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Every Man for Himself [Green Cover]

Every Man for Himself [Green Cover]

3.5 2
by Hoobastank

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While the title of this disc -- Hoobastank's first release since becoming a bona fide chart juggernaut -- might suggest that the band is pulling apart at the seams, Every Man for Himself is actually their most unified effort to date. Rather than simply turning on the stylistic Xerox machine and conjuring up a dozen or so revisions of the formula that made "The


While the title of this disc -- Hoobastank's first release since becoming a bona fide chart juggernaut -- might suggest that the band is pulling apart at the seams, Every Man for Himself is actually their most unified effort to date. Rather than simply turning on the stylistic Xerox machine and conjuring up a dozen or so revisions of the formula that made "The Reason" such a durable radio favorite, the three remaining members -- bassist Markku Lappalaninen split during the album's recording -- decided to branch out, both in terms of sound and vision. On tracks like the propulsive "Born to Lead," which features a dropped-in sample of a drill instructor barking orders, there's ample evidence that, while singer Doug Robb may sometimes wear his heart on his sleeve, he's also willing to roll that sleeve up and get down-and-dirty. Much of the more volume-centric material mines fairly modern metal territory, but there are also a few surprises, from the sprightly "Look Where We Are" (which could pass for one of the Eagles' more sinewy offerings) to the dance floor-aimed lust-fest "Inside of You." Naturally, Every Man for Himself is punctuated with a smattering of ballads, some of which are rather ponderous. Others, however, like the flute-kissed closer, "More than a Memory," have the sort of emotional and melodic impact that could easily stand the test of time. While Every Man for Himself doesn't break much new ground, the band's willingness to take a few steps into previously uncharted territory makes them a lot easier to follow.

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Hoobastank once and forever banished any lingering doubts that they were a bunch of Bonnaroo hippies, à la Ekoostik Hookah, with their 2003 sophomore effort, The Reason, a strident collection of loud, angsty rockers that sounded as if it could have come out in the twilight days of post-grunge in 1997/1998. Not catchy or bratty enough to truly be pigeonholed as punk-pop and way too big and slick to be emo, they were a straight-up, hard-edged alt-rock band, only without any suggestion of being outsiders, either in their sound or intent. They were anthemic, and nowhere more so than on the power ballad title track, which became a smash in 2004, climbing all the way to number two on the Billboard Hot 100. Two years after that, Hoobastank delivered Every Man for Himself, their third album and their first as bona fide rock stars, and it sure sounds like the work of a band that's now established: it's slick and stylish, big and bright, designed for arenas and as bumper music on both MTV and VH1. Bassist Markku Lappalaninen may have left the fold, but his absence is not the reason for the slight changes in their sound; he would not be the one to polish the production, to add the strings, or to add a heavy dose of Franz Ferdinand-styled disco-rock, either. These are all things that the remaining three -- vocalist Douglas Robb, guitarist Dan Estrin, and drummer Chris Hesse -- along with returning producer Howard Benson brought to the table, and the result is a record that sounds a little more colorful and a little more appropriate than its two predecessors, which tended to be slightly monotonous and dull. The proliferation of keyboards, strings, acoustic guitars, and even horns gives this some welcome sonic variety, which helps balance the plodding sincerity of the group's grinding guitars and Robb's ham-fisted lyrics ("I am not the next of them/I am the first of me"). And since Hoobastank is about the overall sound instead of the specifics of the song or performances, it is good that there is more happening on the surface, since it makes the album coherent and easier to digest. But even if Every Man for Himself was constructed with the mainstream in mind, it likely won't win any new converts. [Every Man for Himself was released with two separate covers presenting the same artwork in different colors (à la Split Enz with True Colours: there is a green variation of the front-cover fingerprint and a red variation).]

Product Details

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Album Credits

Performance Credits

Hoobastank   Primary Artist
Bill Bergman   Baritone Saxophone,Tenor Saxophone
Howard Benson   Keyboards
Lenny Castro   Percussion
Lovitt   Trumpet
Chris Chaney   Bass
Dan Estrin   Guitar
Douglas Robb   Vocals
Chris Hesse   Drums

Technical Credits

Howard Benson   Programming,Producer
Paul DeCarli   Pro-Tools
Andy West   Art Direction
Mike Plotnikoff   Engineer
Casey Stone   Engineer
Doug Joswick   Package Production
Deborah Lurie   String Arrangements
Eric Wong   Marketing
Brett Bair   Management
Andy West   Art Direction

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Every Man for Himself 3.8 out of 5 based on 0 ratings. 4 reviews.
Guest More than 1 year ago
Summer is here and my reasons for knowing this have nothing to do with the calendar’s separation of seasons. Hoobastank’s newest, and best album in my opinion, has arrived and brought with it a heat that’ll set radio airwaves on fire. Every track on Hoobastank’s third album has great radio play potential, excluding the album opener, which is a clip of dialogue spoken by the jackass drill sergeant from Full Metal Jacket. It’s a real rarity for me to purchase a cd in which every track is a hit, but Every Man For Himself threatens to be one of the few exceptions, with maybe one or two tracks that didn’t quite sweep me away, or as far away as the other ten were able to. Still, even the album’s least appealing tracks (in this case for me they were “Without a Fight” and “Look Where We Are”) aren’t bad so much as they are incapable of being compared to the excellence of the other songs. When Hoobastank first arrived on the scene with their self-titled debut album back in 2001, many were lured into their fan-base with the hit singles “Crawling in the Dark” and “Running Away.” I was one of them, but became so obsessed with those two single tracks that I didn’t so much give the rest of the album a chance. It’s been a while since I’ve listened to the first album, but if memory serves me correctly, I only took three or four favorable songs from the cd and had forgotten about them until 2003, when they released their follow up, The Reason, which featured one of the biggest hit singles of 2003/2004, “The Reason”. It didn’t take long for that song to become the national anthem of relationships, both beginning and crumbling, and with its release, Hoobastank was able to make it abundantly clear that they were a force to be reckoned with. And, as it turned out, the number of songs that appealed to me on their second album had doubled to six, which had thus resulted with them finding a place in my list of definitive, favorite bands list. In comes Every Man For Himself, some three years after The Reason, and what Hoobastank has managed to do this time around is not only craft a successful achievement, but they have proven here that their talent is a staying power. It’s quite possibly the best rock album of 2006. With this third outing, Hoobastank tackles a variety of issues through their lyrics, but more importantly, most of what they sing about here can be understood because they’re singing about universal concepts. In “If I Were You,” (a track already receiving popular radio play) vocalist Doug Robb sings of the lack of appreciation many people have for their better-than-average lives. All people ever do is complain, but by taking a step back, Robb suggests, they’ll be able to take in the bigger picture, which reveals to them that they’ve really got more than they could ever ask for – the act of loving others and the gift of being loved in return. One of the most underestimated abilities in the music industry is the ability for a song to both sound good and mean something. Hoobastank’s lyrics are well conveyed, but more importantly, well sung, creating an overall pleasant experience. Some of the best tracks on the album are “If Only” (a very melodic, both melancholy and uplifting track that’ll sooth one’s eardrums even when cranked to the loudest volume), “The First of Me” (“I’m not the next of them/ I am the first of me!”), “Good Enough” (a nicely developed rock track), and “Inside of You,” which paints an accurate portrait of a sex-hungry man’s conscience, while at the same time, being a catchy tune you’ll likely wind up singing while driving past a flock of beautiful women with your windows down. Every Man For Himself closes with Hoobastank’s new experiment i
Guest More than 1 year ago
Awesome, just plain awesome. I thought this was the best Hooba album out there. The album experimented with new sounds and instruments.More mushy ballads, but REALLY GOOD mushy ballads. Doug's voice improved...A LOT and so is Estrin on the guitar. I especially liked (besides "If I Were You") "Inside of You" (The flirtatious vibe and horns just gets me). Doug's voice and the guitar on the beginning of "Good Enough" is heart melting, "Born To Lead" is the song to blast when you're angry at your boss, and of course, an epic last song that Hooba always have on their album, "More Than A Memory". The guitar and the spanish theme blended with Doug's voice asking for forgiveness are very cheesy, but it's every girl's guilty pleasure song.
Anonymous More than 1 year ago
Anonymous More than 1 year ago