Gentlemen

#276 Heard Before? Maybe? I've heard some of their stuff but I don't remember. Notes: - friends tell me they are a good live act. they better be. - i could discuss all the elements of this in detail, but they all bore me. - except for the ugly misogyny. that's just awful. - one truism of the 90s alt-boom is the more serious they took themselves, the less their music holds up. Verdict: Alt-rock by numbers. Listen Again? No, thanks.

Ok 2/5

I’ve heard of them before but haven’t listened much. Kinda rocks.

I’m not familiar with this album either. It kicks off with a quiet, atmospheric song called "If I Were Going." Beginning with a guitar and the sounds of traffic, this subdued track sets the stage for an album defined by relationship drama—specifically, a difficult, ugly breakup and a love that has fallen apart. Heartbreak has always inspired the best songs. The title track, with its bass-heavy, almost noir-esque groove, seamlessly blends the edge of alternative rock with the soulful tension of R&B. Although this band belongs to the grunge generation, this album sounds completely different; they weave together a wider array of styles to create a sonic landscape all their own. "Be Sweet" stands out for its incredibly dense groove. Rather than relying on classic grunge distortion, it builds a tension that feels almost physically menacing, driven by the precise interplay between bass and drums. The vocals here are particularly manic—shifting between a pleading whisper and an accusatory scream. A fantastic track! It’s followed by another irresistible song, "Debonair," which thrives on an intensely driving, danceable drum beat and a sharp, almost manic guitar line. The song depicts the final, explosive collapse of the relationship—the moment when all the lies are exposed and the situation spirals out of control. The next track is a sluggish, almost agonizingly slow ballad, carried by a wailing, heavily distorted guitar. It perfectly captures that feeling when the anger has faded, leaving behind nothing but the raw, bleak emptiness of a failed romance. The more I listen to this album, the more I like it. It’s truly a proper concept album. How did I not know about this? The guitars cut sharply through the space, while the drums set an almost danceable groove. Every now and then, the bass bubbles away all on its own. The cover of "I Keep Coming Back"—originally by soul singer Tyrone Davis—is draped in a dark, heavy guise; it sounds almost like an original composition. The album concludes with "Brother Woodrow/Closing Prayer," a track that breathes a sultry, melancholic, noir-like atmosphere. It builds gradually, cradling distorted guitars within a comforting—yet sorrowful—nest of strings. The song eventually drifts off into a long, melancholic fade-out. What remains is the feeling of having heard an emotionally intense masterpiece. A perfect score!

Album #185: Gentlemen - The Afghan Whigs Genre (W): Alternative rock, post-punk, hard rock, R&B, soul, grunge Singles: Gentlemen, Debonair, What Jail Is Like I have not listened to this album before. Thoughts?: This album bores me a lot, it sounds like basic generic alternative rock, I don’t know what makes this “the best” other than it uses the grunge sound that was popular in the ‘90s. Favorite tracks: Debonair, What Jail Is Like, Now You Know

Some of the lyrics are very Vincent Gallo coded

Lately I've been thinking a lot about the people in my life who have empty husks for pleasure receptors and how hard they are to be around because they're always sorry and sad because they can't resist touching themselves, literally and metaphorically. (Don't worry--I'm not talking about any of my 1001 droogs.) The lead singer of this band seems like one of those people, lol. Cool instrumentals, especially the raw, melodic guitar leads. Lyrics and singing? Ehhhhhhhhhhhh...

4/10 - harmless early 90s indie rock

Boring

Largely ignored in the 90s … first half did nothing for me, got slightly better towards the end.

this was fine, really liked the last two songs. no solid thoughts on it tho

zo saai

accessible rock with nice sound and lyrics

I love a good 90s rock album, but this one didn't do it for me. It lacks soul or something.

Favorite track(s): Gentlemen, Debonair, Fountain and Fairfax, Brother Woodrow / Closing Prayer

Het klinkt als een aantal andere bands, maar ik kan de bands die ik bedoel niet noemen. Dat is wel vaag want normaal kan ik de boel vaak wel makkelijk in hokjes schuiven. Vooruit dan: Her en der wat Los Campesinos! vibes, maar dat zal aan het viooltje liggen in combinatie met het drukke gedoe. Ik vind de zanger niet helemaal relaxed, maar het is wel een degelijk album eigenlijk. 3,5 sterren. Ik maak er 4 van.

I appreciated the sound of this album and I think that I can hear some potential future influences that came out of this band. It's clear that they had an impact on the scene. The title track was by far the funnest song but I didn't pay too much attention to the album overall because the voice wasn't appealing. Decent album.

Mediocre. Why is this on the list??? I'm sure there are 1001 albums that are much more interesting and historically relevant than this one.

This album has the sound of generic grungy "alternative" 90s rock. It sounds very much of its time. But the more you listen, the more you notice the guitar player is doing a lot and the bass player and drummer are right there with him. A lot of the songs have a real bounce and groove to them. Unfortunately, the vocalist really brings it down, but I gather he is the primary songwriter. Sometimes it feels like the music is interesting enough to look past his singing style and tone and sometimes that doesn't seem possible. I guess in the end it's not a super enjoyable album despite the band being good overall. If I'm listening to it, I can appreciate and enjoy certain aspects, but I can't really imagine putting it on in the future. Essential: no Desert island disc: no

Ei oo mulle.

I feel like the first wave of 90s emo kids heard this record and were like, 'yeah this but my emotions are so much more complicated and deep, this needs to be louder and have more screaming.' I wonder where the emo kids from high school are now? I hope they're still emo because that would prove to mom that it wasn't just a phase. This album is not emo. I don't know why I got on that. But some of the sentiments are the same, granted this is more like pervy emo-lite. Not really my thing but it falls so well within it's own time it's kind of hard to fault it. Like this could be a stereotype of 90s opposition to grunge. It sounds so 1993 it might as well be a Ford Taurus. Wouldn't listen again but I can appreciate it for what it is I suppose. The best song was the instrumental at the end. 3/5

Enjoyed the majority of this

I've heard of the Afghan Whigs before, but I've never listened until now. I saw the year and genre (1993/alternative rock), and I figured I'd be in for a treat, because it's one of my favorite genres. Overall, I did like it. The music was heavy and dark with guitars that sounded good. Lyrically, Dulli is singing about the breakdown of a relationship and all of the parts that come with that (like a lot of denial and hopelessness). Hope for the future comes in at the end of the album with the instrumental closing track, "Brother Woodrow Closing Prayer" (at least that's the vibe I got from it).

Big no for me

Wow the whiplash from the last album (great) to this album (uh, bad?) is crazy

С одной стороны, достаточно однообразные песни с попсовым звучанием, с другой, есть оригинальные кайфовые музыкальные решения на грани постпанка и нойза. Ну и кричащий вокал неплох. Лучшая песня: When We Two Parted

Didn't know this band and kinda wish I didn't. Without Brother Woodrow and My Curse, easy contender for 1-star. They aren't bad, they have good melodies but the lead singer's voice is too much. They try different styles in alternative music but each don't really land well. 1.) If I Were Going: Sounds like bugs. Not much going on but I guess a good intro song for an album. 2.) Gentlemen: Sounds like an alt rock band that you would hear as an opener for a concert and that you would think about going and getting a drink or going to the bathroom before the main act gets on stage. 3.) Be Sweet: Oof, edgy lyrics that come off as the kid who never curses trying to say a curse word. 4.) Debonair: I realized at this song that I don't really like the lead singer's voice. Its not bad when he yells but he is a bit breathy. 5.) When We Two Parted: Might be my favorite so far but still would have to be in the right mood to listen to it. 6.) Fountain and Fairfax: I thought I was going to like this one based on the melody but the lead singer's cadence threw me off. 7.) What Jail is Like: Bold choice for a title. Good contender to skip. 8.) My Curse: See, they are a good band when they have a different singer. 9.) Now You Know: Damn, he's back. 10.) I Keep Coming Back: Cool droning sound but the lead singer isn't too bad, just takes leaps stretching notes that don't land. 11.) Brother Woodrow: Hell yea. See just be an instrumental band. This one is my favorite. My Curse is #2.

Чет хуй знает радиохэд для иксов

⭐️⭐️

Meh. There’s a real sameness to it all musically, isn’t there. I’m not a huge fan of the vocal style. I’m glad I read the Wiki write-up about it being a cycle of stories about the end of a relationship, to know to focus in on the lyrics. Not what I was expecting. Male angst about feeling trapped in a jail. Great. It’s probably about a 2.5 star album for me. The last two tracks were slightly better than the rest (or I was just worn down). I can’t justify three stars.

Well, now I know I don't like the Afghan Whigs. I gave an extra star for the song with the female vocalist and because I'm sure there will be some albums I hate more on here.

“I get so bored I could scream.” Gone With the Wind (1939)

Decent independent early 90s alternative. Good band. Decent album.

This is a whatever album. One of those ones that I listened to and by the end just barely even noticed it was playing. It did nothing for me at all. At some point my only thought while it was playing was "I'm tired" so I just shut it off and went to bed.

This vibrates at the exact frequency of some of my favorite music. I really enjoyed a first listen, and I feel like subsequent listens will be even more rewarding.

Grunge

Just got weird vibes from the singer. Frankly it was starting to flirt with one star

This man has a lot of feelings and unfortunately I don't care much about most of them

Names can be a funny thing. For some reason, perhaps because of the totally unrelated band The Arab Strap, I did not think the Afghan Whigs would be like this. Sadly, the this they are like is Bon Jovi trying to do a 90s alt rock album. Not truely hateful, but pretty bad.

literally thought this band was called "The Afghan Wings" for years until today. what the fuck? when did that change? probably not a surprise that this is my first time listening to them. i kinda loved this! i'd compare it to Brand New, minus the knowledge that the lyrics come from an uncomfortably real place. it's angsty and disturbing and represents the most disgusting expressions of masculine post-breakup rage. i appreciate art that can be confrontational and harsh like this. and the song where the woman in the narrative sings is wonderful at showing just how warped the man's perspective is. probably wouldn't want to meet someone that uncritically sees himself in this but hey. sometimes putting a mirror up to these ugly feelings shows just how offputting they really are. it's not perfect and can be a bit monotonous but it conveys its mood too well for me to rate it lower. deserves to be one of the 1001? debatable but i quite liked it so i'm leaning yes

I did not like the song "Be Sweet".

Hadn’t really heard this since college. “debonair” is of course a great track, encapsulating the angst du jour, and the quiet loud dynamics done better by Pixies. The rest sounds a bit over wrought, like alternative lounge music.

This album sounds like seeing a band in bar. A really good band. I've always loved that about it. And Greg Dulli's wail is 👍. On the 1001 scale, that's a . . .

I'd heard of these guys, but never listened before. This was an excellent album. Lots of very good rock and roll and agreeably guitar-oriented. Plus, what a great name.

This got played a lot in my circles while I was in college. I appreciate the guitars, the drummer's ambition, and the sense of impending doom. Greg Dulli even seems to have something to say. I wish I liked his voice more. I wish he wrote better vocal hooks even if it meant less tortured self-examination.

Couldn't get enthusiastic about it. To me they sound like a pretty good local band that always gets a song on the town alt station's best-of-the-city compilation disk. (In Dallas, it was Tales from the Edge.) But not really worthy of this list.

2/5 - Have long been a random fan of the song Debonair, so I was curious to hear the rest of this. Turns out that one song of his vocal style is about all I need. I won't be going near this again, and it doesn't belong on the list. This was relentless in a bad way.

Started off well but wained a bit in the middle

good

An overlooked band from one of the best wars in rock history. Just getting into them. Better late than never.

I liked it a bit in the beginning, then it felt like it was dragging, and by the end I sort of hated it. Only I checked, and it wasn’t the end at all. So it was unpleasant but also in a weird time vortex. I actually don’t know where I stand with this one.

This is a pure expression of emotions and male rage. The vocals are really the standout here. I liked it but not enough to push it higher. Favorites were Gentlemen, Debonair, and What Jail Is Like.

Got to be one of the most underrated bands of the 90s

There were things going on with music that were drastically more sonically interesting than this. Frankly forgettable 90s indie. This is apparently an offshoot of grunge but not a good one.

If this is supposedly the greatest album The Afghan Whigs ever made I dread to think what the others are like! Unless this was the only only album, as then it’d be the best they ever did, but also the worst. I know they have more though, so this is obviously not the case. Each to their own though. But this was certainly not for me.

Not much here that appeals to me

Didn't really grab me

Pleasantly heavy, but otherwise undistinguishable 90s alternative/grunge. The album cover is more interesting than the music. It is not "nearly pornographic," as Linda Ronstadt complained, but is it exploitative or just an innocuous recreation of a Nan Goldin photograph? Would it have been funnier if the boy had been smoking like the man was in the original? Curious how the kids in the photoshoot feel about today.

A perfectly enjoyable listen but it’s always bad when you perk up to an especially good song and then see that the Artist Radio mix just started.

I want to like this but it lacks and sort of melodic appeal

Loved the first 2 records, but this one falls very flat for me. 2/5.

Sounds dated and it didn’t give me any good reason to like it.

Only on the second song but first impression; this rocks? Really enjoying the sound of the leads and drums. Vocals arent consistently my favorite (they hit the whine that puts me off from 80s rock someimes) but they fit well with the sound this band is doing imo. Lyrics generally are pretty wacky and great. Sometimes very prosey and sometimes heavily goofy or satirical. Hard to pick out favorites but Be Sweet, Debonair, and My Curse all stuck with me pretty well. I did not care for I Keep Coming Back. Felt like the major big miss of the album.

Really great instrumentals, unique vocals, and strong lyrics but a few of the songs blended together in a boring way rather than a smooth way. Pretty cool album overall Highlights: "Gentlemen", "Fountain and Fairfax", "Brother Woodrow / Closing Prayer"

Music 👍, lyrics 👎

Some great music going on, but what an awful, tuneless voice.

The Afghan Whigs! And Greg Dulli, a man that I know from my love for Mark Lanegan. (They did the Gutter Twins together, had a great album, Saturnalia in early 2000s). They are both depressed ex-drug addicts. Mark called Greg his best friend and Greg found Mark to be the big brother he never had. So I am naturally inclined to like this. This album came out kind of at the end of the grunge era and you can hear the influence and the heroin laced throughout the songs. The production is pretty good though, and it sounds quite great. It's probably a grower for me when I start to recognise the songs more. The Afghan Whigs are still going, their 2022 effort is called How do you Burn?. The title was coined by? Mark Lanegan! Just before his death. RIP Mark. Please keep going Greg!

Annoying, angsty, mid, 90s music.

A lot of nothing until the last track. A shame.

Haha no 2/5

3 sterne

En 1993, alors que la moitié de la jeunesse occidentale s’évertuait à sentir le sapin mouillé en chemise de bûcheron, j’ai pris une monumentale claque en pleine gueule qui ne venait ni de Seattle ni d’un garage crasseux d’Aberdeen. Non, celle-ci débarquait de Cincinnati, sapée dans un costard sombre de crooner défraîchi, les yeux injectés de sang et l’haleine bien chargé. Cet électrochoc s’appelait Gentlemen, quatrième long-format des Afghan Whigs et à l’époque où le rock alternatif se vautrait dans l'auto-apitoiement adolescent et les larsens pour noyer le vide existentiel, Greg Dulli et sa bande ont choisi de braquer les projecteurs là où personne n'osait regarder : dans la chambre à coucher après le carnage, sur les draps froissés de la lâcheté masculine et le cadavre encore tiède d'un couple qui s'entretue à petit feu. Gentleman est un disque sur les relations humaines dans ce qu'elles ont de plus venimeux, un traité impitoyable sur la toxicité affective auquel j'attribue un éclatant 4 sur 5. Pour bien mesurer l’anomalie que représentait ce disque, il faut se souvenir de la mascarade de l'époque. Les mecs sortaient tout juste de l’écurie Sub Pop, le temple sanctifié du grunge. Mais là où leurs camarades de label jouaient les punks régressifs en beuglant sur des pédales de distorsion fuzz premier prix, les Whigs débarquaient sur scène coiffés au peigne fin, fringués comme des mafieux de série B qui venaient de dévaliser un magasin de prêt-à-porter italien. Après avoir affûté leurs armes sur Congregation en 1991, ils ont signé chez Elektra et sont descendus direct dans le Sud, à Memphis, dans les légendaires studios Ardent, pour enfanter ce qui allait devenir leur chef-d'œuvre absolu. Enregistrer un album de rock alternatif là où Stax et le blues avaient écrit leurs plus belles lettres de noblesse, c’était une déclaration d'intention insolente. Les mecs n'étaient pas là pour singer Black Sabbath ou les Stooges comme le reste de la meute : ils voulaient faire de la soul avec des guitares électriques qui mordent jusqu'à l'os. Gentlemen, c'est le point de friction idéal où le punk le plus abrasif vient se frotter au R&B le plus charnel. Dès les premières secondes, on est face à une basse ronde, élastique, presque sensuelle, avant qu’un mur de guitares tranchantes ne vienne déchiqueter l'espace. Et au dessus, la voix de Greg Dulli confesse ses vices avec la morgue d'un pervers narcissique qui sait pertinemment qu'il est indéfendable. Ce contraste entre le velours des arrangements et la violence crue du propos donne au disque une tension érotique et morbide permanente. On a l’impression d’assister à un interrogatoire de police dans un motel sordide où l’accusé prendrait un malin plaisir à détailler ses pires bassesses avec un sourire en coin. Ce qui me fascine le plus dans cette galette, et qui justifie pleinement ma note, c’est le traitement des rapports de force et de la perversité relationnelle. Dulli ne cherche jamais à se faire aimer, encore moins à susciter la moindre pitié. Il incarne le salaud magnifique dans toute sa splendeur pathétique, l’archétype du manipulateur conscient de son propre poison mais incapable d'empêcher son venin de couler. Quand il lâche dans une litanie désormais culte qu’il a une queue à la place du cerveau et que son cerveau va lui vendre son cul, on touche du doigt une lucidité terrifiante sur la misère du désir et de la prédation. Il n'y a aucune rédemption ici, pas de pardon à l'eau de rose, juste le constat froid et lucide que deux personnes peuvent s’aimer au point de vouloir s’annihiler mutuellement. La toxicité n'est pas un concept abstrait ou une posture à la mode pour magazine branché ; elle est vécue comme une addiction sale, une fièvre nocturne dont on ne guérit jamais vraiment. Le disque avance comme une spirale descendante où l’on alterne entre des déflagrations de testostérone blessée et des descentes d'adrénaline glaciales. L'énergie déployée par la section rythmique de John Curley confère à l'ensemble une assise qui fait cruellement défaut à la plupart des productions rock de ces années-là. Les guitares hurlent peut être mais elles groovent avant tout. C'est cette dimension éminemment noire, cette pulsation héritée de la musique soul, qui empêche Gentlemen de vieillir comme tant d’autres disques oubliables du milieu des années 90. Il y a une dynamique implacable dans la manière dont le piano s'invite au milieu du vacarme, apportant une théâtralité presque dramatique, sans jamais verser dans le grotesque ou la grandiloquence pompière. L'un des coups de maître de cet opus, c’est aussi ce moment de bascule où le groupe décide de fermer sa gueule pour laisser la parole à l'autre camp. En invitant Marcy Mays du groupe Scrawl à poser sa voix sur une ballade déchirante, les Whigs évitent l'écueil du monologue égocentrique de mâle en déroute. C’est une gifle monumentale où la vulnérabilité y est totale, dévastatrice, et où le contraste avec le cynisme goguenard des pistes précédentes n'en devient que plus cruel. C'est là qu'on réalise que Dulli n'a pas seulement écrit un disque sur ses petites névroses de queutard en crise, mais une véritable autopsie du désastre amoureux à deux voix. Pourquoi pas la note maximale alors ? Pourquoi s'arrêter à un 4 sur 5, aussi mérité soit-il ? Parce que le disque est une épreuve d'endurance morale qui frôle parfois l'asphyxie. À force de remuer la fange des sentiments corrompus et de complaire dans une noirceur étouffante, l'album peut laisser un sale goût dans la bouche, une sensation de gueule de bois émotionnelle qui donne envie d'ouvrir les fenêtres en grand pour faire entrer l'air frais. Certaines plages instrumentales ou transitions en fin de parcours étirent un peu la sauce et auraient pu gagner en tranchant pour maintenir la tension intenable des premiers morceaux. Mais c'est chipoter face à une œuvre d'une telle trempe, qui refuse avec un panache insolent toutes les facilités de son époque. Au bout du compte, Gentlemen demeure une anomalie sublime, un monument de noirceur vénéneuse et de sensualité viciée. En refusant la candeur niaise et les faux-semblants des hymnes générationnels préfabriqués, The Afghan Whigs ont accouché d'un disque impudique, dérangeant, suant le vice et la lucidité et plus de trois décennies après sa parution, le disque conserve son mordant intact. Si vous avez déjà aimé de travers, détruit quelqu'un par pur égoïsme ou regardé le désastre de vos propres mensonges en face sans ciller, cet album est le miroir brisé dans lequel vous viendrez inévitablement vous contempler. Un 4 sur 5 indiscutable, douloureux et furieusement indispensable.

Some honestly really well-executed post-hardcore and emo here, musically at least. Just super heavy and driving, noisy but with beaming melodies in the guitar and bass work that evoke feelings of despair, lowliness or desolation - with weeping trebly bits paired against these heavy riffs to form some really layered instrumentals. 'Debonair' has an absolutely infectious, scratchy guitar and bass groove, while still capturing that heavy nocturnal sound in the chorus. And 'Fountains and Fairfax' at the halfway mark especially had this burst of strings of guitars that had no right to be as gorgeous as it was. 'Closing Prayer' and that instrumental outro are right up my post-hardcore alley, and are moderately hopeful after such a bleak record. Ultimately it's nothing new, but the execution was great, and really digestible for a post-hardcore record. But I do agree with the general sentiment that the lyrics here bog this thing down. They're definitely too angsty for my liking, and too direct, and linger on the same topic of a bitter dead-end love for far too long. But it was the early '90s, and awful and edgy emo-boy lyrics weren't exactly anything new. I wouldn't say they ruined my enjoyment of this thing too much, especially considering the vocals themselves are pretty solid. I still do think the music is ultimately way too good for me to hate this, and it does outweigh the bad by the end.

Good listening experience, fun album. Creative uses of drone notes. Not the type of thing I will be relistening to in the future.

Gentlemen The Afghan Whigs 1993 Genres: Rock Styles: Alternative Rock 1. If I Were Going (★★⯨☆☆) -Contexto: Nació como un desprendimiento de "Debonair" —Dulli reutilizó una frase que había escrito antes para esa canción y la convirtió en una intro meditativa, casi una obertura íntima antes de que el disco se ponga tormentoso. Es la voz de Dulli contándote la historia en voz baja en un bar, antes de que todo se desate. 2. Gentlemen (★★⯨☆☆) -Contexto: Escrita rápido en Tampa, Florida, después de una prueba de sonido. Dulli se quedó solo tocando guitarra en el club (algo que hacía seguido) y de ahí salió el riff; la letra se le fue armando caminando por Ybor City. Es el tema título y condensa la relación tóxica del disco: manipulación, desgaste mutuo, el vínculo que se pudre. 3. Be Sweet (★★⯨☆☆) -Contexto: El riff es de Rick McCollum. Dulli improvisó toda la primera estrofa "day drunk" (day-drinking) en una prueba de sonido en París y la anotó tal cual salió, sin retocarla. El verso de apertura ("tengo la cabeza en la pija") generó acusaciones de misoginia con los años; Dulli siempre respondió que la canción habla de él mismo y de lo mal que se porta él, no de las mujeres — que si alguien tiene motivo para sentirse ofendido con "Gentlemen" es él mismo. 4. Debonair (★★⯨☆☆) -Contexto: Nació de la idea de Dulli de fusionar el riff de "I Want You Back" de los Jackson 5 con la progresión de acordes del tema de apertura de Twin Peaks, del que era muy fanático. Musicalmente es la cara más "seductora" del personaje que narra el disco, la máscara de galán antes de que se le caiga. 5. When We Two Parted (★★⯨☆☆) -Contexto: Un lamento sobre la ruptura, con aire de balada soul quebrada. Años después, en vivo, la banda la empezó a mezclar con "Over My Dead Body" de Drake y, antes de eso, con "Ex-Factor" de Lauryn Hill — Dulli remarca el parentesco emocional que siente con esas letras de R&B sobre despecho. 6. Fountain and Fairfax (★★⯨☆☆) -Contexto: El título es una intersección real de West Hollywood, donde hay una iglesia metodista que hace reuniones de AA/NA. Un amigo de Dulli le pidió que lo acompañara a una reunión; ahí escuchó testimonios muy genuinos, pero también vio gente que parecía estar "actuando" para la ocasión, y esa hipocresía lo empujó a escribir el tema. 7. What Jail Is Like (★★⯨☆☆) -Contexto: Probablemente la primera canción escrita para el disco. Surgió de un momento de bronca: Dulli no podía comunicarse por teléfono con Estados Unidos y estaba muy agitado. Él mismo la describe como el momento en que uno, triste o enojado, le tira la culpa a todo el mundo menos a sí mismo — todavía no había asumido su propia responsabilidad en la ruptura, cosa que sí hace en temas posteriores. 8. My Curse (★★⯨☆☆) -Contexto: Dulli sintió que se había metido demasiado en la historia y que la mujer de la relación merecía tener voz propia en el relato, así que le cedió la canción a Marcy Mays (de la banda Scrawl). Fue la única persona que consideró para el rol. Contó que cuando intentó dirigirla en el estudio, ella lo mandó a almorzar y grabó la voz a su manera — la interpretación final es enteramente de ella, no de él. 9. Now You Know (★★⯨☆☆) -Contexto: Escrita en Memphis cuando Dulli sintió que necesitaba un tema más para "quemar el pueblo". La define él mismo como la canción más violenta y más "sucia" del disco, pensada a propósito como preparación antes del cover y el instrumental que cierran el álbum. 10. I Keep Coming Back (★★⯨☆☆) -Contexto: Cover de Tyrone Davis. Dulli la escuchaba casi como un ritual todas las noches antes de dormir; la eligió como contrapunto a toda la violencia de los temas anteriores — la describe como dulce, honesta y vulnerable, el cierre que le da un enfoque final a todo lo narrado antes. 11. Brother Woodrow / Closing Prayer (★★⯨☆☆) -Contexto: Instrumental pensado directamente como música de créditos de una película imaginaria — Dulli quería una pieza que sonara mientras "corren los créditos de la película de mi mente", cerrando el disco como si fuera una banda sonora de cine. -TOTAL = ★★⯨☆☆ (2,5) -Musicalmente no suena mal por momentos, pero la voz y la letra arruinan todo y sinceramente no me generó más que rechazo absoluto hacia todo el álbum. Aunque por momentos me prometió algo, decepciona y para mí es un 1.

Dunno what it was about this album, but it slaps!

Can listen to this in the background and pay no attention to it. It’s not bad, it just isn’t my thing.

There was nothing Gentlemanly about this. The music was good but the lyrics and themes were unbecoming

Never heard of this album or artist before, though the cover is certainly quite eyebrow-raising. It's a no-brainer as to what genre this album belongs to - it's very clearly an American 90s alternative rock album. A lot of albums of this make feature pictures of children as the album artwork for whatever reason, and the gold lighting is very grunge/alt rock-coded. I'm not sure how to better articulate that latter point, so I won't even try. Anyways, play that theeeyannnggg. Yep. This was an American alt rock album and exactly the kind of sound I had in mind. Too easy, honestly. There's no wisdom for me to impart about this album. I'm cynical about the cynical breakup album. Who'd have thunky-wunky? The crunchy guitar riffs that guide this music are generally quite flimsy and weak. The blues-influenced riffs are adept, if intermittent and uninspired. The guttural vocals have no bite despite the intensity they attempt to convey. The lyrics are weak and occasionally eye-rolling, with no solid vocal hooks to account for this shortcoming. The compositions and content of this album can adequately be described as slow and empty, though I surprisingly thought this album stood out in comparison to all of the other albums of its ilk. The music is slow-moving and features enough space in its instrumentation to where it doesn't sound empty and vacuous like many of the other mediocre 90s alt rock albums I've listened to. All in all, the album has a drawn-out droning sound which ground me into a fine dust over its 48-minute runtime, though I guess it didn't bother me too much. Book time. "...a smoldering hybrid of dynamic rock and the deepest soul. [Greg] Dulli's lyrics eschewed the post-adolescent angst that dominated grunge. Instead, he explored the darkest recesses of male sexuality with an unflinching candor and bone-dry wit". " Debonair" and "What Jail Is Like" were college radio hits, though that's about it. Wikipedia says this is a concept album following the gradual dissolution of a relationship. It's also widely considered to be The Afghan Whigs' best outing, one of the best 90s albums and one of the best breakup records in general. A 33 1/3 book was written about this album. Critics were very receptive, with it receiving enduring acclaim in the years following release. The album performed unremarkably, only peaking at No. 198 in Belgium, No. 58 in the UK and No. 50 in New Zealand. However, it rather strangely peaked at No. 16 on the Hungarian physical albums chart just last year. I've noticed that quite a few albums on this list have achieved random chart success in Hungary over the last few years. Good for these guys. Anyways, the fact that a 33 1/3 book has been written on this album suggests to me that this album has a good reason for being in here. I cosign this inclusion

Don't remember ever running across this band before, but it's a proto-typical 90s alt sound. I like the music more than the vocals, though none of it was overwhelming. Just okay.

Entretenido, tiene momentos muy buenos y momentos donde la trascendencia se disipa Para ser los 90s creo que si son una banda de rock clásico pero que va mucho a los límites de otros elementos Este álbum como tal habla mucho del amor y tiene un par de covers por lo que entendí No puedo decir de alguna canción favorita honestamente, pero considero que tiene un buen repertorio como álbum No sé cuándo se pueda reescuchar pero probablemente entre más se escucha más gusta

The music was alright, I wasn't the biggest fan of the singer's voice. Not bad, but will probably be a one and done for me. ⭐️⭐️⭐️

I had this vague impression that The Afghan Whigs were a garage rock act like The Black Lips or Richard Swift, but unfortunately they turned out to be another less-than-mediocre 90’s band with a “dick for a brain.” I should’ve expected as much from an album cover with a kitschy insult to a Nan Goldin photograph.

Ew. Just watch the music video to “Gentlemen”. This sounds like something some teenager would sing in front of a webcam and post on Facebook.

This is not that far off from a lot of Alt Rock I love from the early to mid 90s, but for whatever reason I didn't connect with it.

To be completely honest, I’m not sure how to feel about this album. On one hand it does have some good riffs and other interesting elements, but on the other hand the vocals were a mixed bag and some songs just felt…there.

#1051. Almost, but not quite. 3/5: fine?

This might be my favourite discovery on the list so far. How have I never heard this? Great Trent Reznor like vocals, beautiful melodic songs, variety in song structure all the way through. Superb

One of my most favorite albums of all time. It makes a nearly perfect companion piece to Liz Phair's contemporary album, "Exile In Guyville." Greg Dulli's tortured examination of gender politics becomes personal when viewed through the lens of a doomed relationship. Add an extra half-star for Marcy Mays' guest vocals on "My Curse". You should check out her band, Scrawl, before you die. Another half-star for Afghan Whigs being the loudest live band I've ever heard. I was seriously dizzy for days afterward. One more half-star for the brilliant cover art.

Notable Textzeile: You look like me And I look like no one else We need no other As long as we have ourselves But I won't cry about it Every time you get obsessed Every time I came undressed Early 90s US-Rock wie dieser hätte mich glaube ich nicht zum Rockhörer gemacht. Musikalisch danke ich Grunge und Punk. Zugleich hat das eine Intensität die mir sehr gefällt. Textlich sehr dark, aber nicht immer ausgefuchst. Aber in der Instrumentierung manchmal zu Medium. Für mich eher besser als drei, aber noch nicht 3,5.

Uh, angry much? Greg Dulli klingt ja immer not too amused, aber hier ist Bitterkeit eingebettet in grimmingen... Soul-Grunge? Sehr schön. Wahrscheinlich wäre das im Herbst bei Schietwetter ein 5 Sterne Album. So ziehe ich einen Punkt ab, weil selbst ich beim Hören angefangen habe mit den Zähnen zu knirschen. Dulli, ich hoffe du hast eine Knirschschiene. Tolles Album.

Bor ist das langweilig. Versteh wo das hin soll. Aber da ist ja gar kein Hit drauf und schnarcht ab.

It was okay. Gave me strong dinosaur Jr vibes. I can see some people really liking it.

Good rock record

I love the Horrible Crows and this is what they were ripping off. Amazing.

The lyrics. I can't get past them, they are so shitty. Mindless and dumb. The vocalist also grunts far too much for me. The tracks all together aren't terrible, I just think they are boring. That would place this album at maybe a three out of five, if it wasn't for the terrible lyrics.

whatever of an album

Nah. 2.5

Interesante

It's ok