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| Infinity on High - Deluxe Limited Edition | 
 enlarge | Artist: Fall Out Boy
Label: Island
Category: Music
List Price: $19.99
Buy Used: $3.17
You Save: $16.82 (84%)
New (40) Used (27) from $3.17
Avg. Customer Rating:  123 reviews
Sales Rank: 27568
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.1
Dimensions (in): 5.6 x 5.4 x 0.4
UPC: 602517211049
EAN: 6025172110498
ASIN: B000LW7UWS
Release Date: February 6, 2007
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Thriller | | • | The Take Over, The Breaks Over | | • | This Ain't a Scene, It's an Arms Race | | • | I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me + Y | | • | Hum Hallelujah | | • | Golden | | • | Thnks fr th Mmrs | | • | Don't You Know Who I Think I Am? | | • | The (After) Life of the Party | | • | The Carpal Tunnel of Love | | • | Bang the Doldrums | | • | Fame | | • | You're Crashing, But You're No Wave | | • | I've Got All This Ringing in My Ears and None on My Fingers |
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| Editorial Reviews:
Amazon.com
After the success of From Under the Cork Tree, Fall Out Boy earned the right to indulge their whims. Fortunately, their instincts tend to serve them well (not counting those infamous cell-phone photos). On their most adventurous album, Def Jam prez Jay-Z introduces "Thriller," while Kenneth "Babyface" Edmonds produces groove-heavy hit "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs." A few new flourishes aside, however, like guitarist Joe Trohman's Metallica moves on "Thriller," the Chicago-bred band remains true to their punk-pop roots, even if vocalist Patrick Stump sounds like Mr. Sexyback on "This Ain't a Scene" and "I'm like a Lawyer with the Way I'm Always Trying to Get You Off (Me + You)." You can thank bass player/songwriter Pete Wentz for the unwieldy song titles. As he explains in "Fame < Infamy," "I am God's gift / Why would he bless me with such wit without a conscience." Whether spicing up their recipe with R&B swagger or playing it straight, FOB are at their best when they crank up the volume. Hence, the piano-based "Golden" is the weakest track on an otherwise solid outing. Hey, maybe they just wanted to see what a stadium looks like bathed in the glow of a thousand lighters. Taking its title from a letter Vincent Van Gogh sent to his brother Theo ("Be clearly aware of the stars and infinity on high"), Fall Out Boy's fourth seems likely to follow its predecessor into the platinum stratosphere. --Kathleen C. Fennessy
Album Description
US picture disc of Fall Out Boy's much anticipated 2007 album Infinity On High, once more produced by long term collaborator Neal Avron and, on two tracks, Hip-Hop/R&B legend Babyface, is pre-ceded by the hit single 'This Ain't A Scene, It's An Arms Race'. Universal. 2007
Album Description
UK pressing of Fall Out Boy's much anticipated 2007 album features one bonus track: 'G.I.N.A.S.F.S.' Infinity On High, once more produced by long term collaborator Neal Avron and, on two tracks, Hip-Hop/R&B legend Babyface, is pre-ceded by the hit single 'This Ain't A Scene, It's An Arms Race'. Universal. 2007.
Album Details
The Most Exciting Rock Breakthrough Act of 2006 Return with their Highly Anticipated Album 2007 Full Length Release. It's the Third Follow Up to the Platinum Selling "From under the Cork Tree" that Spawned Two UK Top 10 Smashes - the Massive "Sugar We're Goin' Down" and the Amazing Follow Up "Dance, Dance". 'infinity on High' is Once More Produced by Long Term Collaborator Neal Avron, Along with Two Tracks that were Helmed by Hip-hop/R&b Production Legend Babyface. Incudes Bonus Track "g.i.n.a.s.f.s."
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| Customer Reviews: Read 118 more reviews...
 3 Stars; Another strong album by FOB March 16, 2007
24 out of 35 found this review helpful
Let's be honest-- Fall Out Boy had a lot to live up to coming off their double-platinum certified, FROM UNDER A CORK TREE. Everything on the followup, INFINITY ON HIGH had to be perfect, or almost so. With two killer singles to live up to from FROM UNDER A CORK TREE ("Sugar We're Going Down" and the incredibly consistent "Dance, Dance") and even semi-hit "A Little Less Sixteen Candles", how could FOB possibly trump their critical-commercially succesful sophomore album (being mindful they recorder an album prior to FROM UNDER A CORK TREE). "This Ain't A Scene, It's An Arms Race" is the pop-punkers response to "Sugar, We're Going Down" and "Dance, Dance" while INFINITY ON HIGH is FOB's response to FROM UNDER A CORK TREE. INFINITY doesn't quite have the same caliber of hits as FROM UNDER A CORK TREE, but it isn't bad and is definitely above average.
"Thriller", the opening track of INFINITY doesn't prove to be as strong as "Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get sued" from FROM UNDER A CORK TREE. It isn't bad and the Jay-Z "plug" is unnecessary, though it is kind of cool considering Hov's presence does appear to turn silver into gold. Worth the listen is the guitar work being done here with a thumping bass line that has a pronounced 'edgy' timbre to it. In second track, "The Take Over, The Break's Over", Patrick Stump has never sounded better, a trend that proves to work positively on INFINITY. The soulful influences on Stump are very apparent, even if he is singing pop-punk as opposed to an urban ballad. Vocally, he is great and while "The Take Over, The Break's Over" isn't the greatest song ever written, Stump does more than justice to it vocally with his great falsetto and sense of performance. The first single and third track on INFINITY, "This Ain't A Scene, It's An Arms Race", which has a pronounced R&B influence, is the true 'meat'. The fact that FOB was willing to take a risk such as include production work by R&B legend Babyface is quite "ballsy" for lack of a better word. Sure, the single has gotten mixed reviews, which are justified considering it is a bit annoying, but it is different from other tracks that are being listened to on radio. Even as annoying, you can't help but to sing-a-long as Patrick Stump so emotionally belts "this ain't a scene its a ***damn arms race..."
"I'm Like A Lawyer With The Way I'm Always Trying To Get You Off (Me & You)" once again explores FOB's fascination with extremely long witty, though forgettable (due to their length), song titles. The music here is particularly strong, particularly with the odd guitar progression at the onset of this number. Again, Stump proves to be the star with Wentz providing killer bass lines to round out the production. This song isn't a strong as the latter ("Arms Race"), but it isn't bad by any means. "Hum Hallelujah" is an uptempo number that grab's the listener's attention from the get-go. Stump is a bit harder to dicipher here, but it ultimately doesn't matter--the music and the frantic tempo speaks for itself. The chorus isn't incredibly catchy, but it is irresistable, if there is such a thing. The second verse of "Hum" makes more sense and the song endears your heart more and more as you continually listen. The second coming? No, but cool enough.
"Golden" surprises all with its piano introduction, certainly another departure (or innovation) for FOB. Again, Stump stands out with his lovely tenor vocals, and there is something that feels more "genuine" about "Golden" than any of the other tracks. There is an obvious pop-urban influence on this track that doesn't appear on a number of the other tracks. The background vocals are great and "Golden" turns out to be a track the listener becomes mesmerised with-- most likely because it doesn't feel like it fits, but more because it is different from what FOB has don in the past. "Thanks fr th mmrs" (aka "Thanks For The Memories") is another puzzle in itself. Strings, brass? What are FOB doing? It is yet another track that makes you want to hear out what the quartet have to say. Even if Wentz intriguing lyrics don't captivate the listeners, all the different sounds featured here specifically will make you listen, period. The dynamic nature of the track itself is influence enough to make one listen to "Thanks fr th mmrs".
"Dont You Know Who I Think I Am?" is worth the listen if for nothing else to hear more top of the line falsetto by Stump. The "claps" at the onset are also great, once again accentuating the point that the "sounds" featured on INFINITY also play a role in selling it itself. Always experimental, "The (After) Life Of The Party" features electronic drum programming, certainly another first and another ambitious FOB idea. What FOB does need to realize is that as experimental as they are/ want to be, they didn't necessarily have to do as much as they did on INFINITY. Sure, it keeps them fresh, but even had FOB returned with fresh new, enthralling numbers without all the added sound effects, they would've been fine commericially and probably even critically. Having said that, I'm impressed that FOB has shown they are up to merge musical styles and try new things, something that some artists never come to realize.
"The Carpal Tunnel of Love" showcases soul-boy Patrick among his best of the album. The pop sensibilities here are phenomenal (it's all pop, but you know what I mean). The guitar riffs and bass work as always proves to be top-notch, a problem that FOB has never had. The screamo portion of "The Carpal Tunnel Of Love" is definitely worth a listen making it one of INFINITY'S strongest, most genuine tracks. "Bang The Doldrums" follows with a slightly more relaxed, though still energized feel than "The Carpal Tunnel of Love". The guitar riff(s) definitely stick in your head; the are very well written/executed. The chorus is once again irresistable, something that made a relatively unknown FOB go double-platinum, and as of yet, platinum with INFINITY ON HIGH.
"Fame < Infamy" once again shows off FOB's playful side, while "You're Crashing, But You're No Wave" and "I've Got All This Ringing In My Ears And None On My Fingers" end the album. "I've Got All This Ringing In My Ears And None On My Fingers" definitely is a surprise with the most present urban influence of the entire album. The chord progression if phenomenal.
Essentially, INIFINITY ON HIGH has both its shining and less shining moments with "shining" by far trumping "non-shining". Patrick Stump sounds so much better here than he did on FROM UNDER A CORK TREE, FOB is more experimental here, and the music is more dynamic and exciting. Unfortunate is that sometimes the "experiments" are a bit all over the place making INFINITY a little bit disunified. Overall, it is worth the listen and the buy if you wish. Honestly, INFINITY wasn't the #1 album the week it debuted on the Billboard 200 Chart for nothing.
 Another day, another album of forgettable pop pablum April 11, 2007
20 out of 35 found this review helpful
What is the key to Fall Out Boy's success? They have had incredible record label support from day one. The band seem to be awfully shrewd businessmen who ink corporate contracts left and right for everything from tour sponsorship and video funding to extra exposure (as if they actually needed more). Bassist/lyricist Pete Wentz is a loose cannon who makes incessant ridiculous statements and will associate with the lowest life forms out there as long as he gets attention (hello, Ashlee Simpson). The entire band has a look that appeals to young girls and are all too willing to appear in numerous teen magazines where everything from Patrick's favorite color to Andy's shoe size are discussed.
But this is not a review about how media savvy the band is, or how incredibly lucky they are to be connected to the right people. This is about Fall Out Boy's latest album, Infinity On High. The advance hype makes this sound like a collection that should be in every home - congratulations to FOB's PR crew, hopefully they will be compensated for their tireless effort in promoting this album. While no fault can be found with the people helping FOB attain their goals, the opposite is true for the band and their weak effort on this album. The one thing that represents an evolution for the band is an appearance by Jay-Z on the opening track, and I personally always thought he was overrated anyway. And if you want to call it change, there's the addition of synthesizers to some tracks which helps to give many of these songs a Justin Timberlake feel (hey - another teenybopper icon!). Take that away and you have the most generic, prototypical, shallow pop/punk this side of Simple Plan, topped with the sugary sweet vocals of Patrick Stump. The band knows that the young and feeble-minded teenybopper nation has made them a huge success and appeases them by making practically no changes to their sound. Lyrically the band continues to mine romance as their primary source for lyrics. Stump (through lyricist Wentz) offers this nugget of self-important nonsense: "A penny for your thoughts but a dollar for your insides / Or a fortune for your disaster / I'm just a painter and I'm drawing a blank". Wentz is obviously a Morrissey fan, but he isn't even close to approaching his idol's lofty heights - in the realm of self-deprecation his lyrics are as simple and sophomoric as it gets.
In summary: Fall Out Boy are excellent hype men who rank with some of today's biggest rap artists in that department, but create some of the most bland music out there - and taking into account the simplistic vacant-minded musical landscape of 2007 where Nickelback and Fergie are among the most popular "artists", that is saying a lot. Everything that appears on Infinity On High has been done before, and much better. There are far better bands out there than Fall Out Boy, but unless your main sources for discovering new music are MTV and Teen People, you already know that. Send these clowns back to their day jobs at Chuck E. Cheese.
From here to Infinity April 21, 2007
13 out of 16 found this review helpful
Studio album number four from FOB is an easy-on-the-ears collection of pop punk/rock tracks sure to please any fan of popular music. Devoid of filler material, the tracks change rhythms and tempo effectively to keep it interesting, showcasing the smooth vocals and clever lyrics of Patrick Stump and Pete Wentz.
The album opens with a spoken intro by Jay-Z on the song "Thriller", which has a catchy chorus and some nice drum work by Andrew Hurley, said drumming prowess continuing into the second track "The Take Over, The Break's Over". Next comes the BIG single and my favorite track, the anthemic "This Ain't a Scene, It's an Arms Race", produced by Babyface. The other singles are "The Carpal Tunnel of Love" and "Thnks fr th Mmrs" (also produced by Babyface).
Another great track is "I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me + You)" (which sounds a little like Oasis' Champagne Supernova); and then there's "Hum Hallelujah" and the ballads "Golden" and "The (After) Life Of The Party".
A well put together album, and sure to be a hit with fans of popular music and radio deejays everywhere.
Amanda Richards, April 21, 2007
 I don't know what the words mean, and I don't care February 6, 2007
10 out of 14 found this review helpful
To be perfectly honest, I have no business listening to Fall Out Boy. The group is the single outlier in a musical library consisting primarily of rap and hip-hop. I don't know what it is about these kids that allows them to breach that divide, but I'm glad that they were able to penetrate the fortress of crude, mysogynistic lyrics I normally surround myself with.
There's something almost whimsical in a Fall Out Boy song, nonsensical to an extent. I'm sufficiently educated and I can't even begin to fathom what their lyrics mean from one line to another. That's the point, I think. Write a provocotive bar, and follow it with another. Who cares if the two mean anything in context of one another? There's no drama here, no heavy mental-lifting, you can throw on the CD and be lost in it for hours.
I absolutely adored From Under the Cork Tree, however one criticism leveled against it was that the music sounded very similar from one track to another. The same could be said of Take This to Your Grave. That streak is broken with this record. While the lyrics retain that distinctive Fall Out Boy flair from one song to the next, the musical-mood flutuates wildly. It's almost like John Mayer, The Fray and My Chemical Romance had an ugly child...but it's beautiful in its...diversity. The point is, the Fall Out Boys are branching out and its nice.
As a Jay-Z fanatic, it was a great treat to have his voice be the first you hear on the album. "Thriller" is the PERFECT introductory song, it picks up right where From Under the Cork Tree left off, and addresses the group's critics with backup from Young H-O. Hum Hallelujah is another track I have on perpetual replay, one of my favorite lines being "A teenage vow in a parking lot, 'till tonight do us part/ I've seen the blues and I've swallowed them too" (see what I mean about nonsensical lyrics?). Some other stand out tracks include You're Crashing but You're No Wave and Bang the Doldrums. I also loved This Ain't a Scene, It's an Arms Race and Carpal Tunnel of Love, but most fans have been listening to those tracks for months.
The moral is, Fall Out Boy has come back with another excellent effort. It's a bit more varied in it's musical offerings but the lyrics stay loyal to the Fall Out Boy formula.
To Infinity and Beyond July 9, 2007
10 out of 13 found this review helpful
The follow-up to Fall Out Boy's breakout "From Under the Cork Tree" finds them infused with a new-found confidence and an arena rock cockiness. Fortunately for them, they manage to aim for the Stadium Nose-Bleed seats and succeed. From the opening braggadocio of their label Prez Jay-Z to the funky beats that undercoat "I'm Like A Lawyer..." (produced by none other than Babyface Edmonds) to quoting Leonard Cohen in "Hum Hallelujah," Pete Wentz shows he and his mates have no intention of playing it passive.
They also come up with hooks a-plenty. The slapping drum and bass that kicks "The Take Over The Breaks Over" is irresistible. The hit "This Ain't A Scene It's An Arms Race" will have you football cheering and stamping your feet in no time flat. There are so many memorable moments on this CD that pointing them out is beyond the point...they just craft themselves elegantly into each song. The Choir in "You're Breaking But You're No Wave" is probably my personal favorite.
Be that as it may, there are times when the band teeters close to smart-aleky. Especially the unwieldy song titles and frequent self-referencing. There is a touch of the clever-clever here that makes me wonder if the band can transcend "being poster boys for the scene" (as they sing in "Thriller") in the way My Chemical Romance did on "The Black Parade." But for the 14 catchy rocking tunes on "Infinity On High," Fall Out Boy show that they are hungry for more.
Besides, any band that can work both The Simpsons and Vincent VanGogh into their overall view is OK by me.
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