Complete List Of Rollins Band Albums And Songs

Prev Article Next Article

Rollins Band experienced moderate chart success throughout their career, with their most notable achievement coming from their 1994 album Weight, which reached No. 33 on the Billboard 200. The single “Liar” from the same album became a significant hit, peaking at No. 5 on the Billboard Modern Rock Tracks chart and earning a Grammy Award nomination for Best Metal Performance in 1995. While they did not win major awards, Rollins Band’s aggressive sound and relentless touring schedule helped them build a strong cult following, and they were featured on the first season of MTV’s Alternative Nation. Known for their dynamic live performances and intense, hard-hitting style, Rollins Band remains an influential force in the post-hardcore and alternative metal scenes.

ROLLINS BAND ALBUMS

Life Time

Released 1987

Life Time by Rollins Band marks a raw and aggressive debut for the group, fronted by former Black Flag vocalist Henry Rollins. Released in 1987 and produced by hardcore punk icon Ian MacKaye, the album encapsulates the visceral energy that defined Rollins’ post-Black Flag career. Recorded at Off Beat Studios in Leeds, England, Life Time is a gritty exploration of emotional catharsis, blending hardcore punk, bluesy undertones, and proto-metal influences into a sound that would evolve over the coming years.

The production of the album showcases the close-knit relationship between Rollins and MacKaye, childhood friends who both came from the same Washington, D.C. hardcore scene. MacKaye’s influence as both a producer and a pioneering figure in punk music is evident in the album’s raw, unfiltered sound. Rollins’ vocals are filled with angst and fury, while Chris Haskett’s sharp guitar riffs and Andrew Weiss’ relentless bass provide a backbone for Sim Cain’s thunderous drumming. The band’s chemistry is still in its early stages, and the result is a collection of songs that are both unpolished and ferociously intense.

Life Time opens with “Burned Beyond Recognition,” setting the tone for the rest of the album with its driving energy and confrontational lyrics. Songs like “What Am I Doing Here?” and “1,000 Times Blind” continue the album’s exploration of personal struggle, isolation, and frustration. The centerpiece of the record, “Gun in Mouth Blues,” stretches out to nearly nine minutes, offering a brooding and slow-building exploration of despair, with Rollins delivering one of his most emotional vocal performances.

The live tracks, recorded in Kortrijk, Belgium, in October 1987, add another layer of intensity to the album. Tracks like “Move Right In” and “Hot Animal Machine II” capture the band’s ferocious live energy, serving as a testament to Rollins Band’s powerful presence on stage.

Life Time was reissued in 1999 with additional tracks from the Do It album, including “Do It” and “Next Time.” These bonus tracks offer a glimpse into the band’s creative process at the time, further demonstrating their evolving sound. In 2014, the album was reissued again on vinyl, restoring the original live tracks but omitting the Do It material.

Critically, the album has been appreciated for its rawness and emotional depth. AllMusic praised the album for its ability to distinguish Rollins Band from Black Flag, noting how the album laid the foundation for the band’s later exploration of “emotional funk metal.” While not as polished as Rollins Band’s later albums, Life Time offers an unvarnished look at the group’s early potential.

Track Listing (1987 Original Release and 2014 Vinyl Reissue):

“Burned Beyond Recognition” – 2:56
“What Am I Doing Here?” – 3:21
“1,000 Times Blind” – 2:57
“Lonely” – 4:16
“Wreck-Age” – 5:33
“Gun in Mouth Blues” – 8:57
“You Look at You” – 3:31
“If You’re Alive” – 2:42
“Turned Out” – 5:57
Live Tracks (Kortrijk, Belgium):
- “What Am I Doing Here?” – 3:20
- “Intro” – 1:19
- “Burned Beyond Recognition” – 2:51
- “Move Right In” – 8:34
- “Hot Animal Machine II” – 8:36

Track Listing (1999 Reissue):

“Burned Beyond Recognition” – 2:56
“What Am I Doing Here?” – 3:21
“1,000 Times Blind” – 2:57
“Lonely” – 4:16
“Wreck-Age” – 5:33
“Gun in Mouth Blues” – 8:57
“You Look at You” – 3:31
“If You’re Alive” – 2:42
“Turned Out” – 5:57
“Do It” – 2:43
“Move Right In” – 7:27
“Next Time” – 3:20

Hard Volume

Released 1989

Hard Volume by Rollins Band, released in 1989, is a punishing, no-holds-barred follow-up to their debut Life Time. This album builds upon the band’s signature sound of combining intense, aggressive energy with deep, brooding lyrics, providing a platform for Henry Rollins to deliver his unfiltered anger and frustration. Recorded at Echo Sound Studios in Los Angeles in December 1988, and partially at Graphic Studios in New Jersey earlier that year, Hard Volume exudes the raw and uncompromising sound that Rollins Band fans had come to expect. The album was produced by the band’s trusted collaborator, Theo Van Rock, who had been instrumental in capturing their live intensity on record.

The album’s opening track, “Hard,” is a relentless introduction to the sonic fury that defines the record. With Henry Rollins’ growling vocals backed by Chris Haskett’s sharp guitar riffs, Andrew Weiss’ heavy bass, and Sim Cain’s thunderous drumming, the song immediately establishes the high-stakes emotional intensity that will permeate the album. Songs like “What Have I Got” and “Planet Joe” showcase Rollins’ existential musings, where he grapples with feelings of alienation, inner turmoil, and the pressures of life. The groove-heavy instrumentation gives the band a solid foundation, allowing Rollins to dig deep into his psyche and unleash his thoughts.

One standout moment on the album is the 32-minute instrumental jam “Joy Riding with Frank,” a live recording of a Velvet Underground outtake titled “Move Right In.” This track, recorded during the band’s 1988 tour in Linz, Austria, takes listeners on a wild, expansive journey that demonstrates the band’s improvisational prowess and musical chemistry. In the remastered 1999 edition of Hard Volume, this track was replaced with six studio outtakes, offering fans a glimpse into the creative process behind the album’s development. Tracks like “Tearing” and “You Didn’t Need” highlight the band’s ability to explore different sonic textures while staying rooted in their aggressive style.

Critically, Hard Volume was praised for its sheer force and relentless drive. Trouser Press described Rollins’ lyrics as being steeped in existential dread, while the music continued to “thunder along happily.” This contrast between Rollins’ introspective lyrics and the band’s powerful, funk-infused rock sound gives the album a unique dynamic, making it one of the most fascinating works of the late ’80s underground rock scene. The band’s ability to maintain this level of intensity without sacrificing musicality was widely noted, with Alternative Rock’s Dave Thompson calling the album “moody and electrically eclectic.”

Tracklisting:

“Hard” – 4:06
“What Have I Got” – 4:58
“I Feel Like This” – 4:26
“Planet Joe” – 4:18
“Love Song” – 6:22
“Turned Inside Out” – 6:24
“Down and Away” – 8:20
“Joy Riding with Frank” – 32:04 (original release only)

Remastered (1999) edition tracks:

“Tearing” – 4:58
“You Didn’t Need” – 5:11
“Ghost Rider” – 7:23
Demo: “What Have I Got” – 4:33
“Thin Air” – 8:21
“Down and Away” – 7:14

https://www.youtube.com/watch?v=sT7-9VrXPlY

The End of Silence

Released 1992

The End of Silence marked a pivotal moment for Rollins Band, solidifying their place in the mainstream rock world with its 1992 release. Fronted by the formidable Henry Rollins, the album was their first on Imago Records and saw them transitioning from an underground punk act to a more polished, alternative metal powerhouse. The record is an intense journey through emotional rawness, propelled by Rollins’ introspective lyrics and the band’s brutal, hard-hitting instrumentation.

Recorded over six weeks in October 1991 at Showplace Studios in Dover, New Jersey, The End of Silence was produced by Andy Wallace, known for his work with artists like Nirvana and Slayer. The album’s sound is a masterful blend of alternative metal and post-hardcore, with elements of blues and jazz woven throughout. Rollins’ vocals, often a growl of frustration and pain, are perfectly complemented by Chris Haskett’s jagged guitar work, Andrew Weiss’ pounding bass lines, and Sim Cain’s precise drumming.

One of the album’s standout tracks is “Low Self Opinion,” a fierce anthem about insecurity and self-reflection. This song became a hit on MTV, helping to elevate the band’s profile. Rollins’ lyrics in this track pull no punches, addressing self-worth and the destructive nature of doubt with lines like, “You say you don’t want to run and hide / A face that no one knows / And you say you want to live your life / Tired of all the lies.” The track’s relentless energy and uncompromising message made it an anthem for listeners grappling with similar struggles.

Other tracks like “Tearing” and “You Didn’t Need” continue this exploration of personal turmoil, with Rollins baring his soul in his lyrics. In “Tearing,” he screams, “I’m tearing, I’m tearing apart,” capturing the anguish of internal conflict. The song’s brutal, grinding instrumentation amplifies the emotional weight of the lyrics, making it one of the album’s most powerful moments.

At the heart of the album is “Just Like You,” a deeply personal track in which Rollins reflects on his relationship with his father. The song stretches over ten minutes, slowly building in intensity as Rollins examines the complexities of familial relationships. It’s a courageous piece, offering a glimpse into the vulnerability beneath his tough exterior. The album’s closer, “Blues Jam,” is another lengthy track, blending Rollins’ love for blues and metal into an 11-minute epic that serves as a cathartic release.

The album’s cover, featuring a stylized sun, is symbolic of Rollins’ personal journey, as it mirrors the tattoo on his back. This emblem of endurance and strength ties into the overarching theme of the album—facing and overcoming inner demons.

Critically, The End of Silence received praise for its depth and intensity. It was the band’s first album to chart on the Billboard 200, marking a significant breakthrough. While Rollins Band had already established themselves within the punk and hardcore communities, this album brought them to a much wider audience, aided by their participation in the first Lollapalooza tour in 1991.

Track Listing:

“Low Self Opinion” – 5:18
“Grip” – 4:50
“Tearing” – 4:58
“You Didn’t Need” – 5:30
“Almost Real” – 8:03
“Obscene” – 8:50
“What Do You Do” – 7:22
“Blues Jam” – 11:46
“Another Life” – 4:39
“Just Like You” – 10:57

Weight

Released 1994

Weight, released on April 12, 1994, stands as Rollins Band’s most commercially successful and critically acclaimed album. It captured the raw intensity of Henry Rollins’ vocals while blending the band’s aggressive alternative metal sound with moments of introspection and emotional depth. The album was crafted during a time of creative momentum for the band, following the success of The End of Silence, and was recorded at Echo Creek Ranch in Meyers, California. The remote location provided an atmosphere of creative freedom, allowing the band to make “a lot of noise night and day,” as Rollins noted, far removed from traditional studio environments.

With production handled by Theo Van Rock, Weight showcased a tight, focused sound that balanced heavy riffs with more melodic moments. The band’s lineup, including Chris Haskett on guitar, Melvin Gibbs on bass, and Sim Cain on drums, brought a dynamic synergy to the recording. Each musician contributed to the album’s powerful yet intricate arrangements, supporting Rollins’ intense vocal delivery.

The album’s lead single, “Liar,” became an iconic track for the band, bolstered by its provocative music video directed by Anton Corbijn. In the video, Rollins appears dressed as a devil, a nun, Superman, and a police officer—representing figures of authority and truth. The song’s brooding verses explode into a cathartic chorus, embodying the emotional struggle of deception and self-awareness. “Liar” reached No. 26 on the U.S. Modern Rock chart and became a staple on MTV’s 120 Minutes and Headbangers Ball, as well as being featured on Beavis and Butt-Head.

Tracks like “Disconnect” and “Shine” highlight the band’s ability to mix introspection with ferocity. “Disconnect” is a pulsating exploration of alienation and emotional distance, while “Shine” offers a message of resilience, with Rollins proclaiming, “You could be the one who’s got it all if you just let yourself be.” These tracks stand out as some of the most anthemic and powerful in Rollins Band’s catalog.

The album’s writing process began in 1993, following the band’s tour for The End of Silence. Many of the tracks were written quickly, reflecting a burst of creativity from the band. Songs like “Fool,” “Volume 4,” and “Divine Object of Hatred” emerged early in the writing sessions, while others developed over time, reflecting the band’s evolving sound. Rollins noted that some of the songs were personal challenges for him, particularly “Liar,” where he pushed himself to confront difficult emotional truths.

Commercially, Weight marked a breakthrough for Rollins Band, reaching No. 33 on the Billboard 200. It also charted internationally, including Top 30 positions in Australia, Sweden, and the UK. The album’s combination of raw power and emotional depth resonated with fans, helping it sell over 423,000 units in the U.S. by 1996. The success of Weight also led to a follow-up album, Weighting, in 2004, which included live recordings and B-sides from the Weight era.

Track Listing:

“Disconnect” – 4:57
“Fool” – 4:26
“Icon” – 3:41
“Civilized” – 3:54
“Divine Object of Hatred” – 4:01
“Liar” – 6:34
“Step Back” – 3:58
“Wrong Man” – 4:19
“Volume 4” – 4:39
“Tired” – 3:46
“Alien Blueprint” – 3:45
“Shine” – 5:26

https://www.youtube.com/watch?v=GhKMVlHz9FQ

Come In and Burn

Released 1997

Come In and Burn, released in 1997, marks a significant chapter in the Rollins Band’s discography. This album not only showcases the band’s muscular, hard-hitting sound but also carries a weight of tension due to the tumultuous period during its creation. The record was produced during a legal battle with Imago Records, their former label, which delayed the album’s release as the band shifted to DreamWorks Records. Despite the behind-the-scenes chaos, Come In and Burn stands as one of the band’s most sonically polished and lyrically introspective works, with Henry Rollins digging deeper into personal themes of isolation, frustration, and resilience.

The album, produced by Steve Thompson, was recorded in Bearsville, New York, and features the classic lineup of Henry Rollins on vocals, Chris Haskett on guitar, Melvin Gibbs on bass, and Sim Cain on drums. The band’s chemistry is palpable throughout the record, but Haskett later remarked that the extended time spent rehearsing the material (due to the legal disputes) led to some of the songs being “overwritten.” Nevertheless, this meticulousness paid off in creating an album that sounds refined without losing the raw energy for which Rollins Band is known.

“Shame,” the opening track, sets the tone with its menacing groove and Rollins’ powerful vocals. The song delves into self-loathing and the overwhelming weight of regret. “Starve,” one of the album’s lead singles, highlights the band’s ability to blend heavy riffing with introspective lyrics. The track’s relentless energy perfectly encapsulates the tension that runs through the album. Meanwhile, “All I Want” and “On My Way to the Cage” further explore themes of internal struggle and emotional survival, with Rollins delivering impassioned, almost cathartic performances.

One of the most standout tracks, “The End of Something,” is a poignant reflection on endings, both personal and existential, with Rollins’ lyrics weaving through a sense of impending closure. The album’s lyrical depth is also evident in “The End of Something” and “Saying Goodbye Again,” both songs where Rollins confronts feelings of rejection and loss.

Critically, Come In and Burn was lauded for its production quality, with some reviewers noting that it contained some of the band’s best-sounding recordings. Yet, the album’s commercial success was more modest compared to previous efforts like Weight. It reached No. 89 on the Billboard 200 and found moderate success internationally, charting in countries like Australia, Germany, and Finland.

The album’s standout tracks, like “Spilling Over the Side” and “Inhale Exhale,” embody the sonic range Rollins Band is known for—melding aggression with groove-laden rhythms. Come In and Burn also featured an enhanced CD, which included the “Rollins Band Interactive” segment, and the European and Japanese editions offered bonus tracks such as “Disappearing Act” and “Also Ran.”

Tracklisting:

“Shame” – 5:32
“Starve” – 4:08
“All I Want” – 4:41
“The End of Something” – 4:50
“On My Way to the Cage” – 3:20
“Thursday Afternoon” – 4:04
“During a City” – 3:39
“Neon” – 4:28
“Spilling Over the Side” – 3:44
“Inhale Exhale” – 3:39
“Saying Goodbye Again” – 3:34
“Rejection” – 4:37

https://www.youtube.com/watch?v=DQpJqkxaZHQ

Get Some Go Again

Released 2000

Recorded in 1999 at Cherokee Studios in Hollywood, Get Some Go Again was produced by Clif Norrell, who also handled the recording and mixing duties. The tight chemistry between Henry Rollins and Mother Superior’s Jim Wilson (guitar, piano), Marcus Blake (bass), and Jason Mackenroth (drums, saxophone) is evident throughout the album. Their collective ability to churn out quick, unrelenting tracks mirrored Rollins’ desire to make music with urgency and energy. The album’s sound, described as lean and aggressive, was far from the more polished alternative metal of the band’s previous output.

The album opens with “Illumination,” a hard-hitting, riff-heavy track that serves as a declaration of the band’s new sound. This is followed by the title track, “Get Some Go Again,” a fast-paced song that showcases Rollins’ vocal power and the tight musicianship of the band. The album maintains a relentless pace with tracks like “Monster” and “Change It Up,” both clocking in around three minutes but packing a punch with their high-octane performances.

One of the highlights of the album is “Hotter and Hotter,” which features guest contributions from Wayne Kramer of MC5 fame, adding another layer of grit to the already thunderous sound. Rollins and Mother Superior’s collaboration with Scott Gorham (Thin Lizzy) on “Are You Ready?” injects a touch of rock nostalgia into the album, but with Rollins’ unmistakable intensity driving it forward.

“On the Day” and “You Let Yourself Down” provide more introspective moments, though still marked by a fierce delivery. The album concludes with the sprawling “L.A. Money Train,” an epic fourteen-minute track that veers into experimental territory, further demonstrating the band’s willingness to push boundaries.

Chart-wise, Get Some Go Again performed modestly, peaking at No. 180 on the Billboard 200 in the United States, No. 40 on the Australian Albums Chart, and No. 60 on the German Albums Chart. Despite underwhelming commercial success compared to previous albums, Get Some Go Again was a cathartic release for Rollins. The record was later reissued as part of Get Some Go Again Sessions, which included outtakes and the missing track “Illuminator.”

Tracklisting:

“Illumination” – 4:11
“Get Some Go Again” – 2:12
“Monster” – 3:03
“Love’s So Heavy” – 3:53
“Thinking Cap” – 4:11
“Change It Up” – 3:03
“I Go Day Glo” – 1:45
“Are You Ready?” (Brian Downey, Scott Gorham, Phil Lynott, Brian Robertson) – 2:43
“On the Day” – 3:44
“You Let Yourself Down” – 2:46
“Brother Interior” – 5:39
“Hotter and Hotter” (Rollins, Wilson, Blake, Mackenroth, Wayne Kramer) – 3:50
“L.A. Money Train” – 14:13

Personnel:

Henry Rollins – vocals
Jason Mackenroth – drums, saxophone
Marcus Blake – bass
Jim Wilson – guitar, piano

Additional musicians include Wayne Kramer on guitar for “Hotter and Hotter” and “L.A. Money Train” and Scott Gorham on “Are You Ready?” Clif Norrell handled recording and mixing duties, while George Marino mastered the album.

https://www.youtube.com/watch?v=n7MZwH24CI8

Nice

Released 2001

Nice by Rollins Band, released in 2001, marked the final studio album for the band under the Rollins Band moniker. Featuring Henry Rollins fronting a new lineup with the musicians from Mother Superior—guitarist Jim Wilson, bassist Marcus Blake, and drummer Jason Mackenroth—Nice took a bold step into a rawer, blues-influenced hard rock sound. After the relative disappointment of their previous releases with DreamWorks, Come In and Burn and Get Some Go Again, Rollins and his new bandmates returned with a grittier, stripped-down approach that captured the essence of live rock energy. Released on Sanctuary Records, a label known for its roster of hard rock and heavy metal acts, Nice stands as a more straightforward, groove-heavy album, leaving behind the more complex arrangements of previous Rollins Band efforts.

The recording process of Nice took place at Cherokee Studios in Los Angeles, under the guidance of engineer Clif Norrell. In line with Rollins’ philosophy of keeping the music raw and authentic, the album was recorded using analog two-inch tape, with no digital corrections. Rollins’ insistence on capturing the live feel of the band’s performances resulted in an album that brims with immediacy and unpolished energy, marking a departure from the more polished sound of Come In and Burn. According to Rollins, the road manager, Mike Curtis, set the band up with a range of vintage guitar equipment, resulting in what Rollins described as “great guitar sounds.” The overall sound is deeply rooted in blues rock and garage rock, with a tinge of punk and funk influence throughout, showcasing the versatile musicianship of his new bandmates.

Nice kicks off with “One Shot,” a high-energy track that sets the tone for the album’s gritty rock aesthetic. Rollins delivers his signature raw vocal performance, while Jim Wilson’s guitar riffing adds a layer of bluesy grit. The album continues with tracks like “Up for It” and “What’s the Matter Man,” which echo the blues-rock influences while maintaining Rollins’ aggressive, no-holds-barred attitude. “I Want So Much More,” a standout track, features soulful backing vocals that give the song a unique texture within the Rollins Band’s typically heavier sound, illustrating the band’s willingness to experiment with different sonic landscapes.

“Lyrically, Nice stays true to Rollins’ often personal and introspective approach, dealing with themes of frustration, self-reflection, and existential questioning,” especially on songs like “Going Out Strange” and “We Walk Alone.” The album also maintains a directness in both its sound and message, with songs like “Let That Devil Out” and “Gone Inside the Zero” diving into deeper emotional territory without the heavy-handedness of previous records. Despite this, Nice remains a largely up-tempo and raw album, with the band putting their new sound and identity on full display.

While Nice didn’t perform remarkably on the charts, peaking at No. 64 on the Australian Albums Chart and No. 56 on the German Albums Chart, it still provided a sense of closure to this chapter of the Rollins Band’s evolution. By this point, the group’s days with DreamWorks were behind them, and Nice was a representation of the band’s refusal to conform to commercial expectations, continuing to embrace their core identity even as the music industry landscape shifted around them.

Tracklisting:

“One Shot” – 3:03
“Up for It” – 4:39
“Gone Inside the Zero” – 2:39
“Hello” – 3:04
“What’s the Matter Man” – 2:58
“Your Number Is One” – 4:27
“Stop Look and Listen” – 1:48
“I Want So Much More” – 3:42
“Hangin’ Around” – 5:25
“Going Out Strange” – 4:51
“We Walk Alone” – 3:59
“Let That Devil Out” – 4:21

Bonus tracks:

“Nowhere to Go but Inside” – 3:02
“Too Much Rock and Roll” – 3:49
“Soul Implant” (Australian edition) – 4:57
“Marcus Has Evil in Him” (Australian edition) – 4:00

Personnel:

The album featured Henry Rollins on vocals, with the powerful trio of Jim Wilson on guitar, Marcus Blake on bass, and Jason Mackenroth on drums and saxophone. Backing vocals on “Up for It” and “I Want So Much More” were provided by Jackie Simley-Stevens, Valerie Pinkston, Maxayn Lewis, Sueann Carwell, and Tyler Collins, adding an extra soulful layer to these tracks. The album was recorded and engineered by Clif Norrell.