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AKA: Green, Days of the New II
Days of the New 1999 Album

Days of the New Days of the New
21
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Length
1h 3m 38s
Country
United States
Release Dates
1999-08-31
Description
Days of the New (also known as the Green album or Days of the New II) is the second self-titled album of Louisville rock band Days of the New. Released on August 31, 1999, it marks the first album following the break up of the original lineup and the last under Outpost. While not nearly as commercially successful as its 1997 predecessor, Green acquired stronger appreciation from critics and featured two successful singles.
artist
producer
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Other Roles
Nicole Scherzinger
Nicole Scherzinger
Backing Vocals
Travis Meeks
Travis Meeks
Lead Vocals, Guitar
Tracklist
1. Flight Response 5m 55s
2. The Real 4m 18s
3. Enemy 5m 11s
4. Weapon & the Wound 5m 44s
5. Skeleton Key 3m 2s
6. Take Me Back Then 4m 16s
7. Bring Yourself 5m 55s
8. I Think 5m 51s
9. Longfellow 1m 56s
10. Intro 1m 42s
11. Phobics of Tragedy 3m 26s
12. Not the Same 4m 24s
13. Provider 5m 53s
14. The Last One 4m 37s

Reviews

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For the second album, Meeks essentially gets his shot at the control room. Not only are session musicians, samplers, world beats, and an entire orchestra at his disposal, but also a certain young singer by the name of Nicole Scherzinger, who after this would rocket to fame as front woman of the Pussycat Dolls. And the end result is predictable - he abuses the privilege, by giving us an album that is even heavier on the excess and ego than the first one was. Actually, that is a big part of what makes this album interesting, and fascinating, on a lot of levels. Meeks is coming out of his grunge and rock-conservative shell, so it is refreshing to hear his acoustic-based grumble forcibly married to techno beats like on "Enemy". Scherzinger here sounds nothing like her Doll persona, cooing away as if she is Travis' spiritual muse on about half of the tracks. Speaking of the spiritual aspects, I think that is the vibe Meeks was going for on this album. On many tracks, he aims to present himself as some sort of wise, ahead-my-time, know-all, musical and spiritual guru, which is very oft-putting. Especially when you get to these go-nowhere tracks on the record like "Longfellow" that are just mindless instrumentals. It seemed like the pursuit of that image of himself obscured the fact that he still had to produce material that was listenable. Overall, what we have is a big, beautiful sounding nothing burger.
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