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Track List
01) When You're on Top
02) How Good It Can Get
03) Closer to You
04) Everybody Out of the Water
05) Three Ways
06) Too Late to Quit
07) If You Never Got Sick
08) Health and Happiness
09) See You When I Get There
10) Feels Like Summer Again
11) Everything I Need
12) Here in Pleasantville
13) The Empire in My Mind
01) When You're on Top
02) How Good It Can Get
03) Closer to You
04) Everybody Out of the Water
05) Three Ways
06) Too Late to Quit
07) If You Never Got Sick
08) Health and Happiness
09) See You When I Get There
10) Feels Like Summer Again
11) Everything I Need
12) Here in Pleasantville
13) The Empire in My Mind
3:54
4:11
3:17
3:42
4:19
3:54
3:44
4:03
3:09
3:48
3:37
4:10
3:31
Data Complete
70%
Total Rating
70%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2002
Alternative Rock
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Rock/Pop
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Medium
Album
0 copies
Album Description
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Red Letter Days is the fourth album by The Wallflowers, released November 5, 2002 on the Interscope label.
The album peaked at #32 on the Billboard 200. Red Letter Days was the first Wallflowers record that featured Jakob Dylan playing a majority of the lead guitar parts. The album had a much more aggressive sound than any of their previous releases, especially the song "Everybody Out of the Water," which they performed on The Late Late Show with Craig Kilborn. The first single and only music video shot was for "When You're On Top." Although the album contains some profanity (in "Everybody Out of the Water"), it does not carry the Parental Advisory sticker. It was produced by the band's first guitarist Tobi Miller.
User Album Review
The Wallflowers' long-awaited third album, Breach, was a strong, confident record that demonstrated clear growth from Jakob Dylan as a songwriter and The Wallflowers as a band. Thing is, everybody ignored it. Critics wrote it off and the large audience Bringing Down the Horse attracted shunned it, leaving the band in an awkward position of having to prove themselves yet again with their fourth album, Red Letter Days. The first striking thing about the album is that its production is a clear reaction to the failure of Breach. Glistening where its predecessor had a semblance of grit, this is a polished mainstream rock record, designed to win back listeners who loved the band by hearing "One Headlight" on the radio repeatedly. Dylan has adjusted his songwriting slightly, too, playing up the hooks and the melodies, which is hardly selling out. Even so, it's hard not to wish that the album had a bit more of the quirks and muscle that gave Breach its backbone. Without it, Red Letter Days isn't quite as forceful, but it is accomplished, melodic, and attractive, especially since the simple fact is, there are very few bands making this kind of post-Tom Petty classicist rock in the 2000s, and those that do don't do it as well, which is why this album is welcome, no matter how glossy the production is.
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User Comments
Available in:
Red Letter Days is the fourth album by The Wallflowers, released November 5, 2002 on the Interscope label.
The album peaked at #32 on the Billboard 200. Red Letter Days was the first Wallflowers record that featured Jakob Dylan playing a majority of the lead guitar parts. The album had a much more aggressive sound than any of their previous releases, especially the song "Everybody Out of the Water," which they performed on The Late Late Show with Craig Kilborn. The first single and only music video shot was for "When You're On Top." Although the album contains some profanity (in "Everybody Out of the Water"), it does not carry the Parental Advisory sticker. It was produced by the band's first guitarist Tobi Miller.
User Album Review
The Wallflowers' long-awaited third album, Breach, was a strong, confident record that demonstrated clear growth from Jakob Dylan as a songwriter and The Wallflowers as a band. Thing is, everybody ignored it. Critics wrote it off and the large audience Bringing Down the Horse attracted shunned it, leaving the band in an awkward position of having to prove themselves yet again with their fourth album, Red Letter Days. The first striking thing about the album is that its production is a clear reaction to the failure of Breach. Glistening where its predecessor had a semblance of grit, this is a polished mainstream rock record, designed to win back listeners who loved the band by hearing "One Headlight" on the radio repeatedly. Dylan has adjusted his songwriting slightly, too, playing up the hooks and the melodies, which is hardly selling out. Even so, it's hard not to wish that the album had a bit more of the quirks and muscle that gave Breach its backbone. Without it, Red Letter Days isn't quite as forceful, but it is accomplished, melodic, and attractive, especially since the simple fact is, there are very few bands making this kind of post-Tom Petty classicist rock in the 2000s, and those that do don't do it as well, which is why this album is welcome, no matter how glossy the production is.
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