If a band’s second album is used as a measuring point of whether they are the real deal or not, the third album should be looked at as solidifying a legacy of long-term success. More often than not a Rock band will emerge into the mainstream like a bolt of lightning that catches everyone’s attention, but few ever actually trump that initially hit. However, in the case of Godsmack, their 1998 self-titled major label debut may have been the punch to the gut, and the sophomore effort of 2000’s Awake was the much-inspired killer left hook, but 2003’s Faceless was the final jab that crowned them champions.
An interesting case study for fans of the late 90s into the early 2000s Hard Rock music, Godsmack emerged during a time when the scene was looking for a much-needed identity nearly a decade removed from the intense impact of Grunge at the hands of acts like Nirvana, Soundgarden, and Alice in Chains. Ironically, finding inspiration for their namesake in the 1992 Alice in Chains song “God Smack,” the New England-based band was packed full of intensity and raw emotion on their first two major studio albums. Looking at these, the album Godsmack was already certified platinum by the early summer of 1999, while Awake debuted at number five on Billboard 200 charts, on its way to earning the band their first-ever Grammy nomination with the song “Vampires.” With tremendous accompaniments, by 2001, Godsmack was already firmly established as one of America’s biggest Hard Rock bands.
So, when the time came to write/record Faceless, the band was hell-bent on creating something that not only pleased their solid following but satisfied their own hunger to be their best. Doing this, they opted to rent a house in Southern Florida, preverbally batter down the shutters, and set out to make an album free of the influence of what others on the scene were doing at the time. With that in mind, the time was also marred with change for the band, as Shannon Larkin came in as their new drummer instead of Tommy Stewart. A move that has kept Larkin a fixture behind the kit ever since, he joined band leader Sully Erna, Guitarist Tony Rombola, and Bassist Robbie Merrill.
Zeroed in on the sound they wanted to project on Faceless, it helped tremendously that even before the album was even ready to be released, Godsmack already had a huge radio hit in “I Stand Alone,” which was released as the lead single for off the popular 2002 Scorpion King soundtrack. Selected to be included on Faceless as well, as they inched closer to the album’s official release date, Godsmack also dropped another bomb in March of 2003 in the form of the number one single “Straight Out of Line.”
Carrying a lot of good vibes early on thanks to these two singles, Faceless emerged on April 8, 2003, with high hopes but a ton of unknowns. Naturally, Godsmack was confident with the work, but never could they have imagined it would debut at number one on the Billboard 200. Their first album ever to do so, the buzz around Faceless swiftly knocked Linkin Park’s second album, Meteora, down to number two that opening week. Quite exciting to see, overall, Faceless became one of the year’s biggest Hard Rock albums, holding ground up against other juggernauts in the genre like the aforementioned Meteora, Evanescence’s Fallen, Deftones’ self-titled, Three Days Grace’s debut album, among others.
Now, in spite of such accolades, there were naturally some critics who panned views on Faceless. Historically irrelevant, in the eyes of fans, this is an album that saw Godsmack retain a grittiness from their prior albums while still expanding on their sound with more melodic aspects that followed them into the future. In all, the album features a ton of exceptional songs, which of course included the two singles, but also “Changes,” “Make Me Believe,” “Re-Align,” along with the absolutely beautiful “Serenity,” which showcased an even broader spectrum of Erna’s voice.
Truly a major milestone in Godsmack’s storied career, you could argue that Faceless paved the way for their continued path toward two plus more decades of sustainability that still flows as they remain active touring in 2024. Most recently releasing Lighting Up the Sky in 2023, which is said to be their final studio album, Godsmack is still finding new ways to excite their fanbase. In fact, last year they reissued ‘98s Godsmack to vinyl, on May 17, 2024 they reissued Awake to vinyl, and now offer Faceless on vinyl as well.
Released on August 9th through Republic/UMe, this marks the first time Faceless is offered on vinyl, and with that, the band presents it in either a 2LP classic black pressing or as a limited-edition marble pressing (available online only). Two solid options: the new edition is presented at 45rpm speed (so remember to change the speed on your record player) and comes in a lovely gatefold jacket. Very nicely done, what is also cleverly done is each side (A-D) has a different Godsmack member’s face in the center label.
The esthetic aspect of this release, the sound, is also nothing to overlook; because it is exceptional and, if spun on a quality stereo system, it may even awaken you to different elements in the recordings you may not have noticed before. A great companion to add to other recent Godsmack vinyls, let us hope albums such as 2006’s IV or 2010’s The Oracle are also rolled out in this format at some point. Until then, Cryptic Rock gives the new vinyl edition of Faceless 4.5 out of 5 stars.
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