Fall Out Boy (biasa disingkat
FOB) adalah
band rock alternatif yang dibentuk pada tahun
2001 di
Chicago,
Amerika Serikat. Beranggotakan
Patrick Stump (vokalis/vitaris),
Pete Wentz (bassis),
Joe Trohman (gitaris), dan
Andy Hurley (drummer).
Fall Out Boy telah memenangkan sejumlah penghargaan untuk album major label pertama mereka,
From Under the Cork Tree, yang dirilis pada tahun
2005. Album ini telah meraih
platinum ganda setelah mencapai angka penjualan lebih dari 2,5 juta album di Amerika Serikat saja. Fall Out Boy tumbuh di scene hardcore di kawasan Chicago, Illinois, sekitar periode 2001. Tahun berikutnya, mereka menelurkan album berjudul Fall Out Boy's Evening Out With Your Girlfriend, yang tidak begitu diterima pasar musik di
Amerika Serikat. Namun album tadi menjadi tonggak bagi Fall Out Boy untuk berkarya di dunia musik. Album selanjutnya, Take This To Your Grave, menyita perhatian dunia musik di
Amerika Serikat. Dengan hit semacam Grand Theft Autumn, Saturday, serta Dead on Arrival, Fall Out Boy sukses merebut hati Island Record.Bersama Island Record, Fall Out Boy menghasilkan From Under The Cork Tree (2005), Infinity On High (2007), serta Folie A Deux (2008).
Fall Out Boy Albums (56)
What The Critics Say
Appearing four years after “Sugar, We’re Going Down” turned Fall Out Boy into genuine rock stars, and covering just four albums, 2009’s Believers Never Die: The Greatest Hits is a surprisingly addictive hits record, a hyper-charged testament to Fall Out Boy’s grandiosely self-deprecating, self-aware, emo-pop. Taking loud fast rules to a stylized extreme, Believers Never Die cuts away any remnants of slow songs -- the acoustic guitars and lack of drums on “Yule Shoot Your Eyes Out,” one of four new songs or rarities, gives the illusion that it’s slower than it is - FOB piles up hooks and words with a smirky abandon, the sincerity of singer Patrick Stump and sarcasm of bassist/lyricist Pete Wentz tied together by a shared love of arena-punk: guitars from Van Halen, melodies from Queen, outlook from the alt-rock revolution. The group's hooks burrow deep and Fall Out Boy seems like one of the quintessential mainstream rock singles bands of the 2000s., All Music Guide
![Folie à Deux [Bonus Track]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tdcN-KQFICU5ExwIrjG7W1IGG1WqPHM2cbYdAdojNR5iwl_XAi_OnTdzICAoaOJYvmGqRz1AvXmgeTmFfxZ0CplNcL5TJtbuX_awazvK_5e8ypYy92Vi6T-efaIRbRR-NftnEP5Pbvb9PugHaeJvyFfa134nUidcLv9XuW3lcoT1wJ1vSb-WS_RV8IW7Tf1kFSByDW4tMzglZpIKwOeJmaNuVdQ7V4dsYz0MS6THXyMxpJlYNQXp3P6unoZ1NJyOeyzD0ew4iW=s0-d)
What The Critics Say
Who knew that Sgt. Pepper's was once again the in record for now hipsters? First, Panic at the Disco dropped the exclamation mark and donned trippy marching uniforms for the psychedelic pastiche Pretty, Odd, now Fall Out Boy follow with Folie à Deux, a record that doesn't attempt to re-create the sound but the spirit of 1967, when rock bands would try anything on their LPs, especially if it included lots of orchestration. Strings are only one of the accoutrements on Folie à Deux. Fall Out Boy pile everything onto their fifth album: cameos from superstars and running mates, so many that Lil Wayne and Debbie Harry are barely heard; thundering arena rock rhythms and ultra-slick hair metal riffs; hints of soul and R&B; synths lifted from new wave singles and retro hits alike. If only it were done with a modicum of care, it might seem like a crazy postmodern hall of mirrors, but Fall Out Boy are too artless to be postmodern. They're hyper modern, flitting through the past and present, taking nothing seriously and taking everything they can, cramming so many allusions into their overstuffed songs it's impossible to tell what is intentional and what is accidental. (Are those crashing chords on "Disloyal Order of Water Buffaloes" really taken from "Baba O'Reilly"? Do they realize "I don't care what you think/Just as long as it's about me" is from Nirvana's "Drain You"? Does it matter?) Uncertainty about FOB's intentions is a problem intensified by how lyricist and de facto leader Pete Wentz writes every line with a smirk (it's a wonder he's yet to title a song with an emoticon) and how singer Patrick Stump treats every lyric as if it's sacrosanct, never acknowledging that there just might be a pun there. Stump's one quirk is an unhealthy obsession with Elvis Costello, borrowing so many of Costello's overheated mannerisms that when the man himself appears for a show-stopping cameo on "What a Catch, Donnie," it takes a moment to register that he's really in the studio singing on an overblown song that also features members of Gym Class Heroes and the Academy Is..., and even contains a passing Beatles allusion when somebody sings "Sugar, We're Going Down" on the close out, just like how John sang "She Loves You" at the end of "All You Need Is Love." Whether intentional or not, there's a certain glee to FOB's pop absurdity because their cheerfully careless genre-bending has no reverence: fitting all these sounds and jokes into a pop song is all a game and it's one listeners can share, whether they're playing spot-the-allusion or just succumbing to the sugary hooks clustered within one track. It would be more fun if these hooks were polished into something resembling a constructed pop song -- FOB's melodic phrases don't necessarily lead to the next -- and if the production weren't so brittle and digital. When there's as much going on in a mix as there is here, there needs to be room to breathe and there is none on Folie à Deux, with every little detail louder than the next. It also might help if Stump for once would realize that he is singing the words of an unrepentant goofball who gave his newborn son a name whose initials are BMW -- everybody else in the band and audience is having some fun, why not Stump? -- but that disconnect is yet another way that Fall Out Boy capture the Zeitgeist of the latter half of the 2000s better than any band: there's so much going on in Folie à Deux, you either choose to take it all seriously or take none of it. Fall Out Boy make as much sense when heard either way. [The 2008 edition featured one bonus track.] ~ Stephen Thomas Erlewine, All Music Guide
![Folie à Deux [Deluxe Edition]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uT-DXKricZt7oH6brWZvsPWlPj7LWCiUzZGJ6APTFzLehDVigGc7siagbDefECAV5XNM0m-oLrsZUQZH0yNuZt0lFuHeRjyNlD6KOnFsWeCIfw7pqFIb23rS0yKol69VtafEO-G2R3GGQH9I4D5gk95_7VERcLXNBTGdq-0rBNQbSw_e9oVS-z3TD7xAv9RRhepmMlDEJoUrvxO_MEImqkCbJ9UiILKksNDF7eAaBjcfp5HWbCsOlZbLBV0Um7wPyxs7fVqM16=s0-d)
What The Critics Say
Who knew that Sgt. Pepper's was once again the in record for now hipsters? First, Panic at the Disco dropped the exclamation mark and donned trippy marching uniforms for the psychedelic pastiche Pretty, Odd, now Fall Out Boy follow with Folie à Deux, a record that doesn't attempt to re-create the sound but the spirit of 1967, when rock bands would try anything on their LPs, especially if it included lots of orchestration. Strings are only one of the accoutrements on Folie à Deux. Fall Out Boy pile everything onto their fifth album: cameos from superstars and running mates, so many that Lil Wayne and Debbie Harry are barely heard; thundering arena rock rhythms and ultra-slick hair metal riffs; hints of soul and R&B; synths lifted from new wave singles and retro hits alike. If only it were done with a modicum of care, it might seem like a crazy postmodern hall of mirrors, but Fall Out Boy are too artless to be postmodern. They're hyper modern, flitting through the past and present, taking nothing seriously and taking everything they can, cramming so many allusions into their overstuffed songs it's impossible to tell what is intentional and what is accidental. (Are those crashing chords on "Disloyal Order of Water Buffaloes" really taken from "Baba O'Reilly"? Do they realize "I don't care what you think/Just as long as it's about me" is from Nirvana's "Drain You"? Does it matter?) Uncertainty about FOB's intentions is a problem intensified by how lyricist and de facto leader Pete Wentz writes every line with a smirk (it's a wonder he's yet to title a song with an emoticon) and how singer Patrick Stump treats every lyric as if it's sacrosanct, never acknowledging that there just might be a pun there. Stump's one quirk is an unhealthy obsession with Elvis Costello, borrowing so many of Costello's overheated mannerisms that when the man himself appears for a show-stopping cameo on "What a Catch, Donnie," it takes a moment to register that he's really in the studio singing on an overblown song that also features members of Gym Class Heroes and the Academy Is..., and even contains a passing Beatles allusion when somebody sings "Sugar, We're Going Down" on the close out, just like how John sang "She Loves You" at the end of "All You Need Is Love." Whether intentional or not, there's a certain glee to FOB's pop absurdity because their cheerfully careless genre-bending has no reverence: fitting all these sounds and jokes into a pop song is all a game and it's one listeners can share, whether they're playing spot-the-allusion or just succumbing to the sugary hooks clustered within one track. It would be more fun if these hooks were polished into something resembling a constructed pop song -- FOB's melodic phrases don't necessarily lead to the next -- and if the production weren't so brittle and digital. When there's as much going on in a mix as there is here, there needs to be room to breathe and there is none on Folie à Deux, with every little detail louder than the next. It also might help if Stump for once would realize that he is singing the words of an unrepentant goofball who gave his newborn son a name whose initials are BMW -- everybody else in the band and audience is having some fun, why not Stump? -- but that disconnect is yet another way that Fall Out Boy capture the Zeitgeist of the latter half of the 2000s better than any band: there's so much going on in Folie à Deux, you either choose to take it all seriously or take none of it. Fall Out Boy make as much sense when heard either way. [A Deluxe Edition was also released.] ~ Stephen Thomas Erlewine, All Music Guide
![Live in Phoenix [Video]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vj4DM-oAYhwp6VbonFJRYrhA7WX24ZOyLtyZioECO_m81CuVvH5w6aLpxytNcdd5wSoiB0m6euGkRuKApYsAQrYdjD9TZR5H1CL_JWUC8bp81VGMNbUuK-p_WFVxuX9f143WhqAzHAEYs8E9z0o6sMD745DKW3276eHMnVYmEtRE6-MFq2UJhINQxRnJSokIAG-ykyJ6Anxu5Va8-bPqGy4TldouAEKTuU66GHg5JTPMll85q2q5eT57xnNveU6ldn-Zb6TkzA=s0-d)
What The Critics Say
Say what you will of their flat-ironed haircuts, wordy song titles, and relationships with exasperating Hollywood starlets, but the boys in Fall Out Boy put on a fairly tight show. Still, is that enough to save Live in Phoenix from being dragged underwater by its own weight? Recorded during the Infinity on High tour, this CD/DVD package features both sides of the band: the talented emo-rock outfit headed by vocalist Patrick Stump (displayed on the audio disc), and the flashy, image-conscious group with Pete Wentz at the center (as evidenced by the DVD). The video portion is enjoyable enough, particularly if you're a dedicated fan, as the pyrotechnics and confetti cannons add a bit of spectacle to the band's performance. At the same time, it's all too easy to overlook Patrick Stump's presence when you're given those visuals, and his contributions are the real meat of Fall Out Boy's sound. Wentz may be the most famous bandmember (even if his agenda seems to center on three things here: screaming into the microphone, introducing songs with unintentionally hilarious speeches, and wearing a fashionable hoodie during the height of summer in an Arizona nightclub), but Stump proves his worth as one of the most competent emo vocalists around, nailing the high notes in "This Ain't a Scene, It's an Arms Race" and plowing his way through series after series of tongue-twisting melodies. He deserves more recognition, and the fact that Pete Wentz so easily hijacks the spotlight shows why many critics dismiss this band. Then again, perhaps the CD's messy cover of "Beat It" is to blame. John Mayer makes a brief appearance on the song's guitar solo, but his presence only heightens the realization that we're listening to Fall Out Boy and John Mayer, not the celebrated partnership of Michael Jackson and Eddie Van Halen. When the bandmates stick to their talents, Live in Phoenix shows them to be competent musicians who've been irrationally slandered by those outside the emo circle. But when Fall Out Boy overstep their boundaries, this album threatens to capsize, regardless of the strength of the performances. ~ Andrew Leahey, All Music Guide
