sur stage avec mon frère (les 2 à la guit après des années de violon) fût pour un cover de Bombtrack...

Paul s'est exclamé: Bravo!! à la fin de Bombtrack. C'est bon, mais j'avoue trouver ça un peu redondant les gros riffs de hardcore avec le rap à la Beastie Boys par-dessus. Peut-être aurais-je été moins saturé sans les Beasties dans la même semaine.

J’adore Rage. Quoique je connais surtout The Battle of Los Angeles, une de ces pepites que mon frère s’était procuré via la maison Columbia. Mais ici Bombtrack quelle chanson de départ. Zach de la Rocha a l’air en Tabarnack pour frais. Tom Morello shred sa guitare ben raide avec tous ses effets sonores pas possible. Mais cette réécoute plusieurs années plus tard me fais voir que la Force du band c’est la bass ben funky de Tim Commerford. Vraiment un beau mélange bien unique, qui deviendra le Nu Metal du début 2000.

not my genre but enjoyable

Not my vibe, but it's good. Makes you wanna shake your ass a bit 🤤

One of the bests!

One of the best debut albums created, and still so fucking apt today. The machine has always been here, but it's stronger now, and we need to make sure we rage against it until it dies or we do. Any right wingers who listen to this album and just think it is 'work out music bro' need to be put against the wall first in the revolution.

This was really quite good for corporate America rock.

Dang. This is fantastic. This has aged very well. I wasn’t into them back in the day, but I didn’t mind hearing them while out & about. My guess as to why I didn’t buy their stuff back then was my musical taste hadn’t grown yet to appreciate how much swing/funk/whatnot their grooves had. I liked plenty of heavier music back then but I was mainly drawn to simpler and repetitive rhythms (which I still love dearly). My one tiny quibble with this album, and it’s totally a me problem, is some of the bass guitar sounds on this album are a little too “pingy” for my taste. But, again, that’s a me problem and indicative of the growth I still need to make.

Fantastic! The only issue I have is that parts of the instrumentation sometimes veered into the nu-metal sound (not their fault.) But yeah definitely worthy of the list.

As good today as when I was a teenager. I fucking love this album and Tom Morello

Should be cheesy and goofy but it hits so hard god damn

made me want to organize a revolution

classic.

fav songs: ALL OF THEM! massive, tight, furious, political, rebellious 95/100

Not impressed liked most of the guitar entrance and feels like there's more story to the album and more meaning for its time but I don't vibe with it that much generous 3.1/10

Favorite track(s): Killing in the Name Wasn't impressed by this. de la Rocha's whiny vocals go a bit over the top and adds to the reputation that RATM fell out of touch with "the kids". Morello does pretty good, though. Also his uncle invented Kenya or some shit?

Awesome album. I remember when it came out 4.5 stars

I’ve been excited to get this because I had the inverted version of most experiences with this album - I really, really hated it in high school and am hoping my opinion changes as an adult. It wasn’t a particularly informed opinion. I was vaguely aware of their politics and would probably have liked it better if I knew more but I always associated RATM with the kind of bands the biggest assholes listened to. You know, these guys, Sublime, Limp Bizkit, Korn, Slipknot, that kinda music. Every dude you knew who was super into Sublime was also five seconds away from calling you three different homophobic slurs. That kind of dude also latched on to RATM because it was loud and aggressive. Anyway. Listening to it now as an adult I don’t hate it. It’s a little adolescent (“Some of those that work forces / Are the same that burn crosses” is a fantastic line, chanting “fuck you I won’t do what you tell me” shortly after is kind of embarrassing) and there’s a part of me that recoils from rap metal but I totally get the appeal of this band now. It’s a shame I didn’t get a chance to connect with this as a teenager but I’m just as on board with the politics now and I’m happy I got a chance to have my reckoning with the band. Still probably a three but a happy three. It is so, so, so weird that on an album list compiled by elitist music nerds this is the closest we get to Tool being anywhere on the list

I like this album a lot. It has been many years since I last listened and even longer than that since I listened all the way through. I give this a 4 but would likely give Evil Empire a higher rating.

2 tracks in - feeling very skater boy, very punk-ish

Rock masterpiece

They do seem quite mad

Kicks fucking ass

No, no, no......not another angry, rage manic, foul-mouthed album.....I'm hoping they get off this trend soon. I don't know why the summary stated there were 12 songs as both youtube.com and amazon music only listed 10; however, I won't complain. Not my type of music whatever. It all sounds like so much noise I can't hardly distinguish one song from the next other than there were commercials between each song and each song and its own title.

Absoluter banger, 10/10 no notes

10/10 relisten

Cool artists are the best tool the Left has. 🤘 We need more!

The album kind of feels like a moment before an explosion happens. The energy is high, but doesn’t feel like it really gets the release it’s looking for. de la Rocha’s vocals are insane on this one and I love a good cowbell which they incorporate numerous times. All in all, great title album and listening to Killing in the Name brings me back to being a kid and having my mom teach me about why we don’t talk to cops.

You gotta respect the decision to just straight up write a song that's like, "The FBI killed MLK for speaking out against the Vietnam War."

Banger, after banger, after banger. RATM never fails to get me angry about the government 😂

First Listen: Couldn't write down notes as I was listening cause I had the album on at the gym. But just from memory - - Bombtrack through Take the Power Back is an incredible three track opening. I love the explosive energy of the first two, and Zach's upfront vocals. Killing has a nice fast slow dynamic in it, and I love the slap bass in Take the Power Back. I love the political messaging, and that it's simultaneously exploring tough issues, but presenting them in easy to digest ways. Settle for Nothing produces an eerie vibe. Love the bass here. The breakdown hits so hard, and again, I love the quiet/loud dichotomy of a lot of these songs. Zach kinda sounds like a anime dub VA, in a good way. Another standout was Township Rebellion. The later half of the album I don't remember as well, but I'm looking forward to jumping back in. Adding some notes from my second pass. Love Bullet's bassline. Know Your Enemy's high energy feels like the first two, but changes it up enough to not feel too similar. The rhythm breakdown in the end is pretty cool, and I love the tremolo guitar near the start. The almost jazz inspired guitar solo is sick. Wake Up is probably the least unique, but thats not necessarily bad. Maybe a bit long, but the ending makes it worth it. The lead guitar player is insane. I love the slinking bassline in Fistful. Township's percussion based intro is sick. Love the transition into the unison riff chorus. OVERALL: Damn this album is so consistent from front to back. If I didn't know Killing In The Name beforehand, I would have trouble picking out a single. 9/10 T3: Know Your Enemy's, Take The Power Back, Settle For Nothing

Not too familiar with RATM. First listen (excluding 'Killing In The Name'). My only glimpse into rap and funk metal and rap rock is Limp Bizkit. This guys predate LimpBizkit by a few years but a lot of the energy is there and I'm loving all of it. I admire the consistency of the album. The quality never seems to dip into something I don't like; the majority of the tracks (if not all) are bangers. Zack's vocals are so fun and expressive. Tom and Timmy are guiding the flow and rhythm of the tracks perfectly. And Brad's drumming is supporting all of this. I do want to highlight the dis-jointed sudden change in rhythm and tempo in 'Settle For Nothing'. Usually it's something I would find awkward but the Texture given by the instrumentals was something I didn't find myself enjoying as much as I did. The chorus for a lot of the songs adds to the amount of the fun I had listening to this album on my second and third listen. 'Take the Power Back', 'Bombtrack', and 'Fistful of Steel' were my favourite examples of this. All and all, this album has my head nodding to the beats and singing along with it. Also, 'Fistful of Steel' has a FUCKING SICK guitar riff in the middle of it. Ever make me cross my legs. T3: Killing In The Name, Take the Power Back, Fistful of Steel,

raging

Revisiting this album, it's crazy how spot on and important the hardcore political stuff still feels. Tim Commerford's killer bass and Tom Morello's guitar are insane, making a huge sound that goes perfect with Zack's ferocious, passionate vocals. It is an absolute powerhouse of a debut that immediately hooks you and gets your blood pumping, serving as the ultimate high-energy soundtrack whether you are trying to get psyched up for a heavy workout or feeling righteously angry at systemic injustice. At the same time, listening to it with modern eyes brings a deep sense of cynicism and irony that is hard to ignore. There is an undeniable contradiction in a fiercely anti-capitalist, anti-establishment message being produced and heavily profited from by a massive corporate entity like Sony. While the raw, unfiltered anger and aggressive protest songs completely rock on a visceral level, the lack of an actual plan for change makes the revolution feel a bit like a commodified societal release valve. It is a masterpiece of focused rage that completely stands the test of time musically, even if it leaves you realizing that most of us, including the band members living comfortably overlooking the machine, are ultimately just hypocrites navigating the very system we are yelling at.

Of course it’s a banger. Can’t really argue with this one, heavy and clean riffage, powerful drums. Very funky. Wasn’t a fan of the vocals initially when I first listened but they’ve grown on me.

Was a pretty good album although I thought I would have liked it more. Not necessarily any songs I loved but was none I hated.

Bit repetitive, but alright overall

So Christmassy xxxx Honestly feels like it could have been recorded this year, which is both impressive and depressing There's one track that sounds like they just tried to cram in as many annoying noises as possible, that has marked it down for me.

Loved it then. Love it the same now.

J'ai vraiment pas de bol avec le metal, dans cette liste, c'est jamais des trucs que j'aime. Bon, je vais pas non plus faire la gueule, au moins, celui-ci, je le trouve pas nul du tout. Une collègue de la fac m'avais prêté l'album il y a plus de 10 ans et j'avais pas accroché. J'étais curieux d'y revenir, mais décidément, ce n'est pas fait pour moi. Ces riffs ne me parlent absolument pas, ça manque de nervosité, on est assez loin du metal plus... conventionnel ? Bon en même temps c'est de la fusion entre du rap et du metal, ça pouvait pas juste être du heavy metal avec du rap par-dessus, ça aurait été nul. Soyons sérieux 5 minutes : même si j'accroche pas, je comprends pourquoi ça parle à énormément de monde. C'est rageur, ça tape là où ça fait mal et par les temps qui courent, ça fait du bien. Le groupe a une personnalité unique, on le reconnaît en une seconde, ce qui est pas donné à tout le monde. J'ai beau me plaindre des riffs qui ne me parlent pas, il faut bien dire ce qui est : ils sont très efficaces et en concert, ça doit être quelque chose. Avec Zack de la Rocha qui s'énerve par-dessus avec, encore une fois, un chant qui s'éloigne des standards du metal, ça a quelque chose de vraiment cathartique. Je comprends pourquoi cet album figure dans la liste. Bon, c'est pas tout ça, mais quand est-ce que je vais avoir droit à mon album d'Iron Maiden ? Il y a bien un album d'Iron Maiden dans la liste, hein ? Robert Dimery, tu vas pas me décevoir une fois de plus, hein ? PS : oh mais en plus, c'est sorti en 1992, j'avais pas fait gaffe ! C'était carrément avant-gardiste, en plus !

Really enjoyed the vibe of this, properly makes you feel pumped and that you can take on the world. The genre of music isn't really for me. but really well crafted album with some bangers.

10 songs Added to liked: -Killing In the Name (already there) -Wake Up

Nothing really needs to be said about this one, a definitive album of the 90s and an entire generation. The ultimate protest album.

Purpose-driven rap-rock led by one of the most innovative guitarists since Hendrix.

Totally agree with the political commentary and the music is pretty good, too.

Ceritified banger!!! This is a no-skip álbum. Perfect lyrics and song writing

- This is peak Rage. - The whole album hits hard, it's got an attitude to it. Starting off strong with Bombtrack, that one goes crazy. - Deep heavy grooves, the vocals hit hard. Drummer is killing it. - The riffs are iconic, Tom Morello laid down some riffs on this album that as a guitar player, I still play them quite often. They always bring out the stank face iykyk. - Know your enemy is one of my favorites, just got a fun sound to it. The whole band was cooking. - Production throughout the whole album is top notch. - Hard to believe this album is over 30 years old. I grew up listening to this stuff and it is still good to this day. - ITS JUST ANOTHER BOMBTRACK

O sistema é foda

Suboptimal

Almost 25 years on and America is still corrupt.Heavy Metal + Hip Hop = Rage

Not my thing.

A brilliant synthesis of rock and rap. Plenty to say, and the messages are spat out with total conviction. Such a shame they're even more relevant today than they were nearly 35 years ago. 4*

Album #93: Rage Against the Machine Genre (W): Rap metal, funk metal, alternative metal, rap rock Singles: Killing in the Name, Bullet in the Head, Bombtrack, Freedom I have not listened to this album before. Thoughts?: I love the instrumentals and how heavy they are, and Zach’s passionate vocals. However, I can’t get into the rest of the album, only a few songs. I have nothing but respect for RATM, but I had to force myself to listen to the album. Maybe I’m too sensitive to it, but it’s how I feel. Favorite songs: Killing in the Name*, Settle for Nothing, Wake Up*

THREE 5 STAR ALBUMS IN A FUCKING ROW!!!! I don't know what I did to deserve this, but the bot just breezed through most of what I was excited to play all in one fell swoop, just like that, with about 800 albums still to go. The only way this could possibly get better is by rolling some more Grunge or Prog stuff tomorrow. Oh man, where do I even begin with this album?? I don't know. First, I’m going to complain. Rage have multiple albums with 0 skips including but not limited to Evil Empire, The Battle of Los Angeles, and even Renegades to a lesser extent. The fact that this is the only album of theirs on here is quite depressing. However, this is also the one with their magnum opus, “Killing In The Name”. It’s also definitely my favorite song on the album, even despite the fact that at least the entire first 2/3 of the album in and of itself is iconic. The creator of this book often picks the wrong albums by the right artists, and while I don’t think I’d have been upset with any Rage album, I think if you had to pick one, yeah, it’s Self Titled. Excellent decision. The album art alone is one of the most iconic in music history, and it’s just a historical event which at this point is more commonly associated with this album than the actual event itself. Déjà vu, I’ve rolled 3 of the most recognizable album covers in a row. Surely I get Nevermind tomorrow, yeah?? Speaking of yesterday, I made a bold statement in my review. I said that I’d hate to follow up the album I had rolled, in this case the Black Album by Metallica. I’ve never been so wrong in my entire life, and I’m thrilled about it. Surely I won’t be lucky enough to have 4 5 star albums in a row, right?? Surely I’m about to go on the worst streak of 1’s and 2’s imaginable. I still haven’t rolled anything in the bottom 20 yet, now may be the time. Back to the actual review, I think Zack de la Rocha and Tom Morello deserve more love in general. My God, that duo is so heavenly and unique. Tom just misses the Mount Rushmore of guitarists, but man is he so close. I’m never going to hear a song from him I won’t immediately like, and he’s been everywhere at this point. The weird things he does with his guitar are always a trip. Likewise, the way Zack is consistently able to go from cool and collected to just screaming his fucking brains out is unparalleled to anyone else in the industry. It’s something I can’t explain, and shouldn’t sound as good as it does. Just one dude shrieking into the mic like he does and making it sound like that takes massive talent. This is a certified banger from top to bottom, and I’m glad to have it up on my profile as another 5, in what’s shaping up to likely be my favorite combined week on the site I’ll ever have.

power

This bad boy is pure power and energy from start to finish. Every song hits hard, with the band tucking meaningful messages behind the music. Loud, angry, passionate, and unforgettable — it’s an album that still feels just as important and electrifying today as when I first listened to it in the 90s

Whilst i respect it, the instrumentation is amazing, but the vocals i cant get much behind

Explicit

Keech. Random notes and screeching.

4 stars nicht EXTREM abwechslungsreiche musik aber die texte HOLY SMOKES

Me when that bloody machine gets on my nerves

This is a brilliant album, gets me hyped up, great album for running as the energy is through the roof. 4/5

Sounds a little dated today. It's fine, but every 90s album should be about 20% shorter.

El mejor album de rage against the machine. 10/10

Amazing album. Life changing

6/10

Probably one of the most respectable "rap-rock" groups out there, although I wouldn't fully put them under that umbrella, despite them taking a lot from the ferocity of groups like Public Enemy, and fusing them with the deeper, feedback-drenched, scratchy guitar riffs of the hardcore scene, with dubby basslines and short, piercing riffs that sound straight out of a Fugazi record. The obvious highlight here is 'Killing In The Name Of', maybe one of the greatest punk metal songs out there - Morello's dentist drill guitar solo, followed by the final build in its closing minutes, stands as one of those insane blood-pumping rebel anthems in music history. There's such an undeniable ferocity to Zack's vocals; he was only in his early '20s at this point, which is both impressive and clearly also contributed to the fiery youthful energy of this album. 'Take the Power Back' is maybe the most overt Public Enemy nod here, everything from Zack's Chuck-D-esque flow to catchy motto-driven hook. The song 'Know Your Enemy' has maybe the most earwormy riff here, and that weird, sung almost emocore-esque bit in the middle is super out of place, but it works oddly well. And this is another song where Morello's guitar solo absolutely rips. I know the guy uses a shit ton of wonky pedals to get these whiney, controrted, sharp effects on his guitar, but it doesn't feel like a guy just jerking off with pedals (oddly enough). He relies on them to get a signature sound, yes, but it's not like he doesn't do any of the heavy lifting himself. I already mentioned the solo in 'Killing In the Name Of,' but the weird vocoder thing on 'Wake Up' and the continued PE worship with the high-pitched wailing of 'Fistful of Steel' are some other certified Morello moments. Songs on this album are also generally really dynamic, doing the very common quiet-to-loud post-hardcore thing really well. Because of that, the songs never feel stagnant or too still. And for as noisy as this thing yearns to be, there are moments of beauty that sprout out of seemingly nowhere, like the brief interlude on 'Wake Up' or that outro on 'Take the Power Back'. Just an overall really well rounded-album, especially for a goddamn debut - these guys really hit it out of the park. There's just so much to chew on here, from the incredible core riffs to the scratchy tone on those feedback-drenched guitars, to Morello's ridiculous solos, to Zack's politically driven shouts. I remember when I first heard this years back, I thought it was a bit long, and while I do still think the final tracks are maybe the weakest of the batch, it by no means bogged down the experience.

A great album. 4 stars. Fave track - killing in the name.

I really enjoyed Tom Morello's guitar work. KITNO and Know Your Enemy are particular highlights. But it gets really repetitive.

Listened to this a lot as a youngster. I think it's gotten even better and more relevant

nicht meins

Rage Against The Machine – Rage Against The Machine (1992) Day 142 was an explosive transition. This album is a fucking banger, the energy, the immaculate production, and the devious lyrics all hit perfectly. It’s high-velocity rock that feels ahead of its time, even decades later. The highlights were monumental. "Bombtrack" and "Take the Power Back" were so good I was literally tearing during the listen ...literally :(. "Killing in the Name," "Bullet in the Head," "Know Your Enemy," and "Fistful of Steel" were all absolute standouts that showed off the band's slick chemistry and raw conviction. A definitive 5/5 for a "revolutionary" body of work.

Ist zwar Crossover, aber die Nachfolger

One of the best metal albums there is. Killing in the name of is amazing.

Es un putísimo banger de disco

Their debut album. Alt Rock / Funk Metal. Sony brings to you an album about 'Fuck The System', a dose of irony. However the album is so much fun and gets me jacked up. The heavy guitars are too loud and I love it. The lyrics are fun. Just good old rage and angst.

L: 8 M: 6 F: 7 O: 6

This slaps hard. Lyrics still relevant today, maybe even more so. 5/5

Well of course it scores five, with no hesitation. I love this band. I love this album. I love the attitude, the musicianship, the vocal style, the running order, and maybe above all, I love how invincible it makes me feel.

I really like the messages in this album and how clear they are. I also like their sound, would definitely go hard at a protest.

Possibly one of the most wilfully misunderstood bands of all time, there really is no response to right wingers adopting tracks like Killing in the Name Of as anthems other than to sigh heavily and then punch them in the face until they get it. It really couldn’t be any clearer in its condemnation of violent racist cops if it tried, and even if the album closer Freedom is a little more elliptical (hint - “Diamonds using Clubs to beat Spades” is not a reference to the game of Bridge) there is no arguing with the sentiment here. This album is still as depressingly relevant now as it was on its release in 1992 in the wake of Rodney King being beaten by cops, sparking protests in response. In fact, there is even more urgency now in the need for resistance to fascism, even if that means violence or ultimate self sacrifice as shown in the chilling picture of the death of the Tibetan monk Thich Quang Duc on the cover. Fuck you, I won’t do what you tell me-tastic!

This hit so hard as an angry kid. Now it sounds flat and obnoxious, especially since all of these guys are getting rich talking about taking down the system.

This CD got regular play in high school and it still holds up

Some amazing songs. There's a huge amount of power in this but it gets a little bit lost in chugga-chicka-wugga towards the end. The bass in the quieter moments (like Settle for Nothing) reminded me of Slint!

From the front cover to the last drum beats, this shit rocks. Play it loud, play it proud. Definite one of a kind, generational anthemic blasts. In one, two, three: head bangs! In the ABBA verse, they go to 11. But rounded down to 5 "head banging blasty" stars.

Loud, roaring and boring. Exactly what I don’t like about this type of rock/metal with added grunty white dude rapping. Ugh.

My interest in ratm is largely the guitar playing of Tom Morello. I’m sympathetic to the lyrical content but the delivery is repetitive. They do manage to create some great grooves but this album hasn’t aged as well as I hoped.

(100/100)

Visceral lyrics Angry and grounded Made me prang out in the gym

Para escuchar si tenes que levantar pesado

RATM has aged VERY well.

I have liked Rage, but never loved them. They were great on the radio, but listening to an entire album in a sitting was always a fatiguing affair for me. There are amazing tracks on this album, but it starts to wear thin after some amount of time. The naked political protest themes tire me out. Morello's excellent guitar play starts to lose it's novelty. De La Rocha's vocals grate by the end of the record. All of that said, this album still goes hard. There's a lot of good stuff there...I just need to space it all out a little bit.

El mejor bajo que escuche en mi vida

too rock for me but interesting

I am raging

Rage against the machine! Bombtrack - an alright first outing of this album, but when I’ve heard of this band in the past all I’ve heard is that it’s peak metal. This is in no way bad, but I’ve heard metal I enjoy more. Killing in the name is always a great track, and I do enjoy it. Take the power back had some sick bass that I could actually hear for once. The spoken word intro of settle for nothing wasn’t my thing, but the rest of the track had some good moments and some good lyrics. I didn’t really like Bullet in the Head. It was almost hip-hoppy. Know your enemy was much better. Wake up had some really cool effects that I liked. The guitar in the fistful of steel intro was great. Again, I didn’t love the rap-style of the delivery, but a lot of the track is very well put together. Towering rebellion and Freedom were very similar to me. Overall, I have mixed feelings about the album. Great guitar, great lyrics, but very samey vocals and sounds. 3/5 ⭐️ 123/1089

Energetic protest album way ahead of its time.

Is he okay? It's not all bad, but a little too agnsty for me. Didn't listen to all of it.

Cool

The revolutionary spirit in this album is enthralling, whilst heavy metal is not usually my forte, objectively this album is undeniable

Rage Against the Machine is the AC/DC of metal. They made a career out of making the same song over and over and over again. I really don't have a problem with it, though. There are definitely much worse 90s bands that got away with doing the same thing. These guys at least have the courtesy to make the same really good song over and over again. My only issue, funny enough, is that they actually tried something different on Settle for Nothing and ended up making the worst song on the album. Among all of the shouty choruses and all the "BEAT THE SHIT OUT OF ALL THE COPS!!!!!! NOBODY CONTROLS YOU!!!!!! STAND UP AGAINST YOUR OPRESSORS!!!!!!" there's a song about the vocalist's personal issues, which still has the shouty chorus in it. It's fine, but it feels so far removed from everything else in the album. The rest of the album is awesome, though. All of the songs are painfully simple, but they really use that to their advantage. You can probably remember most of the hooks from this album, and if you can't, you can definitely remember Killing in the Name. It does what all good punk music does better than most punk music: it gives you something anyone can shout at a protest.

Tried to remove all bias walking into this one, and surprisingly I'm still tempted to put it at a 5. No wasted space on the album, every track kicks you in your ass. Can't imagine a better set of music to start/participate in a riot.

What I thought was particularly cutting-edge at 13 has now dulled itself into a record that is remarkable for several reasons and still an enjoyable listen, but something I can't help but sorta shake my head at. Undeniably great music, but almost juvenile in the way that it handles the politics and the emotions. You know what, though, sometimes that's what you need. Not everyone needs to be Gang of Four.

RATM rules. Good Album.

Some killer songs, especially at the beginning. But it all sounds the same by the end

So much anger... Not my general vibe, but I do appreciate it.

Found this in high school. Awesome riffs and jams, made me rage! Never got behind politics so, soon put it down. The album still holds up tho, and Tom Morello's guitars are the bomb.

Maybe the libs need to bring this energy back huh

Fuck yes sir!!! Love a vinyl day, and one I can enjoy at VOLUME is even better. This is a masterpiece of an album. Killer track after killer track.

I mean, I know that the way that they mixed rap with metal is *super* influential on all sorts of bands that followed. Unfortunately, nearly all those bands kinda suck. I'm obviously familiar with "Killing in the Name", and it always brings the house down when the guy at my karaoke night does it, but honestly it kinda felt tame here compared to the guy jumping around so much it shakes the stage?

rap- metal; funk-metal; antisistema 63/100 personal 2.2/5

The groove is the weapon here. It locks into a heavy, funk-infused metal foundation and never loosens its grip. The riffs are simple but massively effective, and the rhythm section carries a hypnotic weight that borders on mechanical but still feels human. Vocally and thematically it is direct and confrontational without losing musical tightness. It earns a full score because it commits completely to its identity and executes it with precision and impact.

Not a huge fan of the rap/hard rock hybrid but no denying the power and potency of this one. And Morello's guitar alone is worth an extra star. Anti-facist and uncompromising, this is one powerful beast of an album.

Terrific antifascist music that's really more relevant than ever. Tom Morello is such an innovative guitarist, and De La Rocha brings so much energy on the mic. Music gets a little repetitive on the back half, but the message is what's great. Songs like Killing in the Name Of communicate a simple one, "Fuck you, I won't do what you tell me," which might seem juvenile to some. Really though it all adds up to a powerful reminder of our agency in dark times, as tech overlords, the war machine, and fascists collude and attempt to control us and add to their already insane wealth

one time a friend of mine played and sang this song in a club, i can only think about the image of him shirtless singing FUCK YOU I WONT DO WHAT YOU TELL ME

Makes me wanna play guitar hero real bad.

radicalized my teenage self. this album will forever be a part of me

Tom Morello brings the musicality up to a good level but I'm not a fan of Zack's vocals. Wake Up is great, but the songs seem to fall into the trap of all sounding the same.

Sweet instrumentation, easy to headbob to, real political messaging, but man i CANNOT STAND these hardcore style vocals, for me its actual nails on a chalkboard and will tank the rating a fair bit just cause its a central part of RATM’s identity. I guess the first two tracks are the standouts but i’m still not totally into them.

10/10

Ahead of its time.

May be 2 or 2.5 good ones in them but

More relevant than ever. Somebody's gotta say (yell?) it, might as well be them.

6/10

Déjà écouté. Près de 35 ans plus tard, les indignations de RATM semblent toujours aussi actuelles, même si l'album est peut-être un peu trop long et monocorde pour son propre bien. Reste les éructations incandescentes de Zack de la Rocha, les guitares malmenées de Tom Morello et la basse funky trash de Tim Commerford. Maintes fois imité, jamais égalé. Top : Killing in the Name Flop : Freedom

Bangers. No notes

Bombtrack - 3.5/5 Killing In the Name - 5/5 Take the Power Back - 4/5 Settle for Nothing - 4/5 Bullet In the Head - 4/5 Know Your Enemy - 5/5 Wake Up - 4.5/5 Fistful of Steel - 4/5 Township Rebellion - 4/5 Freedom - 3.5/5

Every time I come back to this album I'm impressed by how memorable and hard-hitting each song is. I can't think of an album that better expresses discontent with the establishment.

Raw, emotional, political. Sparse yet dense sonically. This is a group and album that are aptly named. Its not a perfect album (which is what 5 stars means) with a couple of clumsy songs in there but its damn close. Truly something that reflects a place and time, I don't know that you could get away with releasing this today and it being a hit which is a shame. This hits harder if you listen to it sporadically.

I don't like heavy metal.

Primeiro album de musica pesada que saiu certo? Ratm nunca foi uma banda que ouvi muito mas este album é fixe. 4 grande

Frustrating that this album continues to be as relatable as it was when it released 30+ years ago. RATM have done a great job with this album in using their education for good

What a debut album. This thing comes out swinging immediately, and somehow the social messaging still feels just as relevant now. “Bombtrack” is a hell of an opener and pretty much tells you right away what kind of ride this is going to be. Tom Morello’s riffs are killer all over this album, and Tim Commerford’s bass line in “Take the Power Back” is insane. I could say something about every song on here. Every track sounds pissed off, locked in, and ready to kick a door in. These are amazing protest songs from top to bottom. Fight the war, fuck the norm! Favorite song: Bombtrack

Excellent album. And I literally know people who became left wing thanks to this album, which is an added bonus.

In terms of political commentary, this would rank very highly. In terms of my desire to actually just listen to the music, well let's just say that I think other groups have achieved the same level of commentary with music I enjoy far more.

Kick ass album. The rhythm section is outta sight. Nice fat bass lines. Groovy guitar lines. Dude spitting truth bombs. I saw them at a Lollapalooza in '93. Along with Babes in Toyland, Front 242, Arrested Development, Fishbone, Dinosaur Jr, Alice in Chains and Primus. 6 of the 8 bands have albums on this list. A killer day of music with friends for a $25 ticket. This is angry music because the system is bullshit.

It's good but wouldn't listen to this myself that often

What i liked most was the bass. like actually their bassist is great. I also didn't realize this album came out in 1992, so now i can see a lot of how they may have influenced some artists I really like. Like that guitar tone sounds like a modern jack white guitar tone

great enjoyed it

Metal+ some weird attempt at rap (no rhythm not following melody); hate it will never listen to it again

Very important album, with some great tracks. Although it feels a tad repetitive at times, I would listen to it again in the right mood.

This is very tame and reddit today, but I bet it hit hard back then.

💢💢💢💢

Important protest music.

Nein.

Anti-establishment core! Huge fan of this. Makes me want to dive into more of their music

Hip hop with a message

Too manic

Rebellious middle class teenager music

Doing too much

Keep this guy away from Florence!

if joey valence and brey had guitars

love the message but the music has its ups and downs

In the right setting, like when you’re working out or contemplating all the things that are wrong with the world, this album is absolutely perfect.

con ese inicio de la primer canción no creí que fuese ese tipo de rock que buen album LPM algunas canciones se parecen mucho entre si, pero no deja de ser bueno, ideal para el día que estaba teniendo, hay cambios buenismos, la verdad es que me gustó mucho

Just shouty. To me, lacks melody and any real difference between the tracks. I get the idea of a protest album but I’m not a fan of 50 minutes of complaining.

4.85

i enjoyed it better in the background

Прослухав. Хай буде)

Rage Against the Machine has never topped my list of favorite bands. I owned The Battle of Los Angeles and liked it well enough, but never listened to their other stuff more than once or twice apiece. I'm tempted to give this one a 2, but I can't really decide. It's not actually bad, but it's really repetitive and it all blends together. I hate to say it, but it's basically The Beastie Boys if they only screamed and never had fun. I can't believe I'm doing this, but I think I'm giving it a 2(.5)?

My brother-in-law is a devout Mormon — conservative personally and in some ways politically, though he most avoids the subject. Hates Trump but probably voted for Romney. Anyway, his one detail that doesn’t quite fit the stereotype is that he grew up listening to metal in the 80s and 90s and still loves it (though I think his wife doesn’t let the kids listen to it). We were talking about Rage one day and he said, “You know, their message is still really needed, because there is a lot of injustice and racism in this world.” I like this story because for every kid that wore Che Guevara T-shirts in Rage’s heyday, there were also may more casual listeners who were trying to figure out what it was all about. And I think even those who wouldn’t espouse socialism received Rage’s message as a kind of inoculation against the casual conformist racism of the late 20th century. Even those who might not support the Zapatistas could see that there is something to “WAKE UP” about. My son listened to a bit of this while I was playing it in the car. He said “These guys are really mad!” I said “Yeah, this is Rage Against the Machine. They didn’t write songs about love or dancing, they wrote songs about fixing what’s wrong with the world.” He nodded along with the beat, thinking about what that might mean for him. Anyway, they’re timeless, they’re incendiary, they still rock, they’re still waking people up. And the need is certainly still there.

uffff un shot de energía... tremendo

Musically this is great but I’m just not angry enough for the lyrics.

Iconic, some great riffs, great vocals, strong throughout. So many standout tracks.

listened to it twice back to back

Absolutely not

10/10 one of the most impactful album from my youth. The attitude of the vocals, the defining guitar sound and funky groovy bass making a unique sound never before or since captured

Holy fuck

No notes. Just go listen. It’s great

Rage Against the Machine is, without a doubt, one of the most iconic bands to come out of the 90s. And it’s easy to tell why. Their self-titled debut is filled to the brim with 10 powerful, potent, heavy as fuck revolutionary anthems. With Zack de la Rocha’s instantly recognizable vocals, Tom Morello’s innovative, one of a kind guitar style, Tim Commerford’s funky bass grooves, and Brad Wilk holding down the rhythm on the drums, Rage truly struck a special type of gold that hasn’t been replicated since. There’s not one dull moment on this album. It gets the blood pumping and makes you wanna go out and fuck shit up! The lyrics, unfortunately, still hold true, even 30+ years later. Especially in these times we’re currently in. Just makes it all the more powerful and important to hear. This is a perfect album imo. Every song is a highlight. Favorite song: Wake Up Rating: 5/5

Peak peak peak. Tom Morello really that guy. insane production. Energy high all the way through. Super creative. Super political. Super run through a fucking wall. Let's get it

MOTHERFUCKER! HUH!!

Cool album first time listening to this group. I thought the instrumentation was very funky and heavy. The vocalist has an odd flavor. The lyrics and song structure are aggressive and punchy without coming off as preachy. Even the desperate lines and commands come off as pleas that fit with the mood of the songs. Can't say it blew me away like some people but I thought it was a really inventive project.

Every year this album becomes more relevant. It was relevant before it was even written and it is relevant today, 33 years later. It is more relevant now than it has ever been, I think. It continues to be the absolute "I've been saying this" album for our times. "Settle for nothing now, we'll settle for nothing later" was prescient. The entire lyrical content of this album is as true as it's ever been. Everyone knows what Rage is about lyrically, whether they understand it or not, so I'll mention something different. I see Tom Morello getting shit on occasionally in the comments here and elsewhere for not being a great guitarist. While not classicly great at playing, he pushed the boundaries of the electric guitar before everything was run through a computer ("all live, never on a floppy disk!"). I would say he's close to the level of Jimi with the tricks he did on that thing. To see him play live is an experience, he uses what I would consider a relatively basic set of effect pedals, and the rest is handled by the cabling and the physical switches and bars on the guitar itself. It's brilliant and he turned the guitar in to a synth in a way that nobody else really does. It's not even that complicated, it's just effective. Anyway this album is great. All of their albums are great but this might be the best one. There isn't a single bad track on here. The messaging is important and most of all, correct. The music is driven and powerful. It's all just incredibly good.

Epic

Cool grooves, hard and crunchy. It is a powerful political piece, I can't say I agree with them fully but I appreciate their commitment. I like the industrial sound they create. The vocals are not my favorite part, they are good in parts but just gets a bit monotonous. I will give him credit, you can feel his passion for the message. The album cover is pretty great, meshes with their vibe on this album well.

Angry music. Good angry music. Feels far more relevant now than 1992.

Well I definitely felt the rage. While this not necessarily my favorite genre, I did like this album. Every song does kind of sound the same, but I found myself not really minding, I think the lyrics of these songs are more important than the instrumental. Three stars. (Favorite track: Killing In the Name.)

Rage Against The Machine In 1992, the air was thick with the death of hair metal and the birth of corporate-sanctioned "alternative." Then came four guys from Los Angeles who didn't want to be your idols; they wanted to burn your idols down. The Rage Against the Machine self-titled debut is a rare anomaly in the record industry: a major-label product that genuinely sounds like it’s trying to dismantle the building it was recorded in. It’s a document of focused, rhythmic hatred toward the American machine, delivered with a precision that makes modern "heavy" music look like a tantrum. (52:55, 10 tracks, 1st album 1992), Rap metal / Funk metal. Background The band formed in 1991 after guitarist Tom Morello’s previous outfit, Lock Up, disintegrated. He found Zack de la Rocha in an underground club, rapping over a heavy groove—a collision of punk energy and hip-hop delivery. They recruited Tim Commerford and Brad Wilk, quickly recording a 12-track self-released demo tape. The strength of this demo, which sold 5,000 copies, led to a bidding war. They signed with Epic Records but demanded total creative control, a paradox they justified by using the label’s massive distribution network as a megaphone for their radical politics. The cover art, featuring the self-immolation of Thích Quảng Đức, wasn't just shock value; it was a mission statement on the cost of resistance. Recording Recorded between April and May 1992 at Sound City Studios, the production is legendary for its dry, "live" feel. Produced by Gggarth Richardson and the band, the record famously carries a disclaimer: "no samples, keyboards or synthesizers used in the making of this record." This was a point of pride—Morello’s "DJ-scratching" sounds were entirely organic, created through toggle-switch manipulation and feedback. The sessions captured a band playing in the same room, emphasizing the tight, mechanical interplay between Wilk’s drums and Commerford’s bass, providing the foundation for de la Rocha’s searing, unembellished vocals. Rage Against the Machine are famous for their revolutionary activism and left-wing political views which form the foundations of the band. Using music as a vehicle for social activism, their lyrical themes have often critiqued the domestic and foreign policies of current and former US governments. Speaking on the significance of music as the primary medium for revolution, frontman Zack de la Rocha emphasized that music has the power to cross borders, to break military sieges and to establish real dialogue. ________________________________________ Track 1: Bombtrack The Lyrics: (Excerpt) Everything at stake, land of the free / Whoever's the hungriest has the most to eat / It's a bombtrack! / Burn, burn, yes you're gonna burn! The opening salvo. It establishes the central metaphor: the music itself is a "bombtrack" designed to ignite social upheaval. The lyrics focus on the hypocrisy of the "land of the free," arguing that capitalism is a predatory system where only the "hungriest" survive. It’s a warning shot to the establishment that the fuse has been lit. "Bombtrack" serves as both a musical "banger" (bomb track) and a political manifesto (bomb). The title is a play on 1990s slang where "bomb" meant something was high-quality or cool, while simultaneously referencing "dropping bombs" in the form of explosive, revolutionary ideas. The lyrics take aim at "landlords and power whores" who exploit ordinary people. Vocalist Zack de la Rocha expresses a "militant mind" and calls for the downfall of oppressive systems, specifically targeting "Manifest Destiny" and corporate-backed government structures. The recurring "Burn, burn, yes, you’re gonna burn" chorus emphasizes a desire to dismantle the existing power hierarchies. The music video for Bombtrack on YouTube provides specific context by showcasing the struggle of the Sendero Luminoso (Shining Path) in Peru. Sendero Luminoso (Shining Path) was a brutal Maoist insurgent group that triggered a decades-long internal conflict in Peru, resulting in nearly 70,000 deaths. Founder Abimael Guzmán, a former philosophy professor known by his followers as "Presidente Gonzalo," founded the group in the late 1960s. The group followed a radical interpretation of Marxism-Leninism-Maoism, aiming to overthrow Peru's democratic institutions and replace them with a communist peasant regime. "Gonzalo Thought": Guzmán’s own additions to Maoism emphasized "protracted people's war" and the idea that all-out violence was the primary creative force for revolution. A Violent Insurgency (1980–1992) Sendero Luminoso was notorious for its extreme brutality, including indiscriminate bombings, assassinations of local officials, and massacres of peasant communities perceived as unsupportive. The group launched its rebellion on the eve of the 1980 elections by burning ballot boxes. By the late 1980s, the group controlled large swaths of the countryside and began a bombing campaign in the capital, Lima. A Truth and Reconciliation Commission found that the Shining Path was responsible for over half of the fatalities in the conflict—roughly 31,000 to 37,000 people. A turning point occurred in September 1992 when Peruvian police captured Guzmán at a safe house in Lima. Following his arrest, the group largely collapsed as a major military threat. Abimael Guzmán died in prison on September 11, 2021, while serving a life sentence. Small splinter factions remain active today, primarily in the VRAEM (Valley of the Rivers Apurímac, Ene, and Mantaro) region. These groups have largely transitioned from political militancy to "narco-terrorism," funding themselves by taxing drug trafficking operations. It highlights their revolutionary war against a government the band characterized as an "oppressive U.S.-backed" regime. The track is known for its staccato 16th-note bassline that mimics a ticking time bomb, building tension before "exploding" into heavy riffs. It blends elements of hip-hop "dope hooks" with aggressive punk and metal Track 2: Killing in the Name The Lyrics: (Excerpt) Some of those that work forces are the same that burn crosses... / Fuck you, I won't do what you tell me! A blunt-force trauma analysis of systemic racism within law enforcement. De la Rocha links the police force directly to the KKK ("burn crosses"), suggesting that the state’s "order" is built on a history of white supremacy. The final mantra is the ultimate rejection of authoritarianism—a refusal to be broken by a system that demands blind obedience. "Killing in the Name" is Rage Against the Machine's signature protest anthem, released in November 1992 as a direct indictment of institutional racism and police brutality in the United States. Inspired by the Rodney King Trials. The song was written in the immediate aftermath of the 1991 Rodney King beating and the subsequent 1992 Los Angeles riots. These events served as a breaking point that highlighted systemic abuses of power within the Los Angeles Police Department (LAPD). "Some of those that work forces are the same that burn crosses": This central refrain draws a explicit parallel between law enforcement and the Ku Klux Klan. It suggests that white supremacist ideologies were embedded within the very "forces" meant to provide security. "Those who died are justified, for wearing the badge, they’re the chosen whites": This line critiques the "military-industrial complex" and the way state-sanctioned violence is often excused or justified when committed by those in authority. "Fuck you, I won't do what you tell me": Often misinterpreted as generic teenage angst, this is actually a defiant refusal to comply with what the band views as a corrupt and racist status quo. The lyric is repeated 16 times, building to an intense climax. In 2009, a grassroots campaign propelled the 17-year-old song to the top of the UK Christmas charts to protest the dominance of manufactured pop music from The X Factor. The "Drop D" Riff: Guitarist Tom Morello famously stumbled upon the song's iconic heavy riff while teaching a student how to use "Drop D" tuning, promptly ending the lesson to record it. Track 3: Take the Power Back The Lyrics: (Excerpt) The teacher stands at the front of the class / But the lesson plan he can't recall to pass... / We need a movement with a quickness / You are the witness of change-work, a revolutionary. No more lies, no more lies, no more lies, no more lies. . . The Meaning: De la Rocha argues that the current political, social and cultural systems within the United States are immoral in today’s society. With this in mind, “Take the Power Back” serves as a message to empower individuals to reclaim power from the government so it can be returned to the people. However, this must be achieved through self-education – lies are bred at the hands of capitalist media and schooling is heavily Eurocentric so we must educate ourselves on our own cultures and those of minorities. A critique of the Eurocentric American education system. It argues that schools are tools of indoctrination, "whitewashing" history to maintain the status quo. The track calls for an intellectual revolution, urging listeners to reclaim their agency by questioning the "official" narrative they were fed in the classroom. "Take the Power Back" is a call for intellectual and cultural revolution, specifically targeting the American education system and the way it shapes the minds of citizens. Frontman Zack de la Rocha argues that the school system provides a "Eurocentric" curriculum that suppresses the history and culture of minorities. Lyrics like "The teacher stands in front of the class / But the lesson plan he can't recall" suggest that educators are often just cogs in a machine delivering state-approved "bullshit". The song posits that because the "system" teaches lies, individuals must reclaim their power through self-education. By learning their own history and thinking critically, people can break the "circle of hatred". Like much of Rage Against the Machine's debut album, the track challenges the government and capitalist media for manipulating the public to maintain a submissive workforce. "Europe ain't my rope to swing on / Can't learn a thing from it, yet we hang from it": This line rejects the dominance of European historical perspectives in American schools and suggests that following these singular narratives is a form of cultural suicide. "The present curriculum, I put my fist in 'em": A direct call to challenge and dismantle standard academic structures. "The student's eyes don't perceive the lies bouncing off every fucking wall": Highlights the danger of complacency and the importance of "waking up" to systemic manipulation. The song serves as a blueprint for the band's larger philosophy: that the first step to changing society is reclaiming control over your own mind. In the "Thanks for Inspiration" section of their self-titled debut album's liner notes, Rage Against the Machine explicitly cites several revolutionaries and activists as the foundation for their political philosophy. Key Political Figures Huey P. Newton: The co-founder of the Black Panther Party. His work in black nationalism and community-led social programs is a major influence on the band's focus on grassroots power and resistance to police brutality. Bobby Sands: A member of the Provisional Irish Republican Army (IRA) who died in 1981 while on a hunger strike in a Northern Irish prison. Sands is included as a symbol of ultimate personal sacrifice for a political cause. Thích Quảng Đức: While his name is not just a "thank you," his image defines the album. He was the Vietnamese Mahayana Buddhist monk who famously self-immolated in Saigon in 1963 to protest the persecution of Buddhists. Ian and Alec MacKaye: Icons of the D.C. hardcore punk scene. Ian MacKaye (of Minor Threat and Fugazi) is credited with pioneering the Straight Edge movement and the fiercely independent DIY (Do-It-Yourself) ethic that Rage adopted. Malcolm X and Martin Luther King Jr.: Though referenced more heavily in the lyrics of tracks like "Wake Up," their ideologies regarding civil rights and systemic oppression are central to the album's message. Broad Philosophical Inspiration Guitarist Tom Morello has also cited Frederick Douglass as a core inspiration for the spirit of "Killing in the Name". He often quotes Douglass's sentiment that the moment one becomes free is not when physical chains are removed, but when they finally say "no" to an illegitimate authority. Track 4: Settle for Nothing (Excerpt) A mother's love for her son / Brought a gift of a 9mm gun / He didn't settle for nothing / He just settled for a 6 by 10. The Meaning: The darkest point on the record. It explores the cycle of violence and urban decay. It’s a grim story of a young man trapped by his environment, where the only perceived way to "not settle" for poverty is through crime, eventually leading to a 6x10 prison cell. It’s a cynical look at how the machine feeds on the marginalized. "Settle for Nothing" is the darkest and most somber track on the debut album. While other songs call for outward revolution, this one explores the internal psychological toll of poverty, neglect, and systemic failure. The lyrics trace the life of a young man raised in an environment of "cold floors" and "broken homes." It argues that when society offers someone nothing, they eventually turn to violence out of desperation and a lack of options. The title "Settle for Nothing" is a bleak play on words. It suggests that the protagonist has been forced to accept a life with no future, leading to a "nothing to lose" mentality. The song paints a vivid picture of life in neglected inner cities, where "shattered glass" and "empty pockets" define a person's reality. The song moves between quiet, spoken-word verses and explosive, screaming choruses. This mimics the feeling of repressed rage—the quiet desperation of daily life suddenly boiling over into an outburst of violence or protest. Tim Commerford’s slow, melodic bassline creates a sense of mourning, setting a tone of tragedy rather than the high-energy defiance found in "Bombtrack." "If we don't settle for nothing, we'll settle for each other": This is the song's rare moment of solidarity. It suggests that the only way to break the cycle is for those at the bottom to stop fighting one another and unite. "In a world of nothing, I'm a king": This reflects the mindset of a "gangster" or someone who turns to crime to gain the respect and power that society denied them through legitimate means. Essentially, the song serves as a sociological case study, explaining why the rage in "Killing in the Name" or "Bombtrack" exists in the first place. "I got a nine": Refers to a 9mm handgun. It represents the transition from being a victim of his environment to becoming a threat within it. The weapon provides the first sense of power and protection he has ever felt. "A sign": This refers to hand signs or gestures used to identify gang affiliation. It’s the visual language of the streets, signaling to others who he is and who he stands with. "A set": In gang culture, a "set" is a specific local crew or neighborhood faction (e.g., a specific block or branch of a larger gang). This represents belonging. After a childhood of "broken homes" mentioned earlier in the song, the "set" becomes his surrogate family. "And now I got a name!": This is the tragic climax of the line. In a world where he was previously invisible, poor, and "nothing," he finally has notoriety and respect. However, the "name" he has earned is tied to violence and the "set," meaning his identity is now inextricably linked to a cycle that usually ends in prison or death. The Bigger Picture: Zack de la Rocha is using this sequence to show that gang violence isn't just "senseless"—it's a logical (if tragic) response to systemic abandonment. When the school system, the government, and the economy give a kid "nothing," they will "settle" for the power and identity found in a 9mm and a street gang. Track 5: Bullet in the Head The Lyrics: (Excerpt) They say jump and you say how high? / You're mentally ground, paralyzed / Just a bullet in the head. The Meaning: This targets media manipulation and mass-market complacency. The "bullet in the head" is a metaphor for the television—a device that kills critical thought and turns the public into "walking dead" who obey without question. It’s a scathing look at how the "American Dream" is used as a sedative. "Bullet in the Head" is a direct critique of media manipulation and corporate propaganda, specifically how television and news networks pacify the public into a state of mindless compliance. Media as a Weapon The central metaphor is that those who blindly consume and believe mainstream media "might as well have bullets in their heads". The band argues that television is used as a tool for mass mind control, distracting citizens from major global issues and government corruption. "A yellow ribbon instead of a swastika": This line refers to the yellow ribbons used to show support for troops during the 1991 Gulf War. Zack de la Rocha suggests these symbols were a form of sanitized nationalism, masking the violent reality of war with "propaganda". "They load the clip in omnicolor... fire it at prime time": This compares television broadcasting (omnicolor) to a weaponized firearm. News at "prime time" is portrayed as an attack on the viewer's ability to think critically. "No escape from the mass mind rape": A blunt description of how the band views the constant stream of corporate advertising and state-sanctioned narratives. "Just victims of the in-house drive-by": This describes the passive experience of sitting in one's own home while the television "blasts" information that kills independent thought. The song famously draws a comparison between typical suburban residences and Alcatraz prison, suggesting that people have become prisoners in their own homes, trapped by a "blanket of media" that prevents them from taking action against injustice Track 6: Know Your Enemy The Lyrics: (Excerpt) Word is born, fight the war, fuck the norm / Now I also disagree, I'm the antitype / I'm the apple that's bright red, a green one won't do. The Meaning: Featuring Maynard James Keenan (Tool), this track is a call to identify the true source of oppression. It rejects the "American Dream" as a weapon used to pacify the populace. The "enemy" isn't a foreign power, but the domestic structures of control—the "compromise, conformity, assimilation" mentioned in the bridge. “Know Your Enemy" is the band’s ultimate recruitment poster. While other songs focus on the media or the police, this track identifies the specific "enemies" that Rage believes keep the American public in a state of "apathy." The "Eight-Step" Compromise The song’s core message is that the American Dream is a "calculated" trap. Zack de la Rocha lists eight steps (though he doesn't explicitly number them in order) that lead to a life of submission: 1. Apathy, 2. Sloth, 3. Fear, 4. Narrow-mindedness: These are internal "enemies" that prevent people from questioning authority. 5. Compromise, 6. Conformity, 7. Assimilation, 8. Submission: These are the external actions that lead to a "lifeless" existence. Yes I know my enemies 1. Compromise, 2. conformity, 3. assimilation, 4. submission 5. Ignorance, 6. hypocrisy, 7. brutality, 8. the elite “All of which are American dreams, All of which are American dreams, All of which are American dreams, All of which are American dreams. . . 8 times for the eight ” The "compromise" he mentions is the act of trading your revolutionary spirit for the comforts of a stable, middle-class life. "The land of the free? Whoever told you that is your enemy!": This is one of the band’s most famous lines. It argues that the concept of "American Freedom" is a myth used to mask systemic oppression. If you believe you are already free, you won't fight for actual liberation. "Word is born, fight the war, fuck the norm!": A call to reject societal expectations and engage in "intellectual" warfare against the status quo. "Born with insight and a fist, a clean slate": This echoes the themes in "Take the Power Back"—that we are all born with the capacity for critical thought, but the system "fills the slate" with propaganda. The "A-List" of Enemies In the bridge, the lyrics point to specific institutions of control: "Anti-choice": A critique of those seeking to control bodily autonomy. "The land of the free": Again, attacking the irony of the American slogan. "The home of the brave": Suggesting that true bravery is found in dissent, not in military conquest. This track features a heavy emphasis on Maynard James Keenan (of Tool) providing guest vocals during the bridge. His haunting, melodic delivery of "I've got no patience now" creates a sharp contrast to Zack’s aggressive rapping, representing the internal tension between frustration and explosive action. Track 7: Wake Up (Excerpt) What was the price on his head? / I think I heard a shot / I think I heard a shot / Wake up! The Meaning: A deep dive into the assassination of COINTELPRO targets, specifically referencing Dr. Martin Luther King Jr. and the FBI's role in suppressing revolutionary movements. It’s a history lesson on how the state eliminates those who pose a genuine threat to its power, ending with the famous scream for the listener to finally open their eyes. "Wake Up" is the cinematic finale of the debut album (famously used in the closing credits of The Matrix). It is a historical exposé focused on the FBI’s targeting of Black political leaders during the 1960s and 70s. The song centers on COINTELPRO (Counter Intelligence Program), a series of covert and often illegal projects conducted by the FBI. The lyrics argue that the U.S. government actively worked to "neutralize" anyone who could unite the Black community and challenge the white power structure. "Departments of police, the agencies in blue / All are corrupt and surgical too": This suggests that state violence isn't random; it is "surgical," meaning it specifically targets individuals who represent a threat to the status quo. "You know they murdered X and tried to blame it on Islam": A reference to the assassination of Malcolm X. Zack de la Rocha suggests the government played a role in his death and used religious tensions as a cover. "He had a dream and Nixon pulled a 45": This refers to Martin Luther King Jr. The "45" refers to a .45 caliber handgun, suggesting the state was responsible for his assassination to end his "dream" of racial and economic equality. "J. Edgar Hoover, he was a master of deceit": A direct shout-out to the long-time FBI Director who headed COINTELPRO and obsessed over destroying the Black Panther Party. The "Messiah" Warning In the bridge, Zack whispers a nearly verbatim quote from an actual 1968 FBI memo: "Prevent the rise of a 'messiah' who could unify and electrify the militant Black nationalist movement." This is the "smoking gun" the song uses to prove that the government feared a charismatic leader more than anything else. The repeated scream of "Wake Up!" is a literal plea for the listener to stop being a "sheep" and realize that the history they were taught in school (the "lesson plan" from Take the Power Back) has been sanitized to protect those in power. "E-Double" refers to Erick Sermon, one half of the legendary hip-hop duo EPMD (Erick and Parrish Making Dollars) a direct tribute to EPMD's 1992 song "I'm Mad," which appeared on their album Business Never Personal. Zack de la Rocha was heavily influenced by the "Golden Age" of hip-hop. By referencing Erick Sermon, he was aligning Rage Against the Machine with the gritty, sample-heavy, and often socially conscious rap of the early '90s. In the song "I'm Mad," Erick Sermon raps about his frustration with the music industry and "fake" rappers. Zack repurposes that "madness" but pivots it toward political and systemic anger rather than just industry beef. Erick Sermon was frequently called "E-Double" (or "The Green-Eyed Bandit") in his lyrics and by fans. In the song, Zack uses this line right before diving into the government's targeting of activists. It serves as a bridge, showing that his anger isn't just personal—it's part of a larger tradition of Black and Brown artists using their voices to "blast" back at a corrupt system. Flip Wilson was a massive comedy star in the late 1960s and 70s, best known for his variety show and his character "Geraldine Jones." By saying he'll "Flip like Wilson," Zack is using a play on words. In hip-hop, to "flip" means to change up your flow, switch your style, or turn a situation around. He is claiming that his vocal delivery is as versatile and quick-witted as Flip Wilson’s comedic timing. "Vocals never lacking that finesse"This part of the line is a direct nod to smoothness and technical ability. While Rage is known for aggressive screaming, this line highlights the "rap" side of the band. Zack is asserting that even when he’s shouting about revolution, his "pen game" and rhythmic delivery are sophisticated and polished. Finesse" was a frequent buzzword in early 90s rap (think Lord Finesse). It signals that Zack isn't just a "rock singer" shouting—he's a highly skilled MC with a deep respect for the craft of rhyming. This line is a classic example of how Zack de la Rocha weaves pop culture references into his political lyrics. By placing a lighthearted reference to a comedian next to heavy political themes, he creates a rhythmic "breather" that proves his lyrical dexterity. Track 8: Fistful of Steel The Lyrics: (Excerpt) I'm a fistful of steel / Step into the arena and break the seal / The silence makes me sick. The Meaning: A testament to the power of the voice. De la Rocha views his microphone as a weapon ("fistful of steel"). It’s a personal declaration of intent—he cannot remain silent while injustice exists, choosing instead to enter the "arena" of public discourse and shatter the quiet of complacency. The term "fistful of steel" is most famously used in the Rage Against the Machine song of the same name. Its meaning is generally interpreted through three main lenses: 1. The Microphone as a Weapon In the context of the song, the lyric "And mad boy grips the microphone with a fistful of steel" suggests that the microphone—made of metal/steel—is a powerful weapon. It symbolizes using one's voice and lyrics to fight against injustice rather than physical arms. 2. A Metaphor for a Gun "Steel" is common slang for a firearm. In revolutionary imagery, a "fistful of steel" can represent taking up arms or the threat of militant resistance against an oppressive status quo. 3. Strength and Resilience Beyond specific objects, the phrase invokes the industrial and physical properties of steel: Resolve: Having a "heart" or "nerves" of steel implies unwavering courage under pressure. Working-Class Power: Steel is heavily associated with industry and the labor force, often used in revolutionary art to represent the strength of the proletariat. In the song Fistful of Steel, these meanings often overlap to create a message of active rebellion, encouraging listeners to break their silence and use their "steel" (whether through words or actions) to ignite change. The lyrics of Rage Against the Machine are heavily informed by a specific visual and political language of rebellion. The phrase "fistful of steel" and its surrounding lyrics draw on several historical movements and symbols: 1. The Clenched or Raised Fist The most prominent symbol in the song's imagery is the clenched fist, a universal sign of solidarity and resistance. Anti-Fascist Roots: The gesture gained international prominence during the Spanish Civil War (1936–1939) as a salute used by Republican militias and international brigades fighting against fascism. The Black Sheep Agency -Black Power Movement: In the 1960s, the Black Panther Party adopted the fist as a symbol of Black liberation. Its most iconic historical moment occurred at the 1968 Mexico City Olympics, when athletes Tommie Smith and John Carlos gave the salute to protest racial injustice in the United States. Labor and Workers: Steel as a material is historically linked to industrial workers and the Proletariat. In socialist and communist iconography, the combination of steel and the fist represents the collective power of the working class. 2. The MOVE Organization In the song, Zack de la Rocha explicitly mentions: "With visions of the MOVE...". MOVE was a communal Black liberation group based in Philadelphia. Historical Rebellion: In 1985, the Philadelphia Police Department bombed the MOVE residence, killing 11 people and destroying 61 homes. By invoking MOVE, the lyrics align the music with militant domestic resistance against perceived government state terrorism. 3. The Microphone as a "Molotov Cocktail" The band's aesthetic often treats the stage as a revolutionary front, frequently using the EZLN (Zapatista) flag as a backdrop in later years. Lyrical Weaponry: The "fistful of steel" (the microphone) is likened to a Molotov cocktail—a DIY weapon of street rebellion. The lyrics aim to "ignite" the listener's "sense of militance". Silence as Violence: The opening lines, "Silence... can be violent," echo a historical theme in protest movements: that neutrality in the face of oppression is a form of complicity. 4. Self-Defense Symbols Some interpretations suggest the "fistful of steel" alludes to a specific tactic of individual resistance: Personal Safety: Holding keys or metal objects between knuckles is a common improvised self-defense technique. Solidarity with Women: In live performances, de la Rocha often dedicated the song to "positive sistas," linking the concept of "steel" to the strength required for women to fight back against patriarchal violence Track 9: Township Rebellion The Lyrics: (Excerpt) Why stand on a silent platform? / Fight the war, fuck the norm! / Your complacency is their weapon. The Meaning: Drawing parallels between South African apartheid and American systemic issues. It emphasizes that silence is an act of cooperation with the oppressor. The "silent platform" is a metaphor for those who have the means to speak out but choose not to, thereby handing the machine its most effective tool: public indifference. A direct reference to the Black townships in apartheid-era South Africa and the militant uprisings that occurred there. In these segregated areas, residents organized mass resistance against the oppressive white-minority government. The track uses these historical events as a blueprint for global resistance against systemic injustice: The "Township" in the title refers to the restricted areas where Black South Africans were forced to live under apartheid. The song honors their defiance, such as the Vaal uprising or the Soweto uprising, where students and workers rebelled against discriminatory laws. The "Silent Platform": A core lyric—"Why stand on a silent platform? / Fight the war, fuck the norm!"—criticizes those who remain passive in the face of oppression. It suggests that silence is a form of complicity and urges listeners to use their voices as a "platform" for change. The lyrics address "global white supremacy" and "Eurocentrism," arguing that educational and religious systems are often used to "shackle" minds and maintain control over oppressed populations. Ignorance as a Tool: The line "When ignorance reigns, life is lost" highlights how systemic indoctrination prevents people from recognizing or fighting back against their own subjugation. Track 10: Freedom The Lyrics: (Excerpt) Anger is a gift / Freedom? Yeah right! / Freedom! Yeah right! The Meaning: The closing anthem, centered on the imprisonment of Leonard Peltier. It mocks the American concept of "freedom" as a hollow branding exercise. The refrain "Anger is a gift" is the album's thesis: that righteous indignation is the only thing capable of fueling the energy required to actually change a broken world. If you’d like to explore how this revolutionary sound evolved, I can compare the raw energy of this debut against their more polished follow-up, Evil Empire. “Freedom” was the fourth and final single to be released from Rage Against the Machine’s eponymous album. The song raises awareness about the Native American Activist, Leonard Peltier, who was involved in the American Indian Movement (AIM). As a consequence of a shoot-out on the Pine Ridge Indian Reservation in 1975, Peltier was condemned to two consecutive life sentences for the deaths of two FBI agents. Since his trial, questions have been raised concerning the prosecution’s misconduct regarding fabricated evidence and falsified testimonies. Speaking to Rolling Stone in 1995, Zack de la Rocha discussed Peltier’s case and attitude towards indigenous people: I believe in this band’s ability to bridge the gap between entertainment and activism… Leonard Peltier is a political prisoner… but he’s much more than that. He symbolizes the continuance of the U.S. genocidal policy that’s been perpetrated against the native peoples of this country. This message is continued in the song’s music video directed by Peter Christopherson, which features footage from the Peltier case and a re-enactment of the Pine Ridge incident from Michael Apted’s 1992 documentary, Incident at Oglala. These scenes are accompanied by imagery of American Indian Movement members and quotes from Sitting Bull – the Native American chief responsible for uniting Sioux tribes in their struggle for survival on the Great Plains. The video closes with scenes of imprisoned Peltier and the phrase, “justice has not been done”. The song's primary meaning is rooted in the fight for Peltier's release from prison, but it also critiques broader systemic oppression. The music video for "Freedom" focuses almost entirely on Peltier's 1977 conviction for the deaths of two FBI agents during a shootout at the Pine Ridge Indian Reservation. The band views Peltier as a political prisoner and a symbol of what they describe as the U.S. government's "genocidal policy" against indigenous peoples. The song concludes with the repeated, frantic scream of "Freedom!", which serves as a literal demand for his release. After decades of advocacy by the band and others, Peltier's life sentence was commuted to home confinement by President Joe Biden in January 2025. The lyrics and video incorporate several other historical layers of rebellion: Sitting Bull: The music video features quotes from the legendary Hunkpapa Lakota leader, connecting Peltier's struggle to the long history of indigenous resistance. "Anger is a Gift": This iconic line suggests that righteous anger is a necessary tool for awakening and rebellion against "The Machine"—the interlocking systems of corporate and government power. Metaphors of Control: Lyrics like "Brotha, did ya forget ya name? / Did ya lose it on the wall playin' Tic-Tac-Toe?" are often interpreted as a critique of how the carceral system and societal norms strip individuals of their identity and humanity. The video's use of an upside-down American flag is a recognized signal of dire distress or extreme protest, further emphasizing the band's view that "justice has not been done".

¡Poderoso! Desde sus primeros acordes esto prende durísimo, y cada canción es un trancazo del que es imposible despegarse. Conocía bien Killing in the name of, pero en general todos los tracks me gustaron y me pareció un álbum de los más disfrutable. Un hard rock que se disfruta.

I feel like I am a fairly happy and positive person so its hard to take angry music seriously. 2.5/5

Kinda corny but still a better listen than I was expecting. Felt weird listening at my corporate office job

Bien para entrenar

Lyrics 5/5 but the music doesn’t appeal to me.

Certainly not my type of music but so cool. Good album

Very political but I think it's got a good energy.

Muzycznie może i ciekawe, szczególnie linia basu, ale ogólnie męczące. Teksty może i dobre, ale to trzeba czuć, a ja tego nie czuję

Bien

Not my taste, but I can appreciate it. Maybe if I needed to get some frustrations out I’d put it on.

I knew I wasn't going to enjoy it before I started because it isn't my style of music, and i didn't. 1/5 Bombtrack 1 Killing In the Name 1 Take the Power Back 4 Settle for Nothing 1 Bullet In the Head 3 Know Your Enemy 4 Wake Up 1 Fistful of Steel 2 Township Rebellion 1 Freedom 1

Can’t deny that it fires me up lol. And gotta love Tom Morello’s guitar. Pretty groundbreaking

Great bass, guitar rifts, and drums. Not the biggest fan of the vocals, but no terrible.

points were made. definitely not my style, but it's wild to me how relevant this is 33 years later... also '92 my bday year wooooooooo 4 stars

Loud throwback to a fantastic. Christmas number one 3

súper rock pesado

If an album were to be judged entirely on energy, conviction and confrontational artwork then this is up there with the best. A lot of my guitar playing students 20 years ago saw this as the holy grail of riff practice. Metal for rappers with some funky riffs in there. A lot of shouting as well which, for me, struggles to sustain a 50 minute listening experience. Very 1990s

Overall: 10/10 I first heard RAtM in the 9th grade and this album quickly became a huge part of my musical rotation. To this day, I haven't heard another band blend rap, rock and metal in such a seamless way. To do all that while also having a message behind their lyrics is just astounding to me. Tom Morello is one of the most creative and interesting guitarists to exist and I don't think he gets enough credit. All of these songs are so ingrained to my brain that listening to this album feels like resetting my brain. I'm transported back to my band in high school, trying to rap and play bass at the same time and having to censor the swearing so my buddy's dad didn't hear us. Fav Song: Know Your Enemy

I'm Gen X, of course I love this album

I was very presently surprised with how much I really enjoyed this album. Ive never been into metal, but loved every song

very good punk album. strangle tim commerford. praise everybody else. music is a four, lyrics are a 5. You should rather listen to The Battle of Los Angeles, though. its more consistent and doesn’t have (what im coining) “dead spaces” where its just Tim and no one else, not even Brad. Evil Empire was their worst of the four, but was still fucking amazing. in Renegades, they somehow made every fucking song sound like their own writing. 10/10 band. 10/10 lyrics. fuck paul ryan

I got so excited when I saw this was the album of the day. One of those classic projects you just haven't gotten around to listening to, though there's a few tracks I know well and occasionally go back to. Killing In The Name is probably the most repeated example, there's something delicious in the guitars. The album as a synthesized idea follows through with a similar energy, though I admit I was expecting it to be more grungey than what the end result really is. I started understanding how deep the hip-hop element runs, I feel Public Enemy fucking with this. I also feel a Beastie Boys influence that I wouldn't expect to appreciate, but I do. What is it with those choppy rhyme schemes that actually work well with the aggressive strings? Then we've got this amazing photography representing the effort. A monk is burning himself in political protest. This isn't AI, this is photojournalism, this is a moment of extreme desperation and affinity with ones own personal philosophy. I think it represents the record very well, it's a beautiful image but it's sad and angry. It's a suicide with a purpose. Wake the fuck up. Proceed with caution listening to this in public. The stupid people in the street seem more obvious with this playing. It's not okay to shove mindless tourists in a busy city, but that's exactly the vibe this record is going for. Must be great to mosh with. 4.65/5

Actually really liked it!

This album starts off extremely well. Bombtrack is good and Killing in the Name is a classic protest song whose repetitive vocals really suits the visceral anger. However, musically, this album is pretty one note. Over it's 50+ minute run time it becomes quite wearing to keep listening to the very samey music with shouted/screamed vocals. This kind of music would be much more appealing if it was a 35 minute album of 2-3 minute songs. By about halfway through, I just wanted it to be over, especially as by far the best songs were the opening 2 tracks. Politics 5/5, music, just about 3/5 and that's only because of Killing in the Name being great.

It wasn’t that good in my opinion. The first song was pretty good, but after that it just got repetitive. And I’m overall not a have fan of this genre: 5/10

Good album. They sound mad about shit. 5/10 70.71%

One of the best albums of all time

4.5

Me gustó mucho

I wasn't aware of Rage Against the Machine until the Evil Empire album when Bulls on Parade was in heavy rotation on the radio. A college friend introduced me to more of their music, though this was my first time listening to the debut album in its entirety. It goes without saying that this is a modern(ish) masterpiece. One thing that struck me is how the messaging seems even more relevant today than in 1992. The other thing that I really appreciate is the convergence of so many different styles of music and influences in this album. I hear distinct influence from protest music of previous decades, 80s metal, hip hop. The guitar opening of Wake Up sounds like a nod to Led Zeppelin's 'Kashmir', and I can't recall which track, but I distinctly heard a 12 bar blues pattern much like the Muddy Waters album earlier this week. Outstanding album.

Woah. I knew little about this band coming in and this was not really what I was expecting. What this was was close to the dream experience for me when doing this, finding something I wasn’t familiar with, nor particularly expecting to like, and falling in love with it. I enjoy everything about this. The energy is incredible, it’s electric and then some. The fusion of styles here sound frankensteinian in the coolest way, sounds that weren’t all put together this well before this but combine to create something epic and monstrous. The vocals are great, reminding me of the Beastie Boys and, more recently, Joey Valence. I’m not quite as into the more metal tracks but even those I enjoyed much more thaj expected. I’ve struggled to enjoy groups like Deafheaven in the past because I can’t endure the sound of the screams but I much prefer how it’s done here personally. All of this would be enough to love it and that’s without a word being spent on the power of the lyrics to go on top of it all. I’m not all that well-versed in the genre yet overall, but this may quickly become my favorite rock record of all time, as long as nothing else on this list has something to say about it. 2 listens Favorite Tracks: Take the Power Back, Bombtrack, Know Your Enemy