NICKELBACK
Hard Rock • Canada

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Nickelback is a Canadian hard rock/post-grunge band in 1995 by Chad Kroeger, Mike Kroeger, Ryan Peake and then-drummer Brandon Kroeger. The band has since has several drummer changes including Mitch Guindon (1997) and Ryan Vikedal (1997-2005) and currently Daniel Adair (2005-). They band has also shown some pop and country influences in their music. Their first release was the EP Hesher in 1996, which was followed by the debut album Curb that same year.

Nickelback has since gone on to release several studio albums. After moderate success with their second album The State, which was originally released in 1998 in Canada only, but saw worldwide release in 2000, Nickelback received much critical acclaim for their third album, Silver Side Up, which was released in 2011. The album spawned several hit singles, including How You Remind Me.

Nickelback has gone on to enjoy much success with subsequent releases, which includes The Long
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Amazon (logo)
Feed The MachineFeed The Machine
BMG Rights Management (US) LLC 2017
Audio CD$11.64
$10.08 (used)
The Best Of Nickelback Volume 1The Best Of Nickelback Volume 1
Roadrunner Records 2013
Audio CD$3.71
$5.65 (used)
No Fixed AddressNo Fixed Address
Republic 2014
Audio CD$2.55
$1.79 (used)
Dark HorseDark Horse
Roadrunner Records 2008
Audio CD$2.07
$0.97 (used)
Original Album Series (5CD)Original Album Series (5CD)
Box set · Import
Flashback - Elektra 2014
Audio CD$16.41
All The Right ReasonsAll The Right Reasons
Roadrunner Records 2005
Audio CD$3.00
$0.25 (used)
Here And NowHere And Now
Roadrunner 2011
Audio CD$3.01
$0.68 (used)
The StateThe State
CD-ROM
Roadrunner Records 2000
Audio CD$1.99
$0.01 (used)
CurbCurb
Roadrunner Records 2002
Audio CD$2.96
$1.60 (used)
Silver Side UpSilver Side Up
Roadrunner Records 2001
Audio CD$1.00
$0.24 (used)
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More places to buy metal & NICKELBACK music

NICKELBACK Discography

NICKELBACK albums / top albums

.. Album Cover 3.06 | 9 ratings
Curb
Hard Rock 1996
.. Album Cover 2.17 | 7 ratings
The State
Hard Rock 1998
.. Album Cover 2.85 | 12 ratings
Silver Side Up
Hard Rock 2001
.. Album Cover 2.35 | 8 ratings
The Long Road
Hard Rock 2003
.. Album Cover 2.65 | 13 ratings
All the Right Reasons
Hard Rock 2005
.. Album Cover 1.81 | 11 ratings
Dark Horse
Hard Rock 2008
.. Album Cover 2.40 | 9 ratings
Here and Now
Hard Rock 2011
.. Album Cover 2.32 | 3 ratings
No Fixed Address
Hard Rock 2014
.. Album Cover 3.00 | 1 ratings
Feed the Machine
Hard Rock 2017

NICKELBACK EPs & splits

.. Album Cover 2.43 | 4 ratings
Hesher
Hard Rock 1996

NICKELBACK live albums

NICKELBACK demos, promos, fans club and other releases (no bootlegs)

NICKELBACK re-issues & compilations

NICKELBACK singles (1)

.. Album Cover
3.50 | 2 ratings
Feed The Machine
Hard Rock 2017

NICKELBACK movies (DVD, Blu-Ray or VHS)

NICKELBACK Reviews

NICKELBACK Feed the Machine

Album · 2017 · Hard Rock
Cover art Buy this album from MMA partners
Necrotica
I’m going to confront the elephant in the room head-on: no, this is not a grand reinvention of Nickelback’s tried-and-true style.

As much as many people want to see that (and seem to be expecting it), it might be too much to ask a band with such a recognizable comfort zone to immediately pull a 180-degree turn into new territory. But before you walk away from this review, keep listening. Feed the Machine, while pulling the same old stops for a Nickelback album, is easily the band’s most refined and energized product since their breakthrough hit Silver Side Up. Yep, after a whole 16 years of nonstop mockery and hate mail, Chad Kroeger and his band of post-grungers have decided to give us something a bit more dignified and well-written. And, all things considered, this is not a bad album by any means. If anything, it’s a somewhat solid mainstream rock offering with strong hints of alternative metal strewn about. One wishes the band’s potential could have been touched upon years ago, but you know the old saying: “better late than never.”

The oddest thing about Feed the Machine, and the reason that it ultimately falls short of greatness, is that it straddles multiple styles in a seriously imbalanced way. Hearing the heavy downtuned - and even surprisingly progressive - metal anthem “The Betrayal (Act III)” coupled with bland ballads like “Every Time We’re Together” and “Song on Fire” might end up causing rifts in Nickelback’s already-polarized fanbase, just as the varied levels of lyrical quality could as well. That said, the variety is still fun once in a while. The intro to the cheesy rocker “Must Be Nice,” while pretty standard for Nickelback’s typical cock-rock fare, is so groovy and bluesy that the flaws are much less noticeable by comparison. The heavier moments found on songs like the title track and “Coin for the Ferryman” are aggressive as hell in this outing, and they occasionally contrast well with the sappy balladry that causes the album’s tonal imbalance. The band have also upped their game on the musicianship front; while famed Extreme guitarist Nuno Bettencourt has to carry the solo duties on “For the River,” Chad Kroeger and Ryan Peake are able to bust out some decent solos and melodies in their own right. While the rhythm section is as boring as it’s always been, the increased chemistry and personality of the guitar work were a neat surprise.

The truth is, the best moments on Feed the Machine are the ones in which the band throw their old mainstream shackles away and just embrace metal. The ballads here sound both tired and dated, and simply don’t suffice in a discography that’s already drenched in tired ballads. In fact, I swear the chorus of “After the Rain” rips off the main melody to “Club Can’t Handle Me” by Flo Rida. And as I mentioned, some of these songs sound ridiculously dated. The uptempo power ballad “Silent Majority,” while at least exuding some energy, sounds like it came straight from an old post-grunge edition of Now That’s What I Call Music that would have been popular in the mid-2000s. It offers nothing new or interesting, and just results in another skippable tune for the listener to filter out. With this in mind, I must still admit that some of the experiments on the album result in highly rewarding payoffs. The two biggest here are the chunky, aggressive riffing of “Coin for the Ferryman” and the progressive metal stylings of “The Betrayal (Act III).” These songs completely abandon the band’s old cliches to deliver something that’s honest-to-god fun and steeped in genuine effort. They’re heavy, they have memorable riffs, and they present the true stylistic stepping stones in this experience.

For the first time in quite a while, I didn’t really know what rating I’d give Feed the Machine or whether to recommend it. This is a classic case of Nickelback giving us really nice songwriting and concepts before shooting themselves in the foot for making stupid decisions at the cusp of greatness. I will say that the positive aspects of Feed the Machine are some of the best things I’ve ever heard from this band, but they really need to decide whether to move forward with these changes or to replant themselves in the past. This half-and-half deal isn’t quite going to cut it, and it might end up warding off more of their fanbase than the usual Nickelback record because of it. But, because of those positives, I think Feed the Machine deserves a slight recommendation at the end of the day. It may not sway ardent haters, but those who are genuinely interested in hearing the band touch up their sound and try some new things might find something they enjoy.

NICKELBACK All the Right Reasons

Album · 2005 · Hard Rock
Cover art Buy this album from MMA partners
aglasshouse
This is a re-write review for an album by one of the most hated bands in the circuit they proclaim to be a part of.

Nickelback have been controversial characters for much of their career. At the time of their inception in the mid 90's, they weren't payed much attention to as many post-grunge bands erupted out of the woodwork in the wake of Nirvana's dissolution. Some heavier than others, some lighter and sweeter for a commercial taste, the scene was infested with either mediocre acts or surprisingly good ones. Nickelback, and their debut Curb (1996) directly had the heavy edge but appealed very well to those craving commercial alt-rock tunes. Thus, Nickelback went flying past others on the charts at mach-speed, becoming a concrete part of the 90's hard rock and post-grunge scene. But now it's a few years later, specifically 2005, and Nickelback had released one of their biggest cash-cows yet, All The Right Reasons. This particular album struck gold numerous times, spawning a whopping 7 singles from the 11-song tracklist. The album has become rather infamous for housing 'Photograph', which subsequently became one of the biggest joke songs in the mid 2000's.

To say the album is represented by this song however would be wholly disingenuous, as there are some rather good songs that do deserve to be appreciated. All The Right Reasons is contrived to a borderline insulting degree, but it also is able to have a punch that the band's other albums failed to have. All The Right Reasons starts off with a rumbling double kick thump by the honestly pretty talented Daniel Adair with 'Follow You Home', one of the darkest and likewise aggressive tracks of the whole album. Adair is noted for having performed in the insufferable 3 Doors Down prior to joining, and it's clear that he does a much better job with Nickelback than he did in his parent band. The title track continues this trend, being an unabashed alternative metal riff-off that, while having some pretty soft vocal segments, hardly takes a breath while dealing out some kind of heaviness. But then we hit a wall.

You see, this album is plagued with goody-goody fluff-pieces that can appear at the most annoying of times. In this case, the track that succeeds the title track is the aforementioned 'Photograph', an acoustic memoir piece that has Kroeger melancholically reminiscing out about a childhood that's more bland than the bands music. Apart from the the lyrics being generally uninteresting, Kroeger's genuinely hardcore vocal style juxtaposed with cheesy pop rock acoustic guitar is laughable at best. This tonal shift is prevalent in many annoying spots on the album, making it a rather uncomfortable experience in an album playthrough. Unfortunate yes, but that doesn't mean that there aren't diamonds in the rough still. 'Side of a Bullet' is a tribute to the late Dimebag Darell of Pantera, even featuring an overdubbed guitar solo of his. It really shows that even though Nickelback are known as the unbearable pretty boys, they have their roots in very genuine musicians. To a lesser degree 'Someone That You're With' and 'Animals', the two libido-centric songs are pretty catchy in their own right even though they have about as much subtlety and artistic merit as a piece of cheesecake. There is one exceptional ballad, being 'If Everyone Cared'. Not only well-meaning, the vocal harmonies of Chad Kroeger evoke a very passionate message, even with how heavy-handed it may be. Other than these the album is heavy will vapid material that is unlikely to convince anyone who already hates the band to change their opinion.

Safe? Yes. Predictable. Extremely so. But All the Right Reasons is a guilty pleasure that borders on being actually extremely well thought-out at certain points. If you can get past it's polarizing nature, you may have a decent experience.

NICKELBACK Feed The Machine

Single · 2017 · Hard Rock
Cover art Buy this album from MMA partners
aglasshouse
"...and it's actually pretty good."

This statement to end all statements was bestowed en masse upon the rock community a few days ago as infamous Canadian laughing stock Nickelback dropped their new single, 'Feed the Machine'. Debates raged, collateral damage ensued, "This is metal you dumbass!" and "This is still hard rock and it blows!" being the primary argument fodder to be launched like feces at the opposing side. This verbal warfare brings up once again the time-weathered fact of a sort of ingrained hate for Nickelback, even though they're not nearly the worst band in the rock circuit currently. Many studio albums and singles Nickelback have released in the past haven't managed to break this proverbial mold of dislike, that is until now.

I suppose after over two decades the hate has died down a bit, and it appears Nickelback have become a bit of new outfit as of late. Though they haven't necessarily ditched the pretty-boy grunge atmosphere completely, they have managed to win many over with their more serious and blatantly heavy output. This I mean in most recent terms possible, as in this only applies to this track. Nickelback's 2014 No Fixed Address flew practically unbeknownst past the ears of everyone, and that includes me. So, Nickelback gets another chance to please people, and they manage to do it to a much greater extent than before.

'Feed the Machine' is one of the heaviest songs songs Nickelback has recorded in previous era. You know the renewed debate on Nickelback's metal credibility I mentioned before? Yeah, all sparked by this song. The damn album hasn't even come out and controversy is everywhere. But this spark has a clear cause- 'Feed the Machine' takes the quasi-political alternative metal vibe up to 11 as the the thunderous riffs blow through the the massive sounding double kick to a savage degree. Chad Kroeger has gotten a lot of blow-back and ridicule over the years because of his "golf ball stuck in the throat" technique that inspired countless others, but I and hopefully others believe that it actually fits much better the heavier the band. His voice's melodious yet no-holds-barred style is very good for what the band is currently producing. The song isn't a cop-out either, with a 5-minute runtime packed with a lot of ferocious passion that some of the even most hardened of Nickelback cynics admit exists in much of their music.

There you have it. Check it out if you want. I don't know how to end this review. It's better than the last Machine Head single maybe? Yeah. That'll do.

NICKELBACK Silver Side Up

Album · 2001 · Hard Rock
Cover art Buy this album from MMA partners
Necrotica
There was once a time in which post-grunge was actually considered a worthy successor to its parent subgenre grunge. Artists like Foo Fighters, Collective Soul, and Alanis Morissette began this new sound on the right foot, retaining much of grunge's distortion and intensity while utilizing more accessible song structures in the process. Things certainly got more bland and generic during the 2000s with bands like Puddle of Mudd, Theory of a Deadman, and Seether leading the charge, but little did people expect the explosion in sales and overall popularity from another up-and-coming act. Hailing from Canada, they are known as Nickelback.

What many people don't know is that Nickelback actually started as a straight-up grunge band, their first few releases Hesher and Curb having a much more distorted and heavy sound than in their later work. Unfortunately, this material was a bit bland and uninteresting for its subgenre and frontman Chad Kroeger's highly recognizable vocal style wasn't fully developed by this point. But with each successive release, their songwriting got a bit more fleshed out and you could see glimpses of the worldwide phenomenon they would become in the 2000s. Well, despite their career lasting for 20 years, they've never quite been able to replicate the success of their 2001 album Silver Side Up.

Nickelback's third effort was a huge leap up from The State, both in quality and sales... and why shouldn't it? The album's smash hit "How You Remind Me" was not only an iconic track for the band, but it was that for a reason. The song really represents the band's finest work, being highly melodic and catchy without abandoning the stronger elements of their first two records. The mix of intensity and poppy polish was infectious; luckily, the album it accompanies is quite good as well. Unlike Nickelback's later work, Silver Side Up fully embraces its alternative metal sound with much smaller room for ballads. In fact, "How You Remind Me" is among the softest tracks on this record, with heavy bangers like opener "Never Again" and "Just For" being much more prominent here. The songwriting is extremely tight and highly varied in its dynamics, offering soft verses and loud choruses in a move similar to Nirvana's work on Nevermind; however, it's usually not to the point of sounding too derivative.

Either way, what makes Silver Side Up so strong largely stems from the heavier songs. The songs are not necessarily technical marvels by any means, but Nickelback make up for it with songwriting consistency and some of Chad Kroeger's best vocal performances to date. The latter is especially notable in songs like "Never Again" and "Hollywood" in which Kroeger's voice really soars in the choruses, a great contrast to his more subdued and laid-back verses; this is a common post-grunge technique, but works quite well this time around because of Kroeger's charisma and overall presence in these songs. But in the end, it all comes down to the craftsmanship of the songs. "Just For" is still my favorite on here because of that great syncopated main riff; the F-minor motif is so catchy, but retains a distorted quality to maintain its edge throughout. "Too Bad" is also fantastic, the loud and climactic chorus being a wonderful payoff following such emotive and subtle verses; plus, its lyrics of poverty and abandonment are some of the most touching in the band's career. Naturally, some of the weakest tracks on here are the ones that bring out the more generic side of post-grunge music; "Where Do I Hide" and "Hangnail" are definitely those songs, sounding more like Theory of a Deadman's flavorless leftovers (I can see why Chad Kroeger would eventually work with them on their debut) than songs Nickelback really put their hearts into.

In fact, the second half of Silver Side Up as a whole doesn't always live up to classics like "How You Remind Me" or "Just For." It starts to sound as though the band are on autopilot, something that would unfortunately plague their work more drastically in the future. Despite this, I still think it's a very enjoyable little piece of post-grunge history. Is it life-changing? Of course not. But the songwriting can be quite excellent at times and the variety can be surprisingly strong when considering how many mid-tempo alternative metal songs are here. Overall, I'd recommend at least one listen if you're curious about Nickelback's beginnings as a worldwide smash, because this is certainly them at their finest.

(Originally published on Sputnikmusic.com)

NICKELBACK Here and Now

Album · 2011 · Hard Rock
Cover art Buy this album from MMA partners
Stephen
'Here and Now' marks the seventh release of Nickelback and looks like they try to calm the music down and introduced more midtempo and ballads, probably to help them gain more new listeners through the radio and media. I've heard a friend said that he read a horrendous report on Classic Rock Magazine, stating this album a disastrous 20% rating, while I don't crazily think that way, this album sure has too many flaws.

A wall divided this album by two obvious sides and I call the first side their best, and the second one is their trash. 'When We Stand Together' is a great acoustical / commercial tune; 'Lullaby' and 'Trying Not To Love You' are two awesome ballads; and they're smart enough to save the best song for the last. 'Don't Ever Let it End' has the best chorus here and overall the song is the peak of this album.

Now, aside from 'Bottoms Up' which I think is still pretty good, the rest are average to horrible, like 'Midnight Queen', 'Gotta Get Me Some', or 'Everything I Wanna Do', I recommend don't even bother at all. Despite that fact, I concur that Nickelback should deserve more appreciation especially from the 80s rock community because I can hear the influence since 'Dark Horse', which is no coincidence was produced by Mutt Lange, a man from that decade.

This is an average modern hard rock album and if you prefer only to have couple of killers, try those tracks I mentioned before and forget the rest, but if you can find it for a $1 or $2 at your nearest pawn shop, this isn't utterly bad like some has told. 60%

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Psydye wrote:
more than 2 years ago
One band I DEFINITELY don't care for.... :/

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