The album was supported by the Rage Against the Machine Tour which commenced in early and concluded on December 31, The band announced on October 9, , via their Facebook page that they would be releasing a special 20th anniversary boxset to commemorate the group's debut album. The boxset contains never-before-released concert material, including the band's Finsbury Park show and footage from early in their career, as well as a digitally-remastered version of the album, b-sides and the original demo tape on disc for the first time.
Rage Against the Machine received critical acclaim. In a contemporary review, NME wrote that "what makes RATM more than just another bunch of prodigiously capable genre-benders is their total lack of pretension or contrivance Robert Christgau was somewhat less impressed in The Village Voice , summing it up as "metal for rap-lovers—and opera-haters" while naming "Know Your Enemy" and "Wake Up" as highlights.
In , the album was ranked number on Rolling Stone magazine's list of the greatest albums of all time  and number 24 on the magazine's list of " Greatest Metal Albums of All Time". All songs from both bonuses are the versions from previously released singles and promos, except C1 which is from a different performance.
No information is given on the 12" about the date nor venue. From Wikipedia, the free encyclopedia. This article is about the band's debut studio album. For their demo album of the same name, see Rage Against the Machine demo album. Rage Against the Machine. Rap metal  funk metal . Main article: Rage Against the Machine Tour.
Metal Hammer. Retrieved September 23, Rolling Stone. Retrieved November 30, Retrieved February 27, Retrieved January 3, July 9, Retrieved August 18, Retrieved April 12, The Encyclopedia of Popular Music 5th concise ed. Omnibus Press. ISBN Los Angeles Times. Retrieved August 19, This is where the first criteria I mentioned, the avoidance of redundancy, comes in. While many of these parts are available through different channels much of the live footage and music videos are on YouTube; the demos have been leaked and streamed through the internet for some time , XX marks the first official release of a lot of the material, a nice change of pace given the lazy repackaging often seen in these editions.
That RATM can be content with how strong the original tapes were is a testament to their skill in the recording process, but it does prove problematic for anyone attempting a remastering job like this one. The one part of the package that escapes this problem is the vinyl record, which sounds absolutely fantastic. The vinyl, however, can be purchased by itself. Upon first hearing that Rage Against the Machine would get this regal treatment, I was taken slightly aback.
This extends to the demo disc included here. Part of what made this debut so successful is that it felt like a sonic gut-punch, and it did so with a spare list of ingredients.
Morello had found the fertile nexus between gargantuan riffs and idiosyncratic techniques that intrigued adolescent fans and Guitar Player obsessives alike. They recorded Rage Against the Machine in what felt like an instant; the next two albums took three and four years and never mounted the same sort of enthusiasm.
Epic, after all, was then a subsidiary of Sony, the global electronics empire that not only profited from selling a Rage tape but also the very Walkman that played it. The so-called paradox, in retrospect, was puritanical scaremongering, an absurd ideological litmus test that gave more power to those already controlling the world than those wanting to change it by any means possible.
And anyway, Rage had done exceptionally well during its brief independent trial, selling more than 5, copies of their demo at shows and through friends. He saw the mechanism for public broadcast. The resulting riches have sometimes felt embarrassing, as when de la Rocha ran a stoplight with a Rolling Stone reporter in a Ford Explorer as he headed to his new home in the hills of Los Angeles.
But how else should Rage have done its bidding, especially at least a decade before the internet allowed easy worldwide distribution, or at least the promise of it? Or should they have exploited an already-exploitative label system to seed extreme ideas in politically fallow places—a state-sponsored conspiracy, if you will, against itself?
Consider this: Rage made just four music videos to promote their debut. As de la Rocha impugned the American educational system, jingoistic patriots, malleable media, and complacent suburbanites on the album itself, he largely avoided naming names or offering specific solutions, aside from taking direct aim at J.
Flying in the face of U. As they play, scenes from the battle, its prelude, and its aftermath interweave with a flash-card history of federal land grabs from Native Americans. It is a righteous moment that fades into explicit instructions for writing to the Leonard Peltier Defense Committee and helping.
That suggestion came from the record company, not the band, like they were trying to outflank us! When has that ever happened? And in an era when the president criticizes the free speech of theater companies and threatens to dismantle broadcast rights for networks he deems enemies of the state, can you imagine it happening again anytime soon? When I was a teenager, those videos Rage had made finally found me in rural North Carolina on the family farm, only after we had invested in an unsightly satellite dish.