I have read so very many reviews on here about this album and how it is not like L.D. 50. Well, you know what? Its not like L.D. 50! There are some simularities yes, but no, its no L.D. 50. Like one reviewer put it: "If you want to hear L.D. 50..." put it in your cd player.

With that being said, my actual rating is 4.5 stars. Amazon has not embraced the progression of fractional ratings yet so I have to do it verbally. This is a great album from start to finish. This bands' sound is very tight and together. We have yet again wonderful basswork from L.D. 50 (that was not very present in their sophmore outting), great guitar work as always and great back-up vocals, outstanding lyrics and the drums have never sounded better. What an improvment from the mediocre sophmore effort.

If you are a fan of this band I see no reason for you not liking this release. Take this album for what it is (great) and dont bash it because it is not an L.D. 50 replica. Thanks for reading and enjoy listening to this great Cd.

Okay, so this album is not L.D. 50 or TEOATTC, but Lost and Found is still a powerful album by Mudvayne. Some of the songs sway to the more radio-friendly catchy side, but this doesn't stop the band from letting loose with strong lyrics or great muscianship. Lost and Found still rocks, and I'd still put it above most other recent metal albums that have come out. Give this album a chance. You won't have thrown away your money.

To all metal fans who feel like all hope is lost and Nu-metal jokes such as Nickelback have brainwashed music with their sissy songs and are opressing true rock fans, I have some good news: Jump on Mudvayne's back and ride them back to the promiseland.

Mudvayne is exactly what rock needs right now. They have changed their approach, not only have they adapted to a more straightforward image but are expanding their musical talent considerably. Mudvayne is no longer made up of guys with names from the Cling-on dictionary or appearing as if they were just massacred by Freddy Crouger. Nowadays its just good 'ole Chad, Greg, Ryan, and Matt in street clothes. Fans liked the switch because it sent the message that they would allow their loyal followers to get more intimate with the band, and econmically it was beneficial because they sent the message to new listeners that they were about music, not image.

With the background information out of the way, I can tell you about this album. "Lost and Found" is hands-down Mudvayne's crowning achievement. "End of All Things to Come" was a great album, but I was fearing that it was a fluke. "Lost and Found" shattered that notion. "Lost and Found" proved that Mudvayne is committed to expanding their musical range and "L.D. 50" was just the typical first album-glimpses of potential greatness, but for the most part still unharnessed.

"Lost and Found" has more widespread appeal than "L.D. 50" and "End of All Things to Come". Not only does it contain more songs acceptable to the mainstream audience, but metal fans will appreciate this album also because it is their most technically difficult and contains very complex, layered passages that requires sheer wizardry to execute. There are hints of Megadeth in this album, but Chad Gray can wail with the best of them, whereas Dave Mustain can not.

The first track is 'Determined', a throwback to the Mudvayne of old--sonically ferocious and attacks with aggression. 'Happy?' is the third track but the first treasure on this album, it demonstrates Chad Gray's vocal capabilities and shows he is mastering melody. 'Fall Into Sleep' is a dark ballad, complete with a deep, rich sound. It is easily my favorite track on this album. It lures you in with its hypnotic bass line, then dissects with its overpowering chorus. Yet again, compliments to Chad Gray because you can feel the emotion in his screams, you connect with his substance.

Tracks 6-12 are very solid, there is no drop off at any point. 'Choices' is an excellent song with perhaps the most melody, but it spills over to the 7 minute mark; a bit too long for me. 'Forget to Remember' is fast-paced, and very catchy, and the lyrics are very deep and refined. 'Forget to Remember' is also more mainstream, and just simply keeps repeating in your head long after the CD player was turned off; the brightest spot on the latter half of the disc. 'TV Radio' is also catchy, but the lyrics come across as somewhat uninspired.
'All That You Are' is the power ballad, and perhaps the masterpiece of the entire album. 'All That You Are' is a probing anthem that showcases emotion and lyrical substance rather than mesmerizing riffs.

All together, this is a very excellent album. "Lost and Found" may be the third album, but it is Mudvayne's coming-out album. Previously, Mudvayne would leave a lasting visual with their appalling image, but now the immense skill is what is most evident.

If you are a fan of good hard rock music but never warmed up to Mudvayne because they initially were way too radical, you should really give this album a chance. You will like what you find. Metal fans will love this album because the music is both technically complex and empowering. Mostly though, the vocals are what pushes this album over the top. Chad Gray has made the committment to melody and departure from madness. While he is not in the elite category of great voices such as Maynard James Keenan, Layne Staley, or Scott Weiland, this is his best performance to date.

A very solid album, and a very safe purchase.

Mudvayne is easily the best hard rock/metal band on the scene these days, and "Lost and Found" is hands-down their best compilation thus far.

Mudvayne have come rather far from their 2000 major label debut, "L.D. 50." The album was an instant success with listeners -- it's pleasing combination of nu-metal and prog-rock was unlike anything heard before (although many people gave them a "Smart Slipknot" label). Not only did the music (and their commanding live show) grab your attention, so did the group's bizarre stage names, and even stranger make-up that they wore. When it was time for 2002's follow-up album, "The End Of All Things To Come" (cleverly titled after their 2001 indie album re-release), not only did the band shed their former image for an even more elborate one, they changed up musically quite a bit. The style was a little softer and, quite bluntly, simple. It was a difficult transition and had mixed reactions from their rabid fanbase. Well, three years later, the boys seem to have taken their time with this one, and incidentally, have given up the stage names and any form of disguise.

"Lost And Found," produced by Dave Fortman (Snot, Evanescence) takes both sides of Mudvayne and mix them up into one satisfying stew. For fans of "L.D. 50," you've got your more complex material, and for fans of "The End...," you have the more emotional and subdued material. Any fan of heavy music, period, can find something in it to appreciate. The same classic ingredients are here: chunky guitar riffs, funky bass-lines, powerful drumming, and vocals that are as melodic as they are pained. Songs like "Determined" and "Pushing Through" are classic Mudvayne, and the first single "Happy?" as well, is the only song that stands a chance on the radio. Elsewhere, the band takes more chances, such as with the hypnotizing "Choices." It's the longest song, but the band changes the tempo so much and keeps taking unexpected turns, up until the engaging climax, that it almost seems like three seperate songs. "TV Radio" is a rather amusing anthem that takes aim at the current world of pop-culture (one line in the song: "I'm overdosing on reality," pretty much sums up the attitude) -- it's just too bad that they lifted the hook from Disturbed's "The Fear" -- whether it was known by the band or not, the theft still kind of degrades what is an otherwise outstanding song. "All That You Are" is probably the first glimpse of sunshine the band lets in, with an overall positive message (despite the title, it's not a ballad) and it even quotes on of my favorite movies, "The Shawshank Redemption." Unfortunately, the album as a whole isn't quite as good as it could be. Too many of the songs blend together, making for a rather redundant listen. The more melodic and emotional tracks also seem to be missing the intensity and fire that songs of past like "-1" and "(Per)Version Of A Truth" had. Also, Mudvayne have always seemed like one of those bands that has yet to reach their full potential. Every time they release an album, I expect them to tear the roof off, but I feel they have yet to make the definitive Mudvayne album. Fact of the matter is, a lot of this release sounds just as frustrated as "The End Of All Things To Come," even though it's obviously superior.

All things considered, at the very least Mudvayne are still staying true to their sound, which is refreshing. They aren't taking their music to the extreme where they are competing with their heavier, more classic sounding "Headbanger's Ball" peers, nor are they appealing to the emo scene. So for that, Mudvayne have my respect. It takes balls to release an album as awkward and unorthodox as this on a major label, therefore, I will always look forward to each and every Mudvayne release.

This is the album I was most looking forward to this year. Mudvayne has impressed me a great deal with their last two albums, with their full-on frontal assault of structurally complex metal. Their music appealed to two sides of my tastes, the metalhead and the prog-rock nerd. Upon hearing "Determined," I had hoped that we would all be in for the same level of quality for this new album. After all, they had decided to remove the makeup and let the music speak for itself. Now, while I do really enjoy Lost and Found, I have to say that it's a bit of a disappointing affair. I really think the band is playing it safe on this album, and trying to put out music marketed directly to all the angry high school kids who usually buy this type of music. I can practically hear the producer (Dave Fortman, former member of Ugly Kid Joe, and lately producer of bands Evanescence and 12 Stones) standing off to the side saying, "Come on! More lyrics about how no one understands you, or else this won't hit the target audience!" (A direct quote from "IMN," "No one could ever understand, this life..." Oh, please! You guys are better than that! You've always been angry, but now you're just getting whiney.) Their producer has also apparently informed them that straying from the normal 4/4 time signature can alienate potential buyers, so most of this album remains safely in common time. One of the major saving graces, however, is the fact that most of the songs have some sort of jacked-up syncopated tempo. This helps to give the album the math metal feel that most of their music has always had. Another is the fact that they are all still top-notch musicians, and that shines through on all the songs. Honestly, I hope they team back up with the producers from L.D. 50 and get back to their roots. Oh, and they should take a cue from Tool and learn how to surpass the doom-'n'-gloom lyrics. (With the exception of one song, Lateralus was entirely about transcending the negative, not wallowing in it.) Then they'll be able to truly stand above bands like Slipknot, Mushroomhead and Killswitch Engage.