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Continuing my review of every Dope studio album ever, we’re up to 2001’s Life.

This is Life…

Life was released on November 6th, 2001. It was produced by Edsel and Josh Abraham, who also produced Static-X’s Shadow Zone. Life spawned two singles, Now or Never and Slipping Away. Both the album and its singles charted pretty decently, considering how over saturated the early 00s was in pop music.

However, I’m willing to bet that’s not what you know this album for. Life was the album that brought us Dope’s most infamous track, Die MF Die. If you know any song by Dope, it’s probably this one. True story, the last time I talked to someone about Edsel, they said “The Die MF Die guy, right?” This and Blood Money are often cited as the Dope aesthetic, and it’s not hard to see why. They’re both such iconic songs, and tied so heavily into Dope’s overall tone and style as a band.

The Review: Cristina’s POV

Professional reviewers were not kind to this album. Blender’s review from 2003 stated, “If you thought the success of Staind and Limp Bizkit proved that producer Josh Abraham has the sharpest ears in nü-metal, listen to Dope’s second album and think again.” This critique, however, seems more reflective of the reviewer’s bias towards what was mainstream at the time rather than an objective assessment of the album’s quality. So let us strive to do better, here.

While Life may not be my favorite Dope album, it certainly does not deserve the harsh reviews it received. Tracks like “Now or Never,” “Thanks for Nothing,” and the very singable “What About…” stand out as strong entries. “With or Without You”‘ adds depth with its slower, more introspective vibe and Edsel’s emotive vocal delivery. The album also features one of Dope’s best music videos to date for “Now or Never.” (VERY underrated: check out this amazing video right here)

Most importantly, Life has substantial replay value. Compared to other albums from that era, this one is more likely to draw listeners back. Life’s themes of rebellion, self-destruction, and defiance are universal concepts we can all relate to. I’ve always said I could never forgive an album for making me feel nothing. Luckily, like many fans, this album resonated with me. Its raw energy and honesty is endlessly engaging.

Life didn’t get the recognition it deserved when it was released. Perhaps it’s time we changed that?

Next in our series is Group Therapy – stick right with us as I review every Dope studio album ever.

As promised, I’m reviewing every Dope studio album EVER. And we’re starting with a review of 1999’s Felons and Revolutionaries.

Worth noting: I’m not a journalist, and have never claimed to be. I AM however, a very opinionated fan with a loud mouth and a platform. That’s … almost there on the qualifications, let’s be real. Point is, don’t take this like I’m a music industry expert or anything. My reviews also tend to reflect that I find it unproductive to be overly critical just for the sake of a “balanced critique.” If there’s nothing particularly at fault with a work, I won’t pick it apart just to find something to criticize.

With that said, let’s get into this review of Felons and Revolutionaries.

Felons and Revolutionaries: The Beginning

Dope burst onto the world stage with the release of Felons and Revolutionaries in 1999. As of this writing, it is their best selling album. It’s also *most likely* the album you’ve heard the most from commercially: the song Debonaire was featured on The Fast and the Furious and Scream 3 OSTs. Debonaire was also used as the entrance music for the wrestler Rhyno when he was in ECW, which I actually didn’t know until recently.

Along with the ever popular Debonaire, the tracks Sick, Everything Sucks and Pig Society were released as singles from Felons. Debonaire, Sick and Everything Sucks also received music videos. The album was produced by Edsel and John Travis, with Edsel also helming the design and artwork for this release.

The Review: Cristina’s POV

Felons and Revolutionaries has received generally favourable reviews, and for good reason. It’s a damn good album. For those of you who got into Dope with No Regrets or later releases, though, you might think you’re listening to a different band at first. That’s because with their debut, Dope was definitely giving more industrial vibes. This might be a slightly different Dope in style but not in overall tone. But if you’re not big into industrial, this might not be your go to Dope album.

Debonaire is without a doubt the strongest track on the album, along with (arguably) being Dope’s most commercially successful single. Don’t sleep on low key bangers Spine for You, Kimberly’s Ghost and One Fix, though. This album is also notable for featuring one of very few covers by any artist that is (in my opinion) better than the original: You Spin me Round (Like a Record). Originally performed by Dead or Alive off the album Youthquake, Dope’s arrangement is still a mainstay in their live shows. When it comes to another cover on Felons (N.W.A’s “Fuck tha Police”), the re-recorded version on American Apathy is the stronger pick.

The Verdict?

Felons and Revolutionaries is still a bop 25 years on, and gives no impression of feeling dated or “of its time”. Music is a landscape that sometimes changes by the second. It’s not often that albums from this era still feel so fresh and relevant. I’ve never really understood how Edsel seems to manage keeping his music so continually timeless. At the end of the day, I don’t need to understand. Don’t take things too seriously or overcomplicate them. Good is good.

I’ll see you with the next review where we take a look at Life. The album that spawned that one song that will forever remain Dope’s most infamous track…