‘Roadside’ asks what listeners would do if we noticed our relationship suffering. I don’t need your help, now, you’ll let me down, down, down,” drives the track to greatness in one of Rise Against’s most memorable choruses. “Don’t hold me up now, I can stand my own ground. Tired of assimilation and discrimination, they stand their ground and revolt. All they ask for is to be treated equally by all parties. They don’t want to be pitied or exploited for their living situations. ‘…Refugee’ regards how immigrants are striving for independence. ‘Prayer of the Refugee’ turns the tables on its listeners *we* are now the villains of this story. That brief sense of self-awareness listeners achieve while listening to Sufferer is magical. What would we, the listeners, do if we witnessed suffering? This motivation strives The Sufferer and the Witness to build the lasting impact it currently carries. That’s how the meaning of the record takes shape. What would you die for? Why do we turn a blind eye? Why don’t we strive for change? Instead of telling listeners what to think, the album places them in the subject’s shoes and lets them think for themselves. Questions like these are what the album asks. ![]() ![]() The subject is tired of seeing their work go in vain, and with a tired and humble voice, ask not to find a new inspiration or goal to live for, rather, something to die for. The subject is tired of watching their hateful and destructive environment suffer, so they plead to the world to give them something worth dying for. They can’t bear to turn a blind eye anymore, so they strive to solve this by themselves. All of the progress they’ve made has regressed and all of the love has turned into hate. The heart and soul of The Sufferer… is ‘Worth Dying For.’ Tells the story of a subject who’s fought for their dream. Will you be my compass until forever – until forever – until forever ends,” sounds when McIlrath screeches the lines during the bridge? Think of how much more impactful, “Guide me through uncharted waters before I lose myself again. This was done to emphasize the impact of the belted lyrics. The goal was to strike a more “mature sound” while maintaining a deeper meaning to their emotional lyrics. Under new production from Bill Stevenson, Rise Against struck a winning formula by integrating their usual aggressive style with a radio friendly outlook. 2006 was the summer of Rise Against an unapologetic punk outfit armed with attitude and fueled with passion. This isn’t just a political statement given its “coincidental” release date. Sufferer rocks ‘til it hurts through its tales of liberty, justice, and the pursuit of happiness. The catchy melodic hooks, throat shredding screams, and unforgettable riffs are a mirage over the soul-wrenching and heartbreaking stories the songs tell. Rise Against has gripped you into the iron fist of The Sufferer and the Witness, a full frontal assault on anyone who listens. During the tour, guitarist Chris Chasse left the band and was replaced by Zach Blair.“This is noise,” speaks a disembodied overtone. Rise Against supported the album with The Sufferer & the Witness Tour throughout the second half of 2006 and all of 2007. All three songs charted on the Modern Rock Tracks chart in the United States, and accompanying music videos were produced. Three songs from The Sufferer & the Witness were released as singles: " Ready to Fall", " Prayer of the Refugee", and " The Good Left Undone". ![]() Reviewers also highlighted the vocals of singer Tim McIlrath and the production of Stevenson and Livermore. Critical appraisal was mainly positive, with reviewers complimenting Rise Against's ability to mature in its sound while simultaneously retain its punk roots. The Sufferer & the Witness sold 48,327 copies in its first week of release, and charted in seven countries, including the United States where it entered at position ten on the Billboard 200. Dissatisfied with Siren Song of the Counter Culture 's (2004) producer Garth Richardson, the band members decided to record their next album with Bill Stevenson and Jason Livermore, the duo that worked on their 2003 album Revolutions per Minute.
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