01. Overcome ( 3:46)
02. Bread of Shame ( 3:56)
03. A Thousand Faces ( 4:54)
04. Suddenly ( 3:31)
05. Rain ( 3:28)
06. Away In Silence ( 4:40)
07. Fear ( 4:05)
08. On My Sleeve ( 4:14)
09. Full Circle ( 4:08)
10. Time ( 5:55)
11. Good Fight ( 3:55)
12. The Song You Sing ( 4:08)

Bass – Brian Marshall
Drums – Scott Phillips
Guitar – Mark Tremonti
Vocals – Scott Stapp 

Getting right back to where they started from, Creed reunites for Full Circle, putting all tensions -- including whatever unpleasantry existed with their long-departed original bassist Brian Marshall -- to rest and cutting their first album in eight years. Full Circle is a none-too-subtle allusion to how they're getting back to their beginnings, but a cynic could say they never got much past it, toiling the same weathered ground on each of their albums, but this bears some subtle differences, particularly in how Creed sounds heavier yet more open than they did in the past. While they're still delivered with the finesse of a hammer on a railroad spike, there's more air within the ballads, more skill in their attack, a looseness to their playing that allows them to take a stab at white-boy blues on the title track. "Full Circle" is one of several songs built on prominent acoustic guitar, an indication of the greater color palette here than on, say, Human Clay, and that lack of reliance on thudding guitars does make Full Circle less wearying than earlier Creed, but don't mistake this for subtlety: ambiguity is not Creed's friend, they still italicize, bold, and underscore every emotion, the only thing missing is towering hooks as blunt as their intent, which in a way is too bad because this is the most sonically palatable Creed has been on record. ---Stephen Thomas Erlewine, AllMusic Review

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1. Bullets
2. Freedom Fighter
3. Who's Got My Back?
4. Signs
5. One Last Breath
6. My Sacrifice
7. Stand Here With Me
8. Weathered
9. Hide
10. Don't Stop Dancing
11. Lullaby

Drums, Keyboards – Scott Phillips
Guitar [Guitars], Bass – Mark Tremonti
Keyboards [Additional] – John Kurzweg 

The week Creed released their fourth album, Weathered, lead vocalist Scott Stapp mentioned in an interview that they didn't really care about the widespread critical disdain for his group, since Led Zeppelin wasn't appreciated either -- not until they released their fourth album in 1971, that is. Stapp's assessment is a little off; Zeppelin never really enjoyed good reviews by most of the rock-crit establishment -- at least until 1988 when Zep-mania gripped the nation and even prompted Rolling Stone to put Robert Plant on the cover -- but his sentiment is right on target since he's saying Creed isn't a band for the critics, they simply do what they do and the proof that they're right is in the millions of fans. Well, Creed certainly isn't a critic's band, but not because critics hate heavy rock -- grunge sorta blew that bugaboo out of the water when it became mandatory to take anybody with heavy guitars seriously -- but because Creed simply works very earnestly within a tradition without ever expanding it, without ever adding humor or even cracking a smile. R.E.M. and U2 may have had the weight of the world on their shoulders during the first Bush era, but they lightened up occasionally. Creed never does. They are a very serious band, realizing that the world is very serious, so music is a serious business, a way of expressing their faith, passion, yearning, and love -- all things that are quite serious so they should be treated seriously. Their hearts are in the right place -- let it never be said that they're only in this for the money or the fame; they even advertise Stapp's With Arms Wide Open Foundation charity in the liner notes -- but the earnestness in their approach is magnified by their resolutely unimaginative neo-grunge. Try as they may -- and they do, bringing in the Tallahasee Boys' Choir for "Don't' Stop Dancing," incorporating a Cherokee Indian prayer on "Who's Got My Back," sprinkling the album with some keyboards, and stretching out to near-epic lengths occasionally -- they don't break from that template, and to all but the hardcore, this is simply another Creed record, one that has the same faults or virtues, depending on your viewpoint. And that's why Creed isn't Led Zeppelin, even though both were slagged by critics, say what you may, Zeppelin changed on each of those first four records, where Creed has stayed the same. (This does get the honorary Fred Durst's Chocolate Starfish award for worst album cover of the year, however.) ---Stephen Thomas Erlewine, AllMusic Review

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1. Torn
2. Ode
3. My Own Prison
4. Pity For A Dime
5. In America
6. Illusion
7. Unforgiven
8. Sister
9. What's This Life For
10. One

Brian Marshall - Bass
Scott Phillips - Drums 
Scott Stapp - Vocals
Mark Tremonti - Guitar, Vocals 

Originally released on the band's own label, Creed's debut album, My Own Prison, was re-released on Wind-Up Records in a remixed form. The remix was designed to accentuate the group's powerful post-grunge sound so it could find a crossover audience. Evidently, the gambit was successful since the album became a platinum hit shortly after the title track was issued as a single. Creed don't have an original or distinctive sound -- they basically fall into the category of post-Seattle bands who temper their grunge with a dose of Live earnestness -- but they work well within their boundaries. At their best, they are a solid post-grunge band, grinding their riffs out with muscle; at their worst, they are simply faceless. The best moments of My Own Prison suggest they'll be able to leave post-grunge anonymity behind and develop their own signature sound. ---Stephen Thomas Erlewine, AllMusic Review

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