We want it all and we can have it, this is Faith No More’s 1995 effort King For A Day, Fool For A Lifetime. The follow up to the group’s magnum opus, Angel Dust, the album was their first without guitarist Jim Martin, and in his place was singer Mike Patton’s Mr. Bungle bandmate Trey Spruance. In addition, Keyboardist Roddy Bottom was absent for much of pre-production and parts of Recording due to various personal problems (heroin addiction, death of his father, death of Kurt Cobain, a close friend). Not only all of that, but the record was even more sporadic than any of the previous records, Angel Dust included. (Of course, when your singer and guitarist come from a band that makes a habit of going through multiple styles within the span of a single song and do that for almost an entire album, that’s bound to happen). So how does the album fare? Let’s see, starting with….

1.”Get Out” (Mike Patton):

Get Out, credited solely to Mike. The shortest song on the album, te tune is very barebones and is a straightforward tune, especially by FNM standards. Easily my least favorite song on the album and my least favorite album opener from them up to this point. But it’s still solid, a good rocking song to kick things off, I like it.

2. “Ricochet” (Patton/Gould/Bordin):

Ricochet, The second single off the album and was started on the day that Kurt Cobain was found dead. Fun fact: Courtney Love was a one time singer for Faith No More, no shit. And of course she was Roddy’s beard for a time and they remained friends afterward. Makes sense that they’d be friends since when Roddy is around her, he remembers why he prefers the cock.

Back to the song, the song starts with a wall of guitar feedback, with Mike’s vocals coming in not long after and it blends fantastically with the wall of sound, the song possessing a thick and dense atmosphere, with Roddy’s keys thickening it quite nicely, with Billy Gould and Mike Bordin driving the track. While I definitely think Jim Martin’s guitar leaves quite a hole, as he was certainly a unique player, Trey does a more than adequate job filling in. The song is fantastic, and is not even a favorite on this album!

3. “Evidence” (Patton/Gould/Bordin/Spruance):

We now get a little funky and soulful with Evidence, written by the full band (minus Roddy). The track was the third and final single for the album, and was also recorded in Italian, Portuguese, and Spanish, the latter was a bonus track on the single. In fact, here it is:

The song has just such a smooth groove played with such grace, Mike confidently crooning with such sincerity, truly commanding the song like a true soul singer, and I adore Roddy’s piano on here, with the jazzy flair and his synths creating an atmosphere. Trey plays some really beautiful licks all throughout this track, while Billy and Bordin lock in so well. Goddamn this track is just exceptional, one of my favorite FNM tracks and tied for my favorite off the album.

4. “The Gentle Art Of Making Enemies” (Patton/Gould/Bordin):

And now we discuss The Gentle Art Of Making Enemies, and the track is easily the most alternative track so far, Making prominent use of the loud-quiet dynamic, and I hear a lot of later alt metal bands in this track. Of course most of them didn’t do it nearly as well, but I really dig this tune.

5. “Star A.D.” (Patton/Gould/Bordin):

And now the guys deliver some punchy soul in Star A.D., complete with the old school horns that I love a lot on this song. The track has such a tight yet loose groove to it, a perfect compliment to Evidence. Awesome vocals by Mike, as well as some stellar playing by all involved, who truly nail the sound and manage to come off very authentic in the process. In particular, Billy does some killer bass throughout this song, dude doesn’t get enough props. Also kicking ass is Trey, who does some excellent guitar work. I love Jim dearly and he is an irreplaceable part of FNM, but Trey is easily the best guitarist they’ve had as far as chops go. The song is excellent, kicks much ass, and is another winner for this album.

6. “Cuckoo For Caca” (Patton/Gould/Spruance):

And now Cuckoo For Caca, a workers ass tune that I love greatly, from the killer drumming by Bordin, Roddy’s organ, all the crazy ass vocal things Mike does throughout this track, it’s a good heavy song done Faith No More style. Tied with Evidence for my favorite track on this album, next song!

7. “Caralho Voader” (Gould/Patton/Bordin):

And now we slow things down, going for a moody vibe with some really cool percussion, great electric piano from Roddy, tasty guitar things from Trey, this is a really cool tune, I like it a lot.

8. “Ugly In The Morning” (Patton/Spruance/Gould):

And now we are Ugly In The Morning. I’ll admit this is lower tier for this album, but I still really dig it. It’s definitely a grower, and it becomes another piece of this weird ass album, and besides- Billy is on fire throughout this track, the Mikes are both killing it on here, the band is all over the place here, and remain tighter than a nun’s asshole. This is a really good track, even if it’s one of my least favorite on here.

9. “Digging The Grave” (Patton/Gould/Bordin):

And now Digging The Grave, The first single off this album, a very logical choice as it’s a little more straightforward and definitely more hooky. Once again, everyone is excellent on this track-amazing vocals from Mike, great bass and drums from Billy and Bordin, Trey does some very lean guitar work, an awesome song and another highlight of the album.

10. “Take The Bottle” (Patton/Gould):

And now this album goes for a ballad of sorts, a modern (1995) doo-wop number with some stellar guitar work by Trey, having a lot of sixties surf rock that perfectly accompanies the melody, Mike is in stellar voice as always on here, and Roddy’s piano playing is so sweet on here, this is such a great great song and would have made for a great single (fun fact: this and Gentle Art were planned as singles, but this ultimately didn’t happen).

11. “King For A Day” (Patton/Gould/Bordin/Bottum/Spruance):

And now the title track, featuring some nice acoustic backed by a driving rhythm and Roddy’s keys coloring the atmosphere. I will say, I usually have no idea what the fuck Mike is taking about in his lyrics, but they have such a cool abstract quality to them which colors the music and melody so well (which is his self-stated goal with lyrics anyway). Roddy, somewhat unusually for this album, really shines on this track, perfectly complimenting the others on here. A fantastic track and a great choice for a title cut.

12. “What A Day” (Patton/Spruance):

What A Day. I’m reviewing Faith No More and listening to What A Day, which is a grooving song on the verses while Trey throws in some weird things on guitar and Roddy on synths. It’s not really one of the essential tracks on the album, but it’s a grower and serves its function as an album track.

13. “The Last To Know” (Patton/Gould/Bordin):

The Last To Know, probably my least favorite on here. I don’t hate it, it’s got some strong performances involved, but if it were cut I wouldn’t cry over its absence.

14. “Just A Man” (Gould/Spruance/Patton/Bottum):

We conclude the main album with Just A Man, which kicks off with a reggae groove colored by Roddy’s synths and Mike singing of reaching for the sky, using the legend of Icarus to illustrate over-ambition. This is a fantastic song and a great way to conclude this album, with some excellent guitar and bass work, some of Mike’s best vocals to date, and a choir that’s not pretentious as fuck!

And now bonus tracks/b-sides (not posting the foreign Evidence performances):

1. “Absolute Zero” (Patton):

Absolute Zero, Which does not describe Absolute Zero, a crushing song that I wish was on the album, I absolutely love it Between The heavy rhythm, Trey’s atmospheric guitar solo complimented by Roddy’s keys, this is such a great song that should not have been condemned to a B-Side.

2. “Greenfields” (Terry Gilkyson/Richard Dehr/Frank Miller):

Greenfields, a cover of The Brothers Four’s Hit, that being a vocal folk group from the early sixties, but this has a weird industrial vibe to it, possibly aided by former roadie and keyboard tech Dean Menta, who produced this track with Billy and plays guitar, as Trey ended up leaving the band around the time. Shame cause Trey was an excellent replacement for Jim, though in fairness, Dean does some strong guitar work on here, particularly the solo. I absolutely love this song, though I should note I’ve never heard the original.

3. “I Started A Joke” (Barry Gibb/Robin Gibb/Maurice Gibb):

Yes, we are talking The Bee Gees Classic, and Faith No More does an excellent job on here, honoring the original but putting their stamp on it, I love it.

4. “Spanish Eyes” (Charles Singleton/Eddie Snyder/Bert Kaempfer):

Another cover, this time of an Al Martino tune and once again Dean is on guitar. Cool track, I dig it.

5. “I Won’t Forget You” (Patton/Gould):

This is another original that was cut, though it would make the Who Cares A Lot? compilation. Another cool ass original that I really dig.

6. “Hippie Jam Song” (Patton/Gould):

Another great outtake, I love this one too, great Hendrix-esque guitar work as well as keyboard work.

7. “Instrumental” (Patton/Bottum/Gould):

Instrumental, Which is…. an instrumental. Cool track, I don’t mind it.

8. “I Wanna Fuck Myself” (G.G. Allin):

I Wanna Fuck Myself, a cover of transgressive punk artist G.G. Allin. The Brothers Four, Al Martino, The Bee Gees, and GG Allin. Faith No More folks, Faith No More. Overall, awesome song and cover, the rare mainstream band who could actually cover GG Allin and not totally fuck it up.

That’s Faith No More’s King For A Day, Fool For A Lifetime, be sure to leave a comment and suggest other artists you’d like to see covered on here.