Time for my annual best albums list. Not unusually for me I guess, there is a lot of material here from artists I grew up with. Some of them produced great comebacks, others sank in their own mediocrity.
It was a year of comebacks of a sort.
Fifteen years in the making, Axl Rose… sorry… ‘Guns ‘N Roses’ released Chinese Democracy. The questions were abundant – how could the songs be good if they took fifteen years to be recorded? Without a stable recording line-up, wouldn’t it be a complete mishmash? Not surprisingly, Chinese Democracy is uninspiring, boring, and just plain dull. Though most people had lost any hint excitement at the pending release about a decade ago, it would have been nice for it to have worked. Axl’s only hope is a reunion with his former partners who now make up Velvet Revolver.
Iced Earth forsook Tim Owens and recalled Matt Barlow to the fold for The Crucible Of Man – Something Wicked Part 2, and found that the change in vocalist still doesn’t help ordinary songwriting. Jon Schaeffer needs to go back to 1998 and remember what Iced Earth songs are supposed to sound like.
Brian May, Roger Taylor, Paul Rodgers and company finally released their awaited-for album of new material under the banner Queen + Paul Rodgers. Unfortunately, The Cosmos Rocks is a sad mix of 1970’s pop-rock and slower ballads that lack the inspiration and power of either Queen or Rodgers’ former bands. Perhaps it is not surprising given the nostalgia trip the band has been on for the past five years, but there was hope of something special. No such luck.
Def Leppard forced a new selection of sugar coated crap down our throats with Songs From The Sparkle Lounge. They were great live in November, but their new material is still just awful. Whitesnake also returned with Good To Be Bad and proved that the title was inaccurate. This should have been something special but fell down in almost every department.
All was not completely lost. Alice Cooper brought out another solid release with Along Came A Spider proving he is almost incapable of putting out bad albums. Michael Schenker brought vocalist Gary Barden back into the fold to release In The Midst Of Beauty, and though not able to recapture the magic of their initial partnership 20-odd years ago, it still makes for good listening.
Almost the release of the year, but not actually included on my list, is Exodus’ re-recording of their debut classic Bonded By Blood. Renamed here as Let There Be Blood, it was recorded to allow today’s modern recording techniques give it the power it deserves. Controversial in parts, I think it is a triumph, and shows Exodus are as relevant today as they ever were. However, I didn’t include it in my list, as it is just a re-release. It would have ranked very high had I used it!
So that’s the preliminaries. Here’s this year’s Top Ten.
10. Motorizer / MOTORHEADAnother year, another Motorhead album. And like every other release they have made, you know exactly what it is going to sound like. OK, a couple of the songs are really cheesy, even for Lemmy. But overall, the good thing about this album is that it feels familiar even though it is new. Easy to put on and listen to.
9. Lonely Are The Brave / JORN
Jorn Lande left Masterplan two years ago, and this is his first solo album since that split. With vocal chords like his, it was only a matter of what direction his song writing was going to go in. Fortunately for me, his inistincts kept him in the metal genre, and this is a great effort. Easy to spot the Whitesnake and Dio influences too. The cover of Deep Purple’s “Stormbringer” is stunning.
8. Shogun / TRIVIUMAnother solid release from one of the leaders in the current metal crop. Very interesting to me is the fact that there is a lot less growling on this album and a lot more clear vocals from Matt Heafy. Is that a response, perhaps to lengthen the band’s longevity. I don’t know. A good album that to me still lacks the killer punch to make it a bellringer.
7. The Man Who Would Not Die / BLAZE BAYLEYBlaze is back, and while this mightn’t quite reach the heights of his previous three albums, there is still enough here to make it a great release. With a whole new band it must have been difficult to pull together in the writing process, but overall it works like a dream. This guy deserves a higher profile in the metal world that he currently holds.
6. Death Magnetic / METALLICA
The fact that I am able to put this in my Top Ten albums of the year is a win in itself – the first time since the black album I have been able to do so. A much better feel to this album, and with about half the songs I can put on and listen to at any time. Still has some rubbish – “The Unforgiven III” is the standout – but at least they have gone in the right direction for the first time in almost two decades.
5. Perpetual Flame / YNGWIE MALMSTEEN’S RISING FORCEAs good as Unleash The Fury was, this is a brilliant return to form for Yngwie. Having recruited Tim Owens on vocals, this reminds me so much of Trilogy it’s not funny. Great singing from Ripper, who succeeds by not over-extending himself. Yngwie’s licks and riffs are still killer. This was a surprise in the good way.
4. Killing Season / DEATH ANGELAnother great release from the reformed San Francisco thrash merchants. Not quite the same fury that they produced on their previous album, but this still shows off their best qualities – good vocals, awesome guitaring, blinding drumming. Now tour Australia you bastards!
3. The Formation of Damnation / TESTAMENTThis led the way for most of the year as the best album of the year. The return grouping of Alex Skolnick, Eric Petersen, Greg Christian and Chuck Billy, with Nick Barker on drums, brings the full force of Testament to the fore, and they don’t let anyone down. Heavy metal has returned, and the five members all make sure that Testament is here for the long haul.
2. Saints of Los Angeles / MOTLEY CRUEI personally would never have believed they could have done it, but Motley Crue have righted the ship, and produced an album that ranks with their best from the 1980’s. Based on their autobiography “The Dirt”, they have told their story in the songs and also resurrected their sound from that era to produce an absolutely brilliant album. Vintage Crue.
1. Hell Yeah! The Awesome Foursome Live in Montreal / GAMMA RAYBack at their rightful place at Number 1 after finishing second last year. This live album (which is also on DVD) contains the absolute best that this band can produce, covering all era’s, and especially the recent era with lots of their newer stuff live. This proves once again why they are one of, if not, the premier metal band in the universe.
So there you go. My annual contribution. Feel free to discuss.
Tuesday, December 23, 2008
535. Michael Schenker Group / In The Midst of Beauty. 2008. 3/5.
With the return of Gary Barden to lead vocals and the good vibes of Michael Schenker’s recent releases, I was looking forward to hearing this album, and seeing what they could do together again. Would the result be a brilliant and revealing current sound? Or a trip down memory lane with a 70’s rock feel? As it turns out, it is the second option.
While I guess I was hoping for Michael Schenker album for the new(ish) century, these two have reverted to their comfort zones and put together an album that wouldn’t look out of place in the late 1970’s. While it is enjoyable enough to listen to, there is nothing new here. In fact, it does lack the blistering Schenker solos that highlighted the pair’s work together in the early 1980’s. Rather than extending themselves, they have put out a safe, almost AOR album, a far cry from the metal attack of earlier releases.
Despite this, it has its moments. While it may not be a peak, nor an album you would give someone for their first taste of MSG (no pun intended), if you are a fan you will get enough out of it to make the purchase worthwhile.
Rating: Nothing new here, but occasionally that's what you are looking for. 3 / 5.
While I guess I was hoping for Michael Schenker album for the new(ish) century, these two have reverted to their comfort zones and put together an album that wouldn’t look out of place in the late 1970’s. While it is enjoyable enough to listen to, there is nothing new here. In fact, it does lack the blistering Schenker solos that highlighted the pair’s work together in the early 1980’s. Rather than extending themselves, they have put out a safe, almost AOR album, a far cry from the metal attack of earlier releases.
Despite this, it has its moments. While it may not be a peak, nor an album you would give someone for their first taste of MSG (no pun intended), if you are a fan you will get enough out of it to make the purchase worthwhile.
Rating: Nothing new here, but occasionally that's what you are looking for. 3 / 5.
534. Jorn / Lonely Are The Brave. 2008. 4/5.
After the age-old cliché response that he and former band Masterplan were parting ways through musical differences, this is Jorn’s first solo album following that decision. Given that he left Masterplan when he wanted to go in a more melodic direction away from their heavier direction there was a fair indication of what to expect here.
Surprisingly then, this is probably heavier than I expected. Jorn’s wonderful vocals are the centerpiece of every song, and while the songs here are structured differently from those of his Masterplan and Ark past, they somehow still suit him well. There is a nice mixture of faster material and slower material, but none of it lacks the metal element. You can easily pick up the Whitesnake influences in his songs (most obviously in the opening title track), but there is a whole lot more to it as well.
Having taken the step to go out on his own again, he has done a great job here, given that you not only have enjoyed his earlier material but like your music with a twist of Whitesnake and Dio, because that’s what this most reminds me of.
Favourites for me here include “Lonely Are The Brave”, “Night City”, “Promises”, “The Inner Road” and brilliant version of Deep Purple’s “Stormbringer”.
Rating: Surprisingly good, and though not at his Masterplan peak, still a worthy release. 4 /5.
Surprisingly then, this is probably heavier than I expected. Jorn’s wonderful vocals are the centerpiece of every song, and while the songs here are structured differently from those of his Masterplan and Ark past, they somehow still suit him well. There is a nice mixture of faster material and slower material, but none of it lacks the metal element. You can easily pick up the Whitesnake influences in his songs (most obviously in the opening title track), but there is a whole lot more to it as well.
Having taken the step to go out on his own again, he has done a great job here, given that you not only have enjoyed his earlier material but like your music with a twist of Whitesnake and Dio, because that’s what this most reminds me of.
Favourites for me here include “Lonely Are The Brave”, “Night City”, “Promises”, “The Inner Road” and brilliant version of Deep Purple’s “Stormbringer”.
Rating: Surprisingly good, and though not at his Masterplan peak, still a worthy release. 4 /5.
533. Iced Earth / The Crucible of Man (Something Wicked Part 2). 2008. 1.5/5
Having been a fan of ‘Ripper’ Owens while he was in the band, I admit to being one of the faithful who thought that the return of Matt Barlow to the fold would be the right thing for Iced Earth. I also believed it would make The Crucible Of Man a stronger album than their previous effort. I guess all of this could have been true, except that one thing got forgotten – write some bloody decent songs!
Barlow is back, and his vocals cram themselves out of the speakers at you, but is there any real feeling or power there? Has he lost his touch? It’s difficult to say, but it really isn’t the same man who sang on Iced Earth albums ten years ago. However, he can only sing the material he has in front of him, and here it seems the band has slipped dramatically. Where have the heavy songs gone? Where is the intense riffing that once was so prevalent in their music? Have they left speed for good? This is where all the conflict is. You can’t have a good album without good material, and in trying to tell a story it appears that the music has been dealt a savage blow.
It is possible that this is such a massive disappointment because all of the talk leading up to it was the return of Barlow? Actually, no. The elements of Iced Earth are there, but they just feel watered down. Or are they just outdated? Surely the time has come to just go out and get back to the basics, and bring back what made Iced Earth such a formidable band. Big fans will probably still get enough out of this album. I did not.
Rating: If going back to the past is their ideal, then they need to go further back. 1.5 / 5
Barlow is back, and his vocals cram themselves out of the speakers at you, but is there any real feeling or power there? Has he lost his touch? It’s difficult to say, but it really isn’t the same man who sang on Iced Earth albums ten years ago. However, he can only sing the material he has in front of him, and here it seems the band has slipped dramatically. Where have the heavy songs gone? Where is the intense riffing that once was so prevalent in their music? Have they left speed for good? This is where all the conflict is. You can’t have a good album without good material, and in trying to tell a story it appears that the music has been dealt a savage blow.
It is possible that this is such a massive disappointment because all of the talk leading up to it was the return of Barlow? Actually, no. The elements of Iced Earth are there, but they just feel watered down. Or are they just outdated? Surely the time has come to just go out and get back to the basics, and bring back what made Iced Earth such a formidable band. Big fans will probably still get enough out of this album. I did not.
Rating: If going back to the past is their ideal, then they need to go further back. 1.5 / 5
532. Queen + Paul Rodgers / The Cosmos Rocks. 2008. 2/5
No one who has heard anything of Queen + Paul Rodgers recently will have any thoughts that either party will reach the heights that they once did. While their coming together has been a good thing for them, allowing them to tour and play a whole variety of songs, they are a new band. In fact I would preferred to have seen them take a new name for the band, so as not sully what have been great careers to this point.
Anyway, the first release from this trio and their band partners is here, and it is a departure from what one would have liked to have heard, but is unsurprising that it is not. Gone is the innovation that is one of the hallmarks of Queen’s background, and gone are the strong vocals that Paul Rodgers has in his earlier incantations. What we have instead is a selection of songs that are disappointingly average. What ‘rock’ songs there are on the album tend very much toward the pop side of rock.
The presence of Brian May’s scintillating guitar is toned down into the wash, where it rarely comes into its own. Ditto Roger Taylor's drumming. The beauty of Queen’s album’s was that they were always interesting, and they always tried new ideas. It is the lack of anything outstanding or new here that drags it into the mire. It feels almost like a 70’s pop album.
So no. It doesn’t work, and that’s a shame. No doubt there are people out there who will enjoy this, but it just doesn’t feel right from the first time you put it on. There is no spark, there is no fire. As an easy listening album you might get marks, but for guys that have set the bar so high in years gone by, it ranks as a fizzer.
Rating: Disappointingly average. 2 / 5.
Anyway, the first release from this trio and their band partners is here, and it is a departure from what one would have liked to have heard, but is unsurprising that it is not. Gone is the innovation that is one of the hallmarks of Queen’s background, and gone are the strong vocals that Paul Rodgers has in his earlier incantations. What we have instead is a selection of songs that are disappointingly average. What ‘rock’ songs there are on the album tend very much toward the pop side of rock.
The presence of Brian May’s scintillating guitar is toned down into the wash, where it rarely comes into its own. Ditto Roger Taylor's drumming. The beauty of Queen’s album’s was that they were always interesting, and they always tried new ideas. It is the lack of anything outstanding or new here that drags it into the mire. It feels almost like a 70’s pop album.
So no. It doesn’t work, and that’s a shame. No doubt there are people out there who will enjoy this, but it just doesn’t feel right from the first time you put it on. There is no spark, there is no fire. As an easy listening album you might get marks, but for guys that have set the bar so high in years gone by, it ranks as a fizzer.
Rating: Disappointingly average. 2 / 5.
531. Guns N' Roses / Chinese Democracy. 2008. 1.5/5
It came as absolutely no surprise to me that this album was such a disappointment. Let’s face it – we were all waiting for it for so long, at least ten years. In fact, since the release of both of the Use You Illusion albums, we’ve been waiting for the follow up. Almost two decades later, and years of promises, and the day finally arrived. And after such a build-up, what could you possibly expect.
It doesn’t help that it also isn’t Guns N’ Roses – it’s Axl Rose and some other musicians. No disrespect to them, but Slash’s guitaring was as much G N’ R as the vocals ever were, and it does seem to be missing a bit in that respect.More than anything else, the songs are lame. Having been written and recorded over such a long period of time, the album is disconnected and for the most part tremendously boring. There is little hard or heavy, or even rock, about most of the songs on this album. Axl still wails where he finds it necessary, but has little in common with what the original band released back in its day.
For the record company’s sake, at least it has been released. The world can now stop worrying about whether it was ever going to happen, and move onto other matters.
Rating: Only what is to be expected, but not what was hoped for. 1.5 / 5
It doesn’t help that it also isn’t Guns N’ Roses – it’s Axl Rose and some other musicians. No disrespect to them, but Slash’s guitaring was as much G N’ R as the vocals ever were, and it does seem to be missing a bit in that respect.More than anything else, the songs are lame. Having been written and recorded over such a long period of time, the album is disconnected and for the most part tremendously boring. There is little hard or heavy, or even rock, about most of the songs on this album. Axl still wails where he finds it necessary, but has little in common with what the original band released back in its day.
For the record company’s sake, at least it has been released. The world can now stop worrying about whether it was ever going to happen, and move onto other matters.
Rating: Only what is to be expected, but not what was hoped for. 1.5 / 5
Saturday, July 19, 2008
530. Danzig / II: Lucifuge. 1990. 3.5/5
The follow up to the well received debut album continues on in much the same vein. If anything, this gets a bit heavier and a bit faster (I shy from using the term ‘rockier’).
Probably for the first time, Danzig cross into a territory where they can be listened to by a number fans from different genres. The fact that they do this without compromising their own style is a victory for their music.
For me, the album starts off fantastically with “Long Way Back From Hell” into “Snakes of Christ” and then “Killer Wolf”. All three songs blend together excellently, and kick the album off well.
Probably my main gripe with the album is that for me it just slows down at the end too much, when it could continue on an upward spiral (that given that it does actually click back into gear for the final 60 seconds of “Pain in the World”).
This was another step up for Danzig, who proved here you can appeal to the masses without tinkering too much with the furniture.
Rating: Moody musical madness. 3.5/5
Probably for the first time, Danzig cross into a territory where they can be listened to by a number fans from different genres. The fact that they do this without compromising their own style is a victory for their music.
For me, the album starts off fantastically with “Long Way Back From Hell” into “Snakes of Christ” and then “Killer Wolf”. All three songs blend together excellently, and kick the album off well.
Probably my main gripe with the album is that for me it just slows down at the end too much, when it could continue on an upward spiral (that given that it does actually click back into gear for the final 60 seconds of “Pain in the World”).
This was another step up for Danzig, who proved here you can appeal to the masses without tinkering too much with the furniture.
Rating: Moody musical madness. 3.5/5
529. The Offspring / Ignition. 1992. 2/5
When I saw this in the local record store I got very excited and bought it immediately. It wasn’t until I was perusing the cover when I got home that I realised that it wasn’t the new album from The Offspring, it was in fact an earlier album that I wasn’t aware even existed. This was back in 1995, after I had devoured Smash to its limit, and was looking from more from the band.
OK, I thought, let’s give it a whirl. I put it on, played it a few times, and lost interest in it. To me, it wasn’t what I had come to love from the band, and I wasn’t taking to it. It went back into the CD cupboard, and fell into a dark recess.
Fast forward to 2008, and it makes its reappearance for this long winded review process. Ignoring the thoughts of thirteen years ago, I put it on with an open mind and an interest in the outcome.
Now there is no doubt who the band is. It is very much the musical and vocal style of The Offspring. However, even after half a dozen listens to the album, it still isn’t grabbing me. I can’t even really pin point what it is that doesn’t do it for me. Is it that there just isn’t enough ‘oomph’ in the songs, or is it just that because I came into the band (like so many others) on Smash that I can’t quite make the transition back to the earlier material? Really, I’m not sure. The one thing I do know is that I find this to be only average, and not the above-average stuff they did for the next three or four albums.
Rating: Still unable to like it much after all these years. 2/5.
OK, I thought, let’s give it a whirl. I put it on, played it a few times, and lost interest in it. To me, it wasn’t what I had come to love from the band, and I wasn’t taking to it. It went back into the CD cupboard, and fell into a dark recess.
Fast forward to 2008, and it makes its reappearance for this long winded review process. Ignoring the thoughts of thirteen years ago, I put it on with an open mind and an interest in the outcome.
Now there is no doubt who the band is. It is very much the musical and vocal style of The Offspring. However, even after half a dozen listens to the album, it still isn’t grabbing me. I can’t even really pin point what it is that doesn’t do it for me. Is it that there just isn’t enough ‘oomph’ in the songs, or is it just that because I came into the band (like so many others) on Smash that I can’t quite make the transition back to the earlier material? Really, I’m not sure. The one thing I do know is that I find this to be only average, and not the above-average stuff they did for the next three or four albums.
Rating: Still unable to like it much after all these years. 2/5.
528. AC/DC / If You Want Blood, You've Got It. 1978. 4/5
This was a long way before my time of being able to attend concerts, and as such it is terrific to hear just how good the band was in those days in a live setting. It comes as no surprise, because they had cut their teeth on live performances long before they made their way onto studio recordings, but the legendary AC/DC rhythm section proves here that it has always been this good. Live albums from the 1970's often included long winded freeform guitar or drum or keyboard solos, which to be honest can be extremely boring on these kind of albums. Nothing like that here from AC/DC, who deliver exactly what you want and the way you want it. The one extravagance is Angus playing up to the crowd during "Bad Boy Boogie".
Hearing all of these songs live just proves the greatness of this band. The rhythm section of the band is so tight that it sounds as though it could have been taken straight off the studio versions of each song. Add in the crispness of Angus Young’s lead guitar work and the dominance of Bon Scott’s vocals, and you have an extremely impressive live album.
Could I have come up with a better set list? Quite possibly, but you can't knock what you find here. Bon is terrific on the opening squadron of "Riff Raff" and "Hell Ain't a Bad Place to Be". The great songs of the era can be found here too, such as "The Jack", "Whole Lotta Rosie", "High Voltage" and "Let There Be Rock".
It is great to have a solid live album with Bon Scott on vocals. While I prefer the later release of Live From the Atlantic Studios this is still a great album.
Rating: Let there be sound, and there was sound. 4/5.
527. Billy Idol / Idol Songs: 11 of the Best. 1988. 3/5
Thus the reason I own this CD. Because in the long run, there was only two songs of Billy Idol that I HAD to have in my collection. One is “White Wedding”. The other is “Rebel Yell”. Sure, they now appear more as 80’s cliches and the kind of radio fare that could be found in the day. But to a middle-aged 1980's teenager they are both still great songs, no matter what you think of the rest of his career. They still bring out the fist whenever they come on the radio, or someone's stereo, or more disturbingly at club karaoke.
As to the remainder of the album, all of his ‘hits’ are here, and the majority of it is still quite listenable. Songs such as “Flesh For Fantasy” and “Hot in the City” and “To Be A Lover” are still catchy enough that I can find myself singing along to them, and not always when I am alcohol-induced. For me however, he was always hard pressed to beat the success of the first two tracks I mentioned, and in many ways that has always coloured my perception of his later work. In the long run, the average rating of a greatest hits album can only reflect somewhat poorly on the majority of available material.
526. Judas Priest / Idaho Bootleg [Bootleg]. 2004. 4/5
After an absence of more than a decade, Rob Halford reunited with Judas Priest in the new century, and to celebrate the band went out and played a semi-world tour. This bootleg comes from that tour.
Containing a setlist comprising as many great Priest tunes as you can fit into a couple of hours, this was the reintroduction of Judas Priest reformed. Now, as good as this setlist is, it really is disappointing that everything in-between – i.e. the two albums the band recorded with Ripper Owens – looks as though it will now be confined to the “never to be played again” file. And that is a shame. I mean, wouldn’t you like to hear Halford singing some of Ripper’s songs?
Anyway – there is nothing out of the ordinary here, apart from the fact Rob doesn’t try to hit all those notes that he did twenty years ago. He is content to modify his vocals to almost-human levels.
Rating: An A grade bootleg recording of a band looking to reclaim the past. 4/5.
Containing a setlist comprising as many great Priest tunes as you can fit into a couple of hours, this was the reintroduction of Judas Priest reformed. Now, as good as this setlist is, it really is disappointing that everything in-between – i.e. the two albums the band recorded with Ripper Owens – looks as though it will now be confined to the “never to be played again” file. And that is a shame. I mean, wouldn’t you like to hear Halford singing some of Ripper’s songs?
Anyway – there is nothing out of the ordinary here, apart from the fact Rob doesn’t try to hit all those notes that he did twenty years ago. He is content to modify his vocals to almost-human levels.
Rating: An A grade bootleg recording of a band looking to reclaim the past. 4/5.
525. Doug Anthony All Stars / Icon. 1990. 4/5
Back in the late 1980’s and early 1990’s, the ABC (Australia) TV show “The Big Gig” brought to prominence a number of comedy teams and individuals. One of those was the Doug Anthony All Stars, a trio whose comedy songs were a hit. The biggest plus was that they could all sing, and they complemented each other perfectly.
From this came this album, Icon, which is a brilliant mixture of acidic commentary, flashy comedy and general pisstaking on anyone and anything. There is an obvious highlighting on religion with songs such as “Commies for Christ”, “Krshna”, “Little Gospel Song” and “Go To Church”, but their range doesn’t just stop there.
While the music is perfect for each song, it is the lyrics which are the star of the show, and must be taken in to get the most out of this album.
My own favourites include “Dead Elvis”, “I Want to Spill The Blood of A Hippy” and “Broad Lic Nic”
If you can still find a copy of this floating around in the universe (my guess is that it would have to be pretty rare) I heartily recommend grabbing it. This was the boys at their very best.
Rating: Still as funny today as it was on its release. 4/5.
From this came this album, Icon, which is a brilliant mixture of acidic commentary, flashy comedy and general pisstaking on anyone and anything. There is an obvious highlighting on religion with songs such as “Commies for Christ”, “Krshna”, “Little Gospel Song” and “Go To Church”, but their range doesn’t just stop there.
While the music is perfect for each song, it is the lyrics which are the star of the show, and must be taken in to get the most out of this album.
My own favourites include “Dead Elvis”, “I Want to Spill The Blood of A Hippy” and “Broad Lic Nic”
If you can still find a copy of this floating around in the universe (my guess is that it would have to be pretty rare) I heartily recommend grabbing it. This was the boys at their very best.
Rating: Still as funny today as it was on its release. 4/5.
524. Iced Earth / Iced Earth. 1990. 3.5/5
This is the initial foray into the world of Iced Earth, and for a debut it is a pretty fair effort. Improvements were to be made, but the basics are all here from which the building blocks could make their foundation.
I guess it is a common discussion point amongst fans of Iced Earth, but here we go again. While the music itself is terrific, with some great riffs and excellent drum and bass lines, the vocals let it down a little. That’s not to load vocalist Gene Adam with any blame for some shortcomings, but there is little doubt that future vocalists (and I guess here you immediately think of Matt Barlow) were betted suited to the material. This argument becomes almost gospel when you consider that many of these songs were later performed by Matt Barlow on other Iced Earth releases, and there is no argument that he performed them better.
Concentrating on this release however, the vocals are adequate and the music is great. “Iced Earth” and “Colors” rank as my favourite songs on the album, and though it probably does tail off toward the end, it is still a good listen, and worth it if only to see how they started out.
Rating: A better than average debut. 3.5/5
I guess it is a common discussion point amongst fans of Iced Earth, but here we go again. While the music itself is terrific, with some great riffs and excellent drum and bass lines, the vocals let it down a little. That’s not to load vocalist Gene Adam with any blame for some shortcomings, but there is little doubt that future vocalists (and I guess here you immediately think of Matt Barlow) were betted suited to the material. This argument becomes almost gospel when you consider that many of these songs were later performed by Matt Barlow on other Iced Earth releases, and there is no argument that he performed them better.
Concentrating on this release however, the vocals are adequate and the music is great. “Iced Earth” and “Colors” rank as my favourite songs on the album, and though it probably does tail off toward the end, it is still a good listen, and worth it if only to see how they started out.
Rating: A better than average debut. 3.5/5
523. Iced Earth / I Walk Among You [Single]. 2008. 3.5/5
First taste of Iced Earth reunited with Matt Barlow as lead vocalist from the forthcoming album The Crucible of Man (Something Wicked Part 2).
The new song sounds good. Barlow’s vocals suit it nicely, and there is some power to the song. If this is an indication of the new album then bring it on.
Also here are two songs from Framing Armageddon (Something Wicked Part 1) which have been redone with Barlow singing instead of Ripper Owens. Probably not the songs I would have chosen, if they were trying to prove anything. I still think Ripper’s versions sound better.
Rating: Is there better to come? 3.5/5
The new song sounds good. Barlow’s vocals suit it nicely, and there is some power to the song. If this is an indication of the new album then bring it on.
Also here are two songs from Framing Armageddon (Something Wicked Part 1) which have been redone with Barlow singing instead of Ripper Owens. Probably not the songs I would have chosen, if they were trying to prove anything. I still think Ripper’s versions sound better.
Rating: Is there better to come? 3.5/5
522. The Offspring / I Choose [Single]. 1997. 3.5/5
This was the final single from the Ixnay on the Hombre album.
Containing the title song, it also mixes another song from the album, “Mota”, along with a live version of “All I Want”.
Rating: Average enough for the time. 3.5/5
Containing the title song, it also mixes another song from the album, “Mota”, along with a live version of “All I Want”.
Rating: Average enough for the time. 3.5/5
521. Yngwie Malmsteen / I Can't Wait [EP]. 1994. 3/5
I Can’t Wait indeed. At a time when Yngwie continued his push for commercial success, this EP found its way into the record stores.
In almost all respects, this is the same old average stuff that Yngwie produced during the 1990’s – harmless fluff with the odd blistering solo thrown in to remind everyone that he can play guitar a bit.
It is the two live tracks which show up the difference. “Rising Force” sounds fine, but the vocals prove just how important it is to Yngwie’s work that, if he must have a singer on his tracks, he needs to be a good one. Vescara is shown up here – badly. On the other hand, the live version of “Far Beyond The Sun” is just brilliant, and a full reminder of the magnificent material he did release in the 1980’s. If only he had realised that there was no reason to change and chase commercial glory.
Rating: Nothing overly special to be found here. 3/5.
In almost all respects, this is the same old average stuff that Yngwie produced during the 1990’s – harmless fluff with the odd blistering solo thrown in to remind everyone that he can play guitar a bit.
It is the two live tracks which show up the difference. “Rising Force” sounds fine, but the vocals prove just how important it is to Yngwie’s work that, if he must have a singer on his tracks, he needs to be a good one. Vescara is shown up here – badly. On the other hand, the live version of “Far Beyond The Sun” is just brilliant, and a full reminder of the magnificent material he did release in the 1980’s. If only he had realised that there was no reason to change and chase commercial glory.
Rating: Nothing overly special to be found here. 3/5.
Thursday, July 17, 2008
520. Iron Savior / I've Been To Hell [Single]. 2000. 4/5
This single comes from the Dark Assault album, and apart from the excellent single itself, it also has another track from the album, “Never Say Die”.
As also found here is a great cover of Judas Priest’s “The Hellion” and “Electric Eye” and Krokus' “Headhunter”.
Rating: Excellent single package. 4/5.
As also found here is a great cover of Judas Priest’s “The Hellion” and “Electric Eye” and Krokus' “Headhunter”.
Rating: Excellent single package. 4/5.
519. Anthrax / I'm The Man [EP]. 1987. 4/5
Here’s another album that certain friends of mine got tremendously excited with when we first came across it not too long after its release. I never really understood why they got so worked up over it, because although the title track – a humorous heavy metal rap performed by the band – is funny enough, its novelty value wears off fairly quickly.
Anyway, here we have three versions of “I’m The Man” – a censored version, and uncensored version, and a live very uncensored version. Believe me, after you listen to this three or four times over, you are quite happy not to have to hear it again for awhile…
The bonus material here is the clincher though. A great cover of Black Sabbath’s “Sabbath Bloody Sabbath”, and live version’s of “Caught in a Mosh” and “I Am The Law” are superb, and well worth the price of the EP alone.
Rating: A little overkill on the single, but otherwise great. 4/5.
Anyway, here we have three versions of “I’m The Man” – a censored version, and uncensored version, and a live very uncensored version. Believe me, after you listen to this three or four times over, you are quite happy not to have to hear it again for awhile…
The bonus material here is the clincher though. A great cover of Black Sabbath’s “Sabbath Bloody Sabbath”, and live version’s of “Caught in a Mosh” and “I Am The Law” are superb, and well worth the price of the EP alone.
Rating: A little overkill on the single, but otherwise great. 4/5.
Wednesday, July 16, 2008
518. Def Leppard / Hysteria. 1987. 4/5
I guess in some ways I’ve been fortunate in that I was involved in the great Def Leppard love-fest that occurred with the release of this album back in 1987, and was one of the people that pushed my non-metal friends into enjoying it too – and I am also the older, more cynical listener of the album today, having experienced what has followed this album in the past twenty years. Time and insight can certainly provide different perspectives.
From the perspective of the 17/18 year old back when this was released, I thought it was just brilliant. It wasn’t as heavy as the other bands I was infatuated with at the time, and it was certainly different from their earlier releases, but hey, they’d had a few dramas in recording the album, and their drummer had lost an arm, so give ‘em a break! Still, even then it was the heav(ier) tracks that grabbed my attention, and the softer ones I tolerated because I loved the album so much.
That is the retrospective.
Swing back to the present, and I have given the album a dozen playbacks over the past few days, and there are a few things that stand out for me now, 21 years later. There is no denying that the album is still catchy, and that a few of the songs still hold their own after all these years. “Rocket”, “Animal”, “Gods of War”, “Run Riot” and “Don’t Shoot Shotgun” are still my favourite songs from the album, which was the case back in the day as well, and given they are what could be loosely termed the ‘harder’ songs on the album I guess that is no surprise.
If one was to try and pinpoint when the slide for this band began, perhaps it was the super success they had with the slower and sugary songs that came from this album – “Pour Some Sugar On Me”, “Love Bites”, “Hysteria” and “Love and Affection”. Sure, they are fine in their place, but they certainly don’t rate in the higher bracket on this album. But their success must surely have directed the band down the path that their music has taken in the past two decades, and that is a real shame.
Back to Hysteria however. I know I now rate this album slightly lower than I did all those years ago – partly through a change in the style of metal I prefer, and partly through my disappointment in the direction the band has taken since. Would Steve Clark’s head be spinning? I don’t know. It still brings back great memories of the band and the time for me, but it has certainly dated as well, and that is another telling factor. The ‘skip’ button even gets used on it these days for certain songs. I would never have imagined that twenty years ago.
Rating: The end of what had been a promising build up. 4/5.
From the perspective of the 17/18 year old back when this was released, I thought it was just brilliant. It wasn’t as heavy as the other bands I was infatuated with at the time, and it was certainly different from their earlier releases, but hey, they’d had a few dramas in recording the album, and their drummer had lost an arm, so give ‘em a break! Still, even then it was the heav(ier) tracks that grabbed my attention, and the softer ones I tolerated because I loved the album so much.
That is the retrospective.
Swing back to the present, and I have given the album a dozen playbacks over the past few days, and there are a few things that stand out for me now, 21 years later. There is no denying that the album is still catchy, and that a few of the songs still hold their own after all these years. “Rocket”, “Animal”, “Gods of War”, “Run Riot” and “Don’t Shoot Shotgun” are still my favourite songs from the album, which was the case back in the day as well, and given they are what could be loosely termed the ‘harder’ songs on the album I guess that is no surprise.
If one was to try and pinpoint when the slide for this band began, perhaps it was the super success they had with the slower and sugary songs that came from this album – “Pour Some Sugar On Me”, “Love Bites”, “Hysteria” and “Love and Affection”. Sure, they are fine in their place, but they certainly don’t rate in the higher bracket on this album. But their success must surely have directed the band down the path that their music has taken in the past two decades, and that is a real shame.
Back to Hysteria however. I know I now rate this album slightly lower than I did all those years ago – partly through a change in the style of metal I prefer, and partly through my disappointment in the direction the band has taken since. Would Steve Clark’s head be spinning? I don’t know. It still brings back great memories of the band and the time for me, but it has certainly dated as well, and that is another telling factor. The ‘skip’ button even gets used on it these days for certain songs. I would never have imagined that twenty years ago.
Rating: The end of what had been a promising build up. 4/5.
517. System of a Down / Hypnotize. 2005. 2/5
Whatever these guys are on, I think I need to either avoid at all costs, or get me some at all costs…
I can alternately (no pun intended) enjoy or hate this. It really does depend on what mood I’m in. Actually, it probably depends on how much alcohol I’ve had, because I seem to enjoy it more after half a dozen beers. It really isn’t an album I can enjoy sober, or while driving in the car, or while at my desk at work, or while sitting back on the lounge at home listening on the stereo. So, seeing as most of my time is spent in one of these positions, it is difficult to give it a positive rating.
There is no doubting the uniqueness of the music and the band. The similarity in some songs to the Dead Kennedys (or, in particular, the vocals of Jello Biafra) is startling, and does throw you off.
Then again, take a song like “Holy Mountains”, which is probably my favourite on the album. It is unique in its own way, and as close to an SoAD epic as they are likely to compose, which is immediately followed by the completely off-beat “Vicinity of Obscenity”, which is just complete madness. How on earth can you write songs like this?!
In the long run, it is just a little bit too far out there for me to absolutely be able to take to heart.
Rating: Send in the crazed, hepped-up loonys. 2/5.
I can alternately (no pun intended) enjoy or hate this. It really does depend on what mood I’m in. Actually, it probably depends on how much alcohol I’ve had, because I seem to enjoy it more after half a dozen beers. It really isn’t an album I can enjoy sober, or while driving in the car, or while at my desk at work, or while sitting back on the lounge at home listening on the stereo. So, seeing as most of my time is spent in one of these positions, it is difficult to give it a positive rating.
There is no doubting the uniqueness of the music and the band. The similarity in some songs to the Dead Kennedys (or, in particular, the vocals of Jello Biafra) is startling, and does throw you off.
Then again, take a song like “Holy Mountains”, which is probably my favourite on the album. It is unique in its own way, and as close to an SoAD epic as they are likely to compose, which is immediately followed by the completely off-beat “Vicinity of Obscenity”, which is just complete madness. How on earth can you write songs like this?!
In the long run, it is just a little bit too far out there for me to absolutely be able to take to heart.
Rating: Send in the crazed, hepped-up loonys. 2/5.
516. Scorpions / Hurricane Rock. 1990. 5/5
Another of the 40 000 greatest hits packages that seem to have been released of the Scorpions material, but at least this one is a pretty good one.
Covering most of the hits the band had between the start of their career and the mid-1980’s, this has everything that any fan could want to hear. As an album to put on at a party night to hear the best hits this band can offer, or as a starting point for someone who wants to experience one of the best bands out there, this wins on all counts.
Rating: Close to outstanding as a greatest hits package. 5/5.
Covering most of the hits the band had between the start of their career and the mid-1980’s, this has everything that any fan could want to hear. As an album to put on at a party night to hear the best hits this band can offer, or as a starting point for someone who wants to experience one of the best bands out there, this wins on all counts.
Rating: Close to outstanding as a greatest hits package. 5/5.
515. Scorpions / Humanity: Hour 1. 2007. 5/5
It's a Saturday afternoon. I'm at home at the computer, and it's time to put on a new album. I take the disc, put it on and press play. What comes out in the first 30 seconds blows me away. Have I made a mistake? Is this really the new Scorpions album? OK, there's Klaus Meine's vocals - it must be Scorpions!
But what the hell?!? So here's the deal - I expected much the same that the band has released in recent years, okay stuff without being exceptional. Well bugger me, instead they've come out and rocked the house down!
This is what I wrote when I first heard this album when it was released last year, and to be quite honest my opinion has only strengthened in the time that has passed since. The arrival of this album, and the astonishing return to form of this band is quite magnificent. Following a number of disappointing efforts where there were obvious attempts to change their musical formula, Humanity: Hour 1 effectively returns the band to their solid roots of melodic heavy metal, and the result is stunning.
There is a definite heavier feel to the songs than has been present for some time, as is shown during “Hour 1” and “The Game of Life”, “You’re Lovin’ Me To Death” and the excellent “321”. Each show the best of the faster side of Scorpions.
Backing these up are the amazing Scorpions ballads, as only they can do, “The Future Never Dies” and “Your Last Song”. Just terrific examples of how to do a power ballad with power, and not weakness. Then to finish it all off are the brilliant “The Cross” which features Billy Corgan from the Smashing Pumpkins, and “Humanity” which tops the album off on a great note.
Concept albums are tricky things to get right. Not only does the story have to be relevant, and the songs able to recreate the mood of the piece, they need to retain their individuality as well. No qualms here about all that, this is superbly done. The guitaring of Rudolph Schenker and the brilliant Matthias Jabs is magnificent, as is the drumming of James Kottak. Magnificent stuff.
What impresses me most about this album is that I feel more strongly about it now than I did in the first months after its release. To me, that indicates its strengths and appeal. At the time I rated it very highly, about 4 or 4.5. I truly believe it now belongs in the top echelon of Scorpions albums.
Rating: One of the best albums of this decade. 5/5.
But what the hell?!? So here's the deal - I expected much the same that the band has released in recent years, okay stuff without being exceptional. Well bugger me, instead they've come out and rocked the house down!
This is what I wrote when I first heard this album when it was released last year, and to be quite honest my opinion has only strengthened in the time that has passed since. The arrival of this album, and the astonishing return to form of this band is quite magnificent. Following a number of disappointing efforts where there were obvious attempts to change their musical formula, Humanity: Hour 1 effectively returns the band to their solid roots of melodic heavy metal, and the result is stunning.
There is a definite heavier feel to the songs than has been present for some time, as is shown during “Hour 1” and “The Game of Life”, “You’re Lovin’ Me To Death” and the excellent “321”. Each show the best of the faster side of Scorpions.
Backing these up are the amazing Scorpions ballads, as only they can do, “The Future Never Dies” and “Your Last Song”. Just terrific examples of how to do a power ballad with power, and not weakness. Then to finish it all off are the brilliant “The Cross” which features Billy Corgan from the Smashing Pumpkins, and “Humanity” which tops the album off on a great note.
Concept albums are tricky things to get right. Not only does the story have to be relevant, and the songs able to recreate the mood of the piece, they need to retain their individuality as well. No qualms here about all that, this is superbly done. The guitaring of Rudolph Schenker and the brilliant Matthias Jabs is magnificent, as is the drumming of James Kottak. Magnificent stuff.
What impresses me most about this album is that I feel more strongly about it now than I did in the first months after its release. To me, that indicates its strengths and appeal. At the time I rated it very highly, about 4 or 4.5. I truly believe it now belongs in the top echelon of Scorpions albums.
Rating: One of the best albums of this decade. 5/5.
Tuesday, July 15, 2008
514. Various Artists / Humanary Stew: A Tribute to Alice Cooper. 1998. 4.5/5
Tribute albums can be done well, and be a fitting tribute to the person or band that is being honoured. This would rank as one of the finest I have heard, mainly for the fact that there are great musicians taking part, and all of them have an obvious affection for the man to whom they are paying tribute to – Alice Cooper.
While it is always good to hear your favourite artists doing cover versions of another of your favourite artists songs, the truth is that most of the time they don’t match up to the original. Here though there is a strong argument for a couple of these versions being the equal, if not better, than the originals! Bruce Dickinson and Adrian Smith’s version of “Black Widow” is terrific, and Ronnie James Dio just tears apart “Welcome To My Nightmare”. Dave Mustaine sounds like he’s enjoying himself on “School’s Out”, and even Vince Neil on “Cold Ethyl” is worthy of note here.
Sure, they could never replace the originals, but the versions here have an updated feel, and sound great. Glenn Hughes probably takes it a little far in “Only Women Bleed”, but not everyone has the kind of voice that he does!
This is a fitting album to pay homage to one of the innovators and great showmen of music. It’s so much more enjoyable because you can feel the enjoyment the artists involved are having in recording it, and it comes through in the music.
Rating: Worth a listen, whether you know any Alice Cooper material or not. 4.5/5
While it is always good to hear your favourite artists doing cover versions of another of your favourite artists songs, the truth is that most of the time they don’t match up to the original. Here though there is a strong argument for a couple of these versions being the equal, if not better, than the originals! Bruce Dickinson and Adrian Smith’s version of “Black Widow” is terrific, and Ronnie James Dio just tears apart “Welcome To My Nightmare”. Dave Mustaine sounds like he’s enjoying himself on “School’s Out”, and even Vince Neil on “Cold Ethyl” is worthy of note here.
Sure, they could never replace the originals, but the versions here have an updated feel, and sound great. Glenn Hughes probably takes it a little far in “Only Women Bleed”, but not everyone has the kind of voice that he does!
This is a fitting album to pay homage to one of the innovators and great showmen of music. It’s so much more enjoyable because you can feel the enjoyment the artists involved are having in recording it, and it comes through in the music.
Rating: Worth a listen, whether you know any Alice Cooper material or not. 4.5/5
Monday, July 14, 2008
513. Hughes Turner Project / Hughes Turner Project. 2002. 2.5/5
The songs here are caught somewhere between a pure rock ‘n’ roll and what I guess you’d call soft metal. They aren’t the kind of songs that are going to get radio airplay in most countries, and yet they would alienate most heavy metal fans for being just a bit too wussy. And in the long run, that’s how I feel listening to the album. I just wish they’d put some grunt in the instruments and really let fly with some heavier stuff. Instead, they have an album full of almost pop songs that don’t do a lot more than make me cringe.
There are a couple of songs on the album that are OK – and that’s the best I can give them too. Even those you are just waiting for the burst of real energy and grunt to take them to the level that would make them real catchy. I guess for those of us who knew JLT from Rainbow, and how their music softened considerably with his introduction to the band shouldn’t be so surprised. But I was hoping for more. If you are looking for something akin to what Rainbow had become by the end of JLT's reign, then you will probably enjoy this more than I did. In the end my expectations probably got the better of me, which has harmed the way I feel about the album.
Rating: A tad disappointing. 2.5/5.
512. Suicidal Tendencies / How Will I Laugh Tomorrow When I Can't Even Smile Today. 1988. 3.5/5
This was my initial foray into Suicidal Tendencies, through the bullying and bullocking of the guys I was in a band with at the time. Though I was reticent at the time, and have found reasons why since, it is not something I have regretted.
One thing still puzzles me about this album in particular – why is it that the drums, guitars and bass are so furious and so dominating, and yet Mike Muir’s vocals sound, for the most part, so weedy and weak? I mean, these are songs that are supposed to have a bit of aggression about them, or at the very least some passion, and on many of these songs it sounds like he is just going through the motions. Is it just me that thinks this? Quite possibly, but to me the album would have sounded a lot better if he had just used his lungs a bit more.
Having said that, ignore that part and enjoy the best parts of the album. “Trip at the Brain” starts off with a cracking pace and highlights the best that the band has to offer. “Pledge Your Allegiance” and “How Will I Laugh Tomorrow” continue in this direction. The (almost) instrumental “Surf and Slam” is probably my favourite on the album (because there are no vocals? Hmmm… perhaps…).
So, as good as this album does sound, I really believe it could have been a lot better, with a little tweaking. Suicidal Tendencies have never been one of my favourite bands, so my judgement may be a little biased compared to those that hold this band dear to their hearts.
Rating: A decent enough effort. 3.5/5
One thing still puzzles me about this album in particular – why is it that the drums, guitars and bass are so furious and so dominating, and yet Mike Muir’s vocals sound, for the most part, so weedy and weak? I mean, these are songs that are supposed to have a bit of aggression about them, or at the very least some passion, and on many of these songs it sounds like he is just going through the motions. Is it just me that thinks this? Quite possibly, but to me the album would have sounded a lot better if he had just used his lungs a bit more.
Having said that, ignore that part and enjoy the best parts of the album. “Trip at the Brain” starts off with a cracking pace and highlights the best that the band has to offer. “Pledge Your Allegiance” and “How Will I Laugh Tomorrow” continue in this direction. The (almost) instrumental “Surf and Slam” is probably my favourite on the album (because there are no vocals? Hmmm… perhaps…).
So, as good as this album does sound, I really believe it could have been a lot better, with a little tweaking. Suicidal Tendencies have never been one of my favourite bands, so my judgement may be a little biased compared to those that hold this band dear to their hearts.
Rating: A decent enough effort. 3.5/5
Saturday, July 12, 2008
511. Midnight Oil / 20,000 Watt R.S.L. 1997. 4.5/5
In my opinion, that fact does raise its head here, but it is not an overwhelming demand. The song selection here finds the majority of their biggest hits on board, covering the majority of their albums. It would be a harsh critic to suggest that any of the songs here don't deserve their place. Of course, I am a harsh critic, and I don't think songs such as "What Goes On", "White Skin Black Heart" and "Surf's Up Tonight" could possibly be regarded as better songs than "No Time for Games", "Short Memory" and "Read About It".
Despite this, 20,000 Watt R.S.L. is a wonderful collection from the career of a terrific band. For the Johnny-come-lately, this is a pretty good place to start if you want to learn about Midnight Oil. For the fan, it's a great trip down memory lane.
510. Kiss / Hotter Than Hell. 1974. 2/5
The second album for Kiss following their self-titled debut, and while it does have a couple of good moments, overall it is fairly average stuff.
Probably the greatest problem that this album has for me is the plodding pace. It really needed to be revved up at the time it was recorded, at it could probably have been a lot better. For instance, two of the main tracks here, “Parasite” and “Hotter Than Hell”, almost send you to sleep when you listen to them. However, when you hear them played live on future releases, you can realise the full potential of the songs.
Then again, is it just me being picky over the era that it was recorded in? Possibly. But it doesn’t change the fact that it could have been improved by that one tweak. “Let Me Go Rock ‘N’ Roll” is a much more satisfactory pace for a Kiss song, and is the reason it stands out as one of the best here.
For me this album falls short of the potential some of the tracks here have. Given that it was never going to be a classic it is still disappointing.
Rating: Fortunately the best was still to come. 2/5
Probably the greatest problem that this album has for me is the plodding pace. It really needed to be revved up at the time it was recorded, at it could probably have been a lot better. For instance, two of the main tracks here, “Parasite” and “Hotter Than Hell”, almost send you to sleep when you listen to them. However, when you hear them played live on future releases, you can realise the full potential of the songs.
Then again, is it just me being picky over the era that it was recorded in? Possibly. But it doesn’t change the fact that it could have been improved by that one tweak. “Let Me Go Rock ‘N’ Roll” is a much more satisfactory pace for a Kiss song, and is the reason it stands out as one of the best here.
For me this album falls short of the potential some of the tracks here have. Given that it was never going to be a classic it is still disappointing.
Rating: Fortunately the best was still to come. 2/5
509. Queen / Hot Space. 1982. 3/5
From the “Bloody Hell! Where The F#%k Did That Come From?!” file is Queen’s Hot Space, an album that contains one of their best known and most loved tracks, and a whole heap of other stuff that is quite… extraordinary… in its format.
This album is quite simply one of the more bizarre and chameleonic albums I have ever heard. The quite radical change in musical direction that happens on this album is quite confronting, and in some ways difficult to take and accept. Having spent the best part of the previous decade pushing the boundaries, but still retaining the general hard rock element of their music, they have come out here at the time of synths and other such wonderful gadgets, and gone down a completely different path.
Does it work? Well, from me it is a quite emphatic “NO!” However, experimentation is something that most bands eventually come to in order to freshen things up for themselves. The songs themselves aren’t bad, they are just in a completely different style than the world is used to. Using synths for the bass guitar, and a drum machine rather than Roger Taylor, in a couple of the songs is somewhat of a surprise. I’d be interested as to what the band members thought of this whole recording. It is a very early 80’s sound with the various use of synthesizers, and an almost disc-like feel – which seems strange as disco had pretty much concluded by the release of this album.
The most famous song here is of course the Queen and David Bowie duet “Under Pressure” which went to number one around the world. Not surprisingly it is also the most traditional Queen song on the album, along with “Put Out The Fire”.
In the long run, this IS a Queen album, albeit a rather different and experimental one. Whilst the band continued to use the techniques that they concentrated on with this album in future releases, it was very much toned down and refined from what appears here. I guess that is a good thing.
Rating: Even the super fans must have some trouble swallowing this. 3/5.
This album is quite simply one of the more bizarre and chameleonic albums I have ever heard. The quite radical change in musical direction that happens on this album is quite confronting, and in some ways difficult to take and accept. Having spent the best part of the previous decade pushing the boundaries, but still retaining the general hard rock element of their music, they have come out here at the time of synths and other such wonderful gadgets, and gone down a completely different path.
Does it work? Well, from me it is a quite emphatic “NO!” However, experimentation is something that most bands eventually come to in order to freshen things up for themselves. The songs themselves aren’t bad, they are just in a completely different style than the world is used to. Using synths for the bass guitar, and a drum machine rather than Roger Taylor, in a couple of the songs is somewhat of a surprise. I’d be interested as to what the band members thought of this whole recording. It is a very early 80’s sound with the various use of synthesizers, and an almost disc-like feel – which seems strange as disco had pretty much concluded by the release of this album.
The most famous song here is of course the Queen and David Bowie duet “Under Pressure” which went to number one around the world. Not surprisingly it is also the most traditional Queen song on the album, along with “Put Out The Fire”.
In the long run, this IS a Queen album, albeit a rather different and experimental one. Whilst the band continued to use the techniques that they concentrated on with this album in future releases, it was very much toned down and refined from what appears here. I guess that is a good thing.
Rating: Even the super fans must have some trouble swallowing this. 3/5.
508. Kiss / Hot in the Shade. 1989. 3/5
Kiss in the 80’s – they certainly got better as the decade progressed. OK, so they weren’t the ground-breaking band they had been during the mid-to-late 70’s, and some of their stuff had drifted into the average fluff stage. Sometimes you just have to admit the best years have gone, and not judge new material on past performances.
Hot in the Shade is very much in the mold of their previous release, Crazy Nights – these are good party songs, and should be taken that way. Certainly, the songs Paul Stanley sings always seem to have that feel about them anyway. This album isn’t as good as its predecessor, but if you taken it in a similar vein then you will get the most out of it.
Don’t be scared off by songs like “Forever”, just because it is co-written by Michael Bolton (even though that is good grounds to be scared!). Most of the songs here have that soft rock feel to it, and aren’t really in the same category as early Kiss material. Even the country twang at the start of “Rise To It” might be a turn-off, but get into the song and take it for what it is, and you’ll see it ain’t all bad.
In summary – not a classic, but not a bad listen either. Some good tunes here that become habit to sing along to. When I first bought it back when it was released in 1989 I was looking for something it was not, and didn’t give it a chance. In my advancing years – and it may just be in searching for my lost youth – I have come to appreciate it better.
Rating: Don’t write it off without a decent hearing. 3/5.
Hot in the Shade is very much in the mold of their previous release, Crazy Nights – these are good party songs, and should be taken that way. Certainly, the songs Paul Stanley sings always seem to have that feel about them anyway. This album isn’t as good as its predecessor, but if you taken it in a similar vein then you will get the most out of it.
Don’t be scared off by songs like “Forever”, just because it is co-written by Michael Bolton (even though that is good grounds to be scared!). Most of the songs here have that soft rock feel to it, and aren’t really in the same category as early Kiss material. Even the country twang at the start of “Rise To It” might be a turn-off, but get into the song and take it for what it is, and you’ll see it ain’t all bad.
In summary – not a classic, but not a bad listen either. Some good tunes here that become habit to sing along to. When I first bought it back when it was released in 1989 I was looking for something it was not, and didn’t give it a chance. In my advancing years – and it may just be in searching for my lost youth – I have come to appreciate it better.
Rating: Don’t write it off without a decent hearing. 3/5.
507. Primal Fear / Horrorscope [EP]. 2002. 5/5
Released in 2002, this is an excellent five track EP which is worth picking up if you can still find it.
I just love “Under Your Spell, if only for the fact that it is (apparently) the entrance theme music for a German handball, according to their website the Frisch Auf Göppingen. That is magnificent. I’d watch more handball just for that reason.
There is also an unreleased bonus track from the Japanese version of Jaws of Death called (of course) “Horrorscope”.
Mixed with these are three cover songs – Gary Moore and Phil Lynott’s “Out in the Fields”, Accept’s “Breaker” and Rainbow’s “Kill the King”. All are superb renditions of these classic songs.
All in all, for an EP, you can’t do much better.
Rating: A great slice of music. 5/5.
I just love “Under Your Spell, if only for the fact that it is (apparently) the entrance theme music for a German handball, according to their website the Frisch Auf Göppingen. That is magnificent. I’d watch more handball just for that reason.
There is also an unreleased bonus track from the Japanese version of Jaws of Death called (of course) “Horrorscope”.
Mixed with these are three cover songs – Gary Moore and Phil Lynott’s “Out in the Fields”, Accept’s “Breaker” and Rainbow’s “Kill the King”. All are superb renditions of these classic songs.
All in all, for an EP, you can’t do much better.
Rating: A great slice of music. 5/5.
506. Iced Earth / Horror Show. 2001. 3/5
This was the first Iced Earth album I ever bought and listened to, and while there have probably been better albums in their discography, it was a gentle introduction to the band for me.
I enjoy the concept of the album, taking on the monsters of history, both real and fictional, and doing songs on them. In the main, it works quite well.
The album begins strongly, with both “Wolf” and “Damien” showcasing Matt Barlow’s distinctive vocals and the double click drumming of Richard Christy. Like many bands of this generation, their best songs are when the drums are driving the pace, through double-kick and flying on the high-hats. Here the guitars aren’t being forced to go ‘fast’, but the feel is that anyway.
From here on though, the album is a bit mixed, neither one thing nor the other. In the main the songs are fine, but they are not outstanding, and in a funny way they are not memorable, in that they begin to blend into each other and it becomes difficult to differentiate. I can see why trying to set different moods in different songs is necessary to the theme of the album, but I don’t think it works overly well. “Ghost of Freedom” to me just halts the whole momentum of the album, whether you like the song or not.
The cover of Iron Maiden’s “Transylvania” is probably the highlight of the album – a bit of a giveaway really…
Rating: Just rises above average. 3/5.
I enjoy the concept of the album, taking on the monsters of history, both real and fictional, and doing songs on them. In the main, it works quite well.
The album begins strongly, with both “Wolf” and “Damien” showcasing Matt Barlow’s distinctive vocals and the double click drumming of Richard Christy. Like many bands of this generation, their best songs are when the drums are driving the pace, through double-kick and flying on the high-hats. Here the guitars aren’t being forced to go ‘fast’, but the feel is that anyway.
From here on though, the album is a bit mixed, neither one thing nor the other. In the main the songs are fine, but they are not outstanding, and in a funny way they are not memorable, in that they begin to blend into each other and it becomes difficult to differentiate. I can see why trying to set different moods in different songs is necessary to the theme of the album, but I don’t think it works overly well. “Ghost of Freedom” to me just halts the whole momentum of the album, whether you like the song or not.
The cover of Iron Maiden’s “Transylvania” is probably the highlight of the album – a bit of a giveaway really…
Rating: Just rises above average. 3/5.
505. Sevendust / Home. 1999. 2.5/5
Having only gotten the Sevendust albums because two friends, one old and withered like myself, and another young and boyish, told me I had to listen to this band. And so I did for a very small space of time, before the albums lost themselves in the wilds of the back of the CD cupboard. Home was dragged from the depths this week for its review and rating, and I can say that after one listen, I had major reservations about it. By the second listen, I found I had probably misjudged it, and the third convinced me that there was certainly something to this.
While it will never become a favourite – the style of music here is not quite to my appeal – I can appreciate it for what it is, and I did enjoy most parts of the album. Nu-metal doesn’t quite make it for me, and while some of the songs here work really well, there are others that seemed trapped in their own attempted cleverness.
Rating: While not targeting people of my taste, there is unrealised potential here. 2.5/5.
While it will never become a favourite – the style of music here is not quite to my appeal – I can appreciate it for what it is, and I did enjoy most parts of the album. Nu-metal doesn’t quite make it for me, and while some of the songs here work really well, there are others that seemed trapped in their own attempted cleverness.
Rating: While not targeting people of my taste, there is unrealised potential here. 2.5/5.
504. Dio / Holy Diver Live. 2006. 5/5.
The new century has seen an interesting innovation come to light – firstly some bands (Dream Theater) began paying tribute to the albums that influenced their music by playing those entire albums live in concert. Secondly, bands realized this was a popular thing, and began dedicating parts of their own concerts to playing an entire album of their own!
Here then is Holy Diver Live which contains amongst other tunes the entire Holy Diver album.
The DVD of this concert has the gig in its running order. For the double disc version, they have wisely split in into two. The first disc contains Holy Diver in its entirety, including Simon Wright’s drum solo (which surely is becoming increasingly unnecessary in this day and age) and Doug Aldrich's guitar solo (less unnecessary, but still a time-filler). The second disc contains the remainder of the concert, including songs from the range of Dio’s career as a singer.
Anyone expecting Dio to sing this exactly as it was recorded 20+ years previously are expecting too much. Interesting to note is an interview with Doug Aldrich some time after this release, in which he states he was unhappy with his own performance, due to the lack of actual rehearsal leading up to the night. While his guitaring is actually pretty spot on to the original versions put down by Vivian Campbell (one of Aldrich’s finest assets), it does sound like Dio is unsure as to how to approach singing songs he hasn’t performed for two decades, or at all. If I was to be picky, I’d say that he could have done better – but how do you say that to the man with the greatest voice in metal? It is unrealistic to expect ‘studio’ vocals sung live, especially after so many years.
All in all this is a great live album. It is great to hear the entire album done live, with so many wonderful songs. The second disc is also just brilliant, combining such Rainbow classics as “Tarot Woman” and “Gates of Babylon” with “One Night in the City” and “We Rock”.
Originally, Craig Goldy was playing on this tour, but was injured not long before this was to be recorded, and Doug Aldrich came on board to help out. It is one of the redeeming features of this album.
Rating: Chock fun of greatness. 5/5
Here then is Holy Diver Live which contains amongst other tunes the entire Holy Diver album.
The DVD of this concert has the gig in its running order. For the double disc version, they have wisely split in into two. The first disc contains Holy Diver in its entirety, including Simon Wright’s drum solo (which surely is becoming increasingly unnecessary in this day and age) and Doug Aldrich's guitar solo (less unnecessary, but still a time-filler). The second disc contains the remainder of the concert, including songs from the range of Dio’s career as a singer.
Anyone expecting Dio to sing this exactly as it was recorded 20+ years previously are expecting too much. Interesting to note is an interview with Doug Aldrich some time after this release, in which he states he was unhappy with his own performance, due to the lack of actual rehearsal leading up to the night. While his guitaring is actually pretty spot on to the original versions put down by Vivian Campbell (one of Aldrich’s finest assets), it does sound like Dio is unsure as to how to approach singing songs he hasn’t performed for two decades, or at all. If I was to be picky, I’d say that he could have done better – but how do you say that to the man with the greatest voice in metal? It is unrealistic to expect ‘studio’ vocals sung live, especially after so many years.
All in all this is a great live album. It is great to hear the entire album done live, with so many wonderful songs. The second disc is also just brilliant, combining such Rainbow classics as “Tarot Woman” and “Gates of Babylon” with “One Night in the City” and “We Rock”.
Originally, Craig Goldy was playing on this tour, but was injured not long before this was to be recorded, and Doug Aldrich came on board to help out. It is one of the redeeming features of this album.
Rating: Chock fun of greatness. 5/5
Tuesday, July 08, 2008
503. Killswitch Engage / Holy Diver [Single]. 2007. 4/5
Cover of the great Dio song, released as a single and included on the special re-release of As Daylight Dies. This is an excellent version of this song, and the video that is its companion is equally good, and amusing.
Rating: Well worth a listen or four. 4/5.
Rating: Well worth a listen or four. 4/5.
Monday, July 07, 2008
502. Dio / Holy Diver. 1983. 5/5
It’s a pretty tough ask to leave a band that has done so well, and then find your feet again. It is almost unheard of to do it twice. Imagine such a feat then, as has befallen Ronnie James Dio - at the forefront of Rainbow’s rise to prosperity, before leaving, then to land on his feet in the ailing Black Sabbath, and help their rise back to the top, then to leave again, only to put together his own band, and release what I consider to be one of the best ten or fifteen albums ever. Welcome to Holy Diver.
Teaming up with Jimmy Bain from Rainbow, Vinnie Appice from Sabbath and young gun virtuoso Vivian Campbell, Dio set forth and put together an album that is practically bullet proof. With a bag of tricks learned from two great bands with differing styles, this album delivers on every level.
Dio’s vocals soar here, and he is at the peak of his powers. Able to mix the different levels of intensity of each song at will, his ability to exude the emotion of his lyrics and transmit this to the listener is what makes him such a magnificent vocalist. It’s one thing to be able to write great songs, it is another to make someone feel the emotion and energy through your singing. Ronnie James Dio is the king in this respect.
The rhythm section of Appice and Bain work perfectly together, maintaining the tempo of every song with precision, without losing their own signature beat. Their pairing is an inspired choice.
Almost stealing the show, however, is Vivian Campbell. His guitaring is as close to perfect on this album as anyone’s guitaring has been, ever. Great rhythm, brilliant soloing, and wonderful fills and flurries which puts his own stamp on every song. Apart from the obvious greatness of those around him, it is Vivian’s guitar that helps this album to rise to the top of the tree.
Every song here is a classic, but it is probably the lesser thought of songs that really make this album as good as it is. Whereas the often played songs such as “Stand Up and Shout”, “Holy Diver”, “Don’t Talk To Strangers” and “Rainbow in the Dark” are the ones that even people who aren’t fans of the band will recognise, for me it is songs such as “Gypsy” and “Caught In The Middle” and “Invisible” that are the stars of the show. A great album must have songs such as these to make it great – so good that they still stand on their own merit, even though they may not be singles nor even played live very often.
Holy Diver set the band of Dio up to make it on their own, without comparisons to earlier bands that the individuals in the group had been a part of. It is also a milestone in heavy metal music that is as influential today as it was twenty five years ago.
Rating: One of the best of all time. 5/5.
Teaming up with Jimmy Bain from Rainbow, Vinnie Appice from Sabbath and young gun virtuoso Vivian Campbell, Dio set forth and put together an album that is practically bullet proof. With a bag of tricks learned from two great bands with differing styles, this album delivers on every level.
Dio’s vocals soar here, and he is at the peak of his powers. Able to mix the different levels of intensity of each song at will, his ability to exude the emotion of his lyrics and transmit this to the listener is what makes him such a magnificent vocalist. It’s one thing to be able to write great songs, it is another to make someone feel the emotion and energy through your singing. Ronnie James Dio is the king in this respect.
The rhythm section of Appice and Bain work perfectly together, maintaining the tempo of every song with precision, without losing their own signature beat. Their pairing is an inspired choice.
Almost stealing the show, however, is Vivian Campbell. His guitaring is as close to perfect on this album as anyone’s guitaring has been, ever. Great rhythm, brilliant soloing, and wonderful fills and flurries which puts his own stamp on every song. Apart from the obvious greatness of those around him, it is Vivian’s guitar that helps this album to rise to the top of the tree.
Every song here is a classic, but it is probably the lesser thought of songs that really make this album as good as it is. Whereas the often played songs such as “Stand Up and Shout”, “Holy Diver”, “Don’t Talk To Strangers” and “Rainbow in the Dark” are the ones that even people who aren’t fans of the band will recognise, for me it is songs such as “Gypsy” and “Caught In The Middle” and “Invisible” that are the stars of the show. A great album must have songs such as these to make it great – so good that they still stand on their own merit, even though they may not be singles nor even played live very often.
Holy Diver set the band of Dio up to make it on their own, without comparisons to earlier bands that the individuals in the group had been a part of. It is also a milestone in heavy metal music that is as influential today as it was twenty five years ago.
Rating: One of the best of all time. 5/5.
501. Various Artists / Holy Dio: A Tribute to the Voice of Metal: Ronnie James Dio. 1999. 4.5/5
Well, you would have to say that this is a great idea, in principle. Over his long and illustrious career, Dio has been involved in so many great songs, that a tribute to that is a terrific plan. However, the one major drawback is this – how many people can sing like the great man, and do justice to these songs? As it turns out, most of the versions here are worthy of the name ‘tribute’.
As with many tribute albums, this is a bit uneven, with the very good mixed with the rather ordinary. The version of “Country Girl” by Dan Swanö & Peter Tägtgren is surprisingly well executed and done with a difference that doesn’t detract from the original. On the other hand, the version of “We Rock” by Grave Digger is OK musically, but the vocals are just not what you want on an album like this (refer to my initial comments in this review).
Then there is the unusual – two versions of “Kill The King” by two different bands – a great version by Primal Fear, and a good version by Stratovarius. Also a magnificent version of “Gates of Babylon” by Yngwie Malmsteen with Jeff Scott Soto on vocals – but on the linear notes Yngwie spends his whole spiel talking up Ritchie Blackmore (his hero) and not mentioning Ronnie once.
As a double disc, this album does contain some great tracks, and nowhere near the full complement of great songs from the Dio era. The two things I got from this are as follows:
One, it was great to hear some terrific bands putting out these great versions of great songs.
Two, no one could ever do these songs better than the originals, if only for the fact that the originals have RJD on vocals.
Rating: A better than average effort to celebrate a great man. 4.5/5
As with many tribute albums, this is a bit uneven, with the very good mixed with the rather ordinary. The version of “Country Girl” by Dan Swanö & Peter Tägtgren is surprisingly well executed and done with a difference that doesn’t detract from the original. On the other hand, the version of “We Rock” by Grave Digger is OK musically, but the vocals are just not what you want on an album like this (refer to my initial comments in this review).
Then there is the unusual – two versions of “Kill The King” by two different bands – a great version by Primal Fear, and a good version by Stratovarius. Also a magnificent version of “Gates of Babylon” by Yngwie Malmsteen with Jeff Scott Soto on vocals – but on the linear notes Yngwie spends his whole spiel talking up Ritchie Blackmore (his hero) and not mentioning Ronnie once.
As a double disc, this album does contain some great tracks, and nowhere near the full complement of great songs from the Dio era. The two things I got from this are as follows:
One, it was great to hear some terrific bands putting out these great versions of great songs.
Two, no one could ever do these songs better than the originals, if only for the fact that the originals have RJD on vocals.
Rating: A better than average effort to celebrate a great man. 4.5/5
500. L.A. Guns / Hollywood Vampires. 1991. 3/5
Coming on the heels of their excellent first two albums, the L.A. Guns had the chance to propel themselves to super-stardom with their third LP, Hollywood Vampires. As it turns out, the ingredients are all here, but they don’t seem to have been mixed in the right quantities.
What is it about this album that doesn’t quite allow it to reach its potential? Certainly, following on from their initial successes they should have been ready to conquer the world. However, in general the songs here don’t have the same spark about them, the same buzz that catches your attention and makes you want to listen.
Is it the obvious attempt to recapture the success that came with “The Ballad of Jayne”? Is that where my problem lies? Because I HATE that song, believing it is a blight on their otherwise excellent record to this stage of their career. It does feel that they are looking for that ballad hit again, and it affects the remainder of the album in my view.
Now it’s not all bad, so don’t take it that way. Songs like "Kiss My Love Goodbye", "Some Lie 4 Love" and "My Koo Ka Choo" still carry a punch that reminds you of who you are listening to. But in the end, it just didn’t quite carry over. And that is a real shame.
Rating: Not the step forward I was expecting. 3/5
What is it about this album that doesn’t quite allow it to reach its potential? Certainly, following on from their initial successes they should have been ready to conquer the world. However, in general the songs here don’t have the same spark about them, the same buzz that catches your attention and makes you want to listen.
Is it the obvious attempt to recapture the success that came with “The Ballad of Jayne”? Is that where my problem lies? Because I HATE that song, believing it is a blight on their otherwise excellent record to this stage of their career. It does feel that they are looking for that ballad hit again, and it affects the remainder of the album in my view.
Now it’s not all bad, so don’t take it that way. Songs like "Kiss My Love Goodbye", "Some Lie 4 Love" and "My Koo Ka Choo" still carry a punch that reminds you of who you are listening to. But in the end, it just didn’t quite carry over. And that is a real shame.
Rating: Not the step forward I was expecting. 3/5
Friday, July 04, 2008
499. L.A. Guns / Hollywood Rehearsal. 1998. 2/5
This is a Japanese compilation, comprising tracks which had previously been unreleased. It includes demo's and outtakes, alternate versions, and a number of cover songs ranging from bands such as Led Zeppelin, Sammy Hagar and The Clash.
As with most albums of this type, it holds a certain amount of interest for the first two or three listens. After that, it is something that only hard-core fans will ever take a great interest in. Unless you are a fan of the songs covered (I am not) then it is more likely to collect dust at the back of your CD cabinet. I know my copy was, and will now do so again having done the right thing and reviewed it.
Rating: Not for me, but others may disagree. 2/5
As with most albums of this type, it holds a certain amount of interest for the first two or three listens. After that, it is something that only hard-core fans will ever take a great interest in. Unless you are a fan of the songs covered (I am not) then it is more likely to collect dust at the back of your CD cabinet. I know my copy was, and will now do so again having done the right thing and reviewed it.
Rating: Not for me, but others may disagree. 2/5
498. Gamma Ray / Holland 23-9-1990 [Bootleg]. 1990. 3/5
This is a B quality bootleg from Gamma Ray’s initial tour, following the release of their debut album Heading For Tomorrow. While the recording is not the highest quality, you can certainly feel the vibe of the crowd and the band throughout the performance.
Probably the best part of the gig and the album is hearing so many songs from that first album give a live treatment. “Free Time” and “Money” are both great live, along with the ‘bonus’ track from that album (from the CD version, not the vinyl I’m afraid…) “Look At Yourself”.
While my rating of it does appear low, that is only because of the sound quality alone, not for the songs nor the band’s performance. Bootleg-listening is an art form, and to enjoy this to the maximum you have to be in the right mood, and the right place. Doing invoicing in your work environment is not the best place to experience it…
Rating: Early prehistoric Gamma Ray. 3/5.
Probably the best part of the gig and the album is hearing so many songs from that first album give a live treatment. “Free Time” and “Money” are both great live, along with the ‘bonus’ track from that album (from the CD version, not the vinyl I’m afraid…) “Look At Yourself”.
While my rating of it does appear low, that is only because of the sound quality alone, not for the songs nor the band’s performance. Bootleg-listening is an art form, and to enjoy this to the maximum you have to be in the right mood, and the right place. Doing invoicing in your work environment is not the best place to experience it…
Rating: Early prehistoric Gamma Ray. 3/5.
497. Split Enz / The Best Of: History Never Repeats. 1989. 4/5
Split Enz was a band that was on the cutting edge in the last 70’s and early 80’s, able to mix their quirky style and sense of fun with thoughtful lyrics and wonderful vocal melodies. This is the greatest hits package, and as such contains pretty much their best tracks.
That of course is open to question, and I guess I thought there would be a few better selections than some of those found on here. Despite that, all their biggest and best-known hits are here – “I See Red”, “I Got You”, “Six Months in a Leaky Boat”, “I Hope I Never”, “Dirty Creature”, “One Step Ahead” and “Message to My Girl” – and they are all still as good today as they were in the day.
Like I said, I would have substituted a couple of different tunes in, but most of the tracks hold their own.
Given the success of Neil Finn (and to some extent Tim Finn) with Crowded House since the demise of Split Enz, it’s always nice to go back and reminisce as to how good this band was in its day.
Rating: A more than adequate greatest hits album. 4/5.
That of course is open to question, and I guess I thought there would be a few better selections than some of those found on here. Despite that, all their biggest and best-known hits are here – “I See Red”, “I Got You”, “Six Months in a Leaky Boat”, “I Hope I Never”, “Dirty Creature”, “One Step Ahead” and “Message to My Girl” – and they are all still as good today as they were in the day.
Like I said, I would have substituted a couple of different tunes in, but most of the tracks hold their own.
Given the success of Neil Finn (and to some extent Tim Finn) with Crowded House since the demise of Split Enz, it’s always nice to go back and reminisce as to how good this band was in its day.
Rating: A more than adequate greatest hits album. 4/5.
496. AC/DC / Highway to Hell. 1979. 4.5/5
Leading off with the great title track, there are once again few weak holes to be found in this package. "Highway to Hell" is a great song, one that still stands the test of time, and is rightly considered one of the band's best. It's funny though that when you listen to it in the context of the album it starts, it feels almost like a plodder when you crash into "Girls Got Rhythm", which takes off at a great pace and Bon's ecstatic vocals. It's an interesting comparison, and "Girls Got Rhythm" has always been a favourite of mine because of the way it jumpstarts the album. Then you dive headlong into "Walk All Over You", which starts off at a mellowing pace before exploding with Bon's blinding vocals and Angus letting rip on lead guitar. Just fantastic stuff. No time to rest, we're straight into "Touch Too Much", a song that rises because of Bon's great vocal performance, pushing up the energy levels of the song, before "Beating Around the Bush" completes the A side of the album.
"Shot Down in Flames" and "Get it Hot" start of the second half of the album, which is then followed by one of my top five AC/DC songs, the awesome "If You Want Blood (You've Got It)". This is a brilliant song to drum to, along with the great riff from Angus and Bon's blood-curdling vocals it makes almost the perfect song. In contrast, "Love Hungry Man" appears quite lacklustre and underwhelming, though it does pick up a bit by the middle of the song. the album closes off with "Night Prowler", which probably received more attention from the serial killer Richard Ramirez, who was nicknamed "Night Stalker" and was supposedly a big fan of the band. Again, this song goes against the grain of the majority of the album, plodding along to its conclusion whereas the high energy of most of the previous songs seems almost lost because of it. To me this has always been a real shame. It's not a bad song, but perhaps just a bad place for it.
As with a lot AC/DC's work, the unheralded star once again is the rhythm section of the band. They do not miss a beat, they provide the bulk of the song, as well as the backing vocals. Phil Rudd on drums is immaculate, while Cliff Williams on bass and Malcolm Young on rhythm guitar lock in on his groove and hold together each and every song. It is their great work that allows the extroverts in vocalist Bon Scott and lead guitar Angus Young to strut their stuff and be so outward in their roles. Bon’s vocals as always are just brilliant, uniquely his, and driving each song. As his epitaph you could ask for little more. The guitaring of Angus here is once more an inspiration to those youngsters growing up in the era.
This is another superb production from a great band. Though turmoil followed them following this release, and they still had great albums to come, this marked the end of the first great era of the band. It was a fine way to mark it.
Rating: Animal, living in a human zoo. 4.5/5.
495. AC/DC / High Voltage [Australian Release]. 1975. 4/5
The band and thus their song writing was still in its infancy with this release. The album leads off with the cover version of "Baby, Please Don't Go", a song whose performance on the show Countdown with Bon dressed up in drag is still a hit today. It was the first real coverage of the band on national TV and it began to lift their profile from that point on. "She's Got Balls" became the first song that showed what kind of material this band could produce. It was a steady rock song, highlighted by Bon Scott's lyrics. This is followed by "Little Lover", a good repose of the previous song, showcasing the versatility that has been a hallmark of AC/DC over the past 40 years. The two songs which end Side A and Side B of the album, "Stick Around" and "Show Business", are average kick-around tracks, neither highlighting nor diminishing those songs around them.
"Soul Stripper" is the best indication as to the path the band was to take in future releases. Its more up-tempo beat combined with traded lead licks from Angus and Malcolm Young and Bon's high energy vocals was the forerunner of their great songs that were to come. "You Ain't Got a Hold on Me" is so unlike what you would class as an AC/DC song, but it works. It has a mellower guitar riff, while Bon's vocals are also much more sedate than normal, and yet because it is not a slow tempo it works just as well. It's a real slow burner, a song that grows on you over time. "Love Song" however doesn't quite hit the same buttons. In many ways it is closer to an Alice Cooper song, while I really think "You Ain't Got a Hold on Me" hits the spot, I'm not as sold on "Love Song". It's not a bad song, but it doesn't fit the style you would expect.
As a debut it is not only a solid showing from a band on the prowl, it is an excellent collection of mid-1970's tracks that may not be remembered when it comes to listing the best (or your favourite) AC/DC tracks of all time, but hold an important place in the history of the band.
Rating: Then she made me play games I didn't want to play 3.5/5.
494. AC/DC / High Voltage. 1976. 5/5
Unlike the original Australian version, High Voltage contains a majority of its songs from the highly successful follow up T.N.T., and the result is that it became a worldwide smash. it is arguably AC/DC's finest hour. It contains a collection of songs, many of which are known by everyone throughout the world regardless of their music taste, complemented by the other solid songs surrounding them.
To be honest there simply isn’t a weak song on this album. Each is followed by another of equal quality. Few albums exist where you could, when trying to compile a greatest hits collection for a band, lift every song from the one album. This is one.
There are just so many anthems here – “It’s A Long Way To The Top (If You Wanna Rock and Roll”, “Rock n Roll Singer”, “The Jack”, “Live Wire”, “High Voltage”, “TNT” – it’s probably a crime not to just list the entire tracklist. And these are real anthems too, not your pretend pop tunes that some people think are fun to sing along to. These are the real thing, where everyone knows what to sing and when. By taking what would probably be considered as the best two songs off of the Australian release of High Voltage, "She's Got Balls" and "Little Lover", and putting that with the majority of the songs off of T.N.T., the record company has produced a monster.
As an Australian, I prefer to refer to the two Australian record releases when it comes to ranking and rating AC/DC's albums. This will always be somewhat of a compilation. If forced to do so, it ranks above T.N.T. because of the extra tracks from the original release. A true rock masterpiece.
Rating: High voltage rock and roll. 5/5.
Wednesday, July 02, 2008
493. Helloween / High Live. 1996. 4/5
The live environment will generally catch out lesser performers, and raise the profiles of those that can cut it. By concentrating on the material written and performed with vocalist Andi Deris, there is some safety here. That’s not a bad thing. When this was released, I was still deciding for myself how much I enjoyed the new Helloween material, and the chance to hear a lot of it live helped with forming a positive opinion on it.
Of the sparse material here that comes from the Hansen/Kiske era, it is difficult not to judge it harshly. Expecting Andi to sing songs like “Eagle Fly Free” and “Future World” like Michael Kiske is unreasonable, but it is nonetheless a regular occurrence. The versions here are fine, but not as spectacular.
As for the rest of this double album, it is good stuff. Some of the songs come up better live than they do in the studio (“The Time of the Oath” is a perfect example), others fall a little flat (“Soul Survivor” for me is in this category). The live versions here of “Perfect Gentleman” and “Steel Tormentor” are excellent, and also fully exhibit the benefits of the excellent backing vocals of everyone in the band, but especially Roland Grapow. The solo version of “In The Middle Of A Heartbeat” by Andi is also well done.
Overall this is a very good live album package. For the time it was released, and for what the band no doubt wanted to achieve – publicising their ‘new’ era and the songs associated with it – it is an excellent advertisement. In doing so, and effectively ignoring everything before the release of Master of the Rings they have left themselves open to some criticism. Despite that, in considering the product as released, you can’t argue that it works.
Rating: Good live album capturing the rebirth of a once great band. 4/5.
Wednesday, June 25, 2008
492. Therapy? / High Anxiety. 2003. 3.5/5
I guess because I always have such high hopes for each new Therapy? album, I am more often than not wrought with disappointment when they finally come along. This all stems of course from the absolute magnificence of Troublegum and what that album means to me.
Here though is High Anxiety which has all the elements that could make it a superb album, but which fails to put them all together in the right way to achieve this. The good songs here are pearlers - the opening blitz of "Hey Satan - You Rock" which delivers musically and lyrically in a way only Andy Cairns can. This is followed by the gutteral "Who Knows" which continues to push the hardcore element. All of the initial tracks stand alone.
"If It Kills Me", the single from the album, is the stand out track, and is the perfect example of the best of Therapy? Everytime I hear this song I wonder how this band has not become bigger throughout the world.
The second half of the album tails off, and fails to ignite the passion that the first half of the album does. This is a bit disappointing, because there feels like there is something really good building until it gets to that point. Then, for some reason, it just drifts away and it is easy to lose interest.
And that is really the problem. So much potential, totally unrealised. I'm sure it isn't easy, but you can't help wondering sometimes whether they would be better off just releasing six song EPs, because for the most part it appears that that is as many good songs as they can put together at one time. Having said that, this remains one of their better efforts.
Rating: Could have been something really special. 3.5/5
Here though is High Anxiety which has all the elements that could make it a superb album, but which fails to put them all together in the right way to achieve this. The good songs here are pearlers - the opening blitz of "Hey Satan - You Rock" which delivers musically and lyrically in a way only Andy Cairns can. This is followed by the gutteral "Who Knows" which continues to push the hardcore element. All of the initial tracks stand alone.
"If It Kills Me", the single from the album, is the stand out track, and is the perfect example of the best of Therapy? Everytime I hear this song I wonder how this band has not become bigger throughout the world.
The second half of the album tails off, and fails to ignite the passion that the first half of the album does. This is a bit disappointing, because there feels like there is something really good building until it gets to that point. Then, for some reason, it just drifts away and it is easy to lose interest.
And that is really the problem. So much potential, totally unrealised. I'm sure it isn't easy, but you can't help wondering sometimes whether they would be better off just releasing six song EPs, because for the most part it appears that that is as many good songs as they can put together at one time. Having said that, this remains one of their better efforts.
Rating: Could have been something really special. 3.5/5
491. Def Leppard / High and Dry. 1981. 4.5/5
The reason that I started out (almost three years ago) to catalogue, rate and review all of my albums was because I was sure that there had to be brilliant albums I had totally forgotten about as my collection grew so large, and I wanted to hear them again. That has proven to be the case. Until I put High and Dry on my iPod two weeks ago, I had forgotten just how exceptional this album is. It has rarely been off my playlist since.
THESE were the days when Def Leppard was a band, when they wrote songs that had attitude, great rolling lyrics and a bit of edge to their music. Back in the day when they could certainly be classed as hard rock, with great riffs and great vocal melodies with Joe Elliott at his finest.
There is not a weak moment on this album. Each song has great anthemic sections, where you just can't help but sing along like you are in an English pub 30 years ago. Side One (for those that remember it on vinyl) is just sensational, incorperating the three great rocking tunes to start, moving into the single "Bringin' on the Heartbreak", which was basically the song that got me into Def Leppard in the day, and the brilliant instrumental "Switch 625". Awesome stuff. Side Two may not quite be as brilliant, but it loses nothing in comparison.
Has this album grown in my estimation purely from the fact that I haven’t listened to it for the better part of fifteen years, and that the stuff Def Leppard have released in that timeframe I consider to be pure trash? It’s a fair point, and may have a great deal of truth attached to it. Believe me, having indulged in the album a great deal in the past fortnight, the two things I have wondered is ‘why have I not listened to this in so long’ and ‘why can’t they put out an album like this now?’
But it isn’t the whole truth. When I first listened to it again, I remembered how much I loved it, and remembered sitting in front of the stereo with the album cover in my hands (ahhh, the days of vinyl…).This is Def Leppard at their best, when they were still a hard rock band and hadn't begun to soften and sweeten themselves into the parody they are now. The fact that it is rare to see a song from this album on their current playlist sums their current position up for me.
Rating: A brilliant snapshot of a band in their ultimate element. 4.5/5
THESE were the days when Def Leppard was a band, when they wrote songs that had attitude, great rolling lyrics and a bit of edge to their music. Back in the day when they could certainly be classed as hard rock, with great riffs and great vocal melodies with Joe Elliott at his finest.
There is not a weak moment on this album. Each song has great anthemic sections, where you just can't help but sing along like you are in an English pub 30 years ago. Side One (for those that remember it on vinyl) is just sensational, incorperating the three great rocking tunes to start, moving into the single "Bringin' on the Heartbreak", which was basically the song that got me into Def Leppard in the day, and the brilliant instrumental "Switch 625". Awesome stuff. Side Two may not quite be as brilliant, but it loses nothing in comparison.
Has this album grown in my estimation purely from the fact that I haven’t listened to it for the better part of fifteen years, and that the stuff Def Leppard have released in that timeframe I consider to be pure trash? It’s a fair point, and may have a great deal of truth attached to it. Believe me, having indulged in the album a great deal in the past fortnight, the two things I have wondered is ‘why have I not listened to this in so long’ and ‘why can’t they put out an album like this now?’
But it isn’t the whole truth. When I first listened to it again, I remembered how much I loved it, and remembered sitting in front of the stereo with the album cover in my hands (ahhh, the days of vinyl…).This is Def Leppard at their best, when they were still a hard rock band and hadn't begun to soften and sweeten themselves into the parody they are now. The fact that it is rare to see a song from this album on their current playlist sums their current position up for me.
Rating: A brilliant snapshot of a band in their ultimate element. 4.5/5
490. Megadeth / Hidden Treasures. 1995. 4.5/5
This is a collection of tracks that have appeared on movie soundtracks, B-sides to singles and other such places that are not always easy to track down.
As it turns out, I did have most of these songs from all of those places – the movie soundtracks I have bought for one or two decent songs over the years is quite enormous. If only I knew such collections would (eventually) come along, I could have saved myself quite a sum of money.
Anyhow, there is some good stuff here, mixed in with some slightly better than average stuff. As an album in itself (forgetting for a moment the cover songs here) this would be a pretty damn good release. I’ll bet there are a lot of bands out there that wish they could have ‘throwaway’ tracks like “Go To Hell” and “99 Ways To Die” and “Angry Again” and “Breakpoint”. Quite amazing.
Rating: An excellent collection of Megadeth material that doesn’t appear on their studio releases. 4.5/5.
As it turns out, I did have most of these songs from all of those places – the movie soundtracks I have bought for one or two decent songs over the years is quite enormous. If only I knew such collections would (eventually) come along, I could have saved myself quite a sum of money.
Anyhow, there is some good stuff here, mixed in with some slightly better than average stuff. As an album in itself (forgetting for a moment the cover songs here) this would be a pretty damn good release. I’ll bet there are a lot of bands out there that wish they could have ‘throwaway’ tracks like “Go To Hell” and “99 Ways To Die” and “Angry Again” and “Breakpoint”. Quite amazing.
Rating: An excellent collection of Megadeth material that doesn’t appear on their studio releases. 4.5/5.
489. Alice Cooper / Hey Stoopid. 1991. 5/5
Trying to follow up the mega-success that was Trash would have been no mean feat for one of the great icons of music. To help out, he pulled together an array of friends to help write and perform on the new album, and the end result was Hey Stoopid.
Like Trash this has a great mix of Alice Cooper rockers and ballads, and while it is probably rubbished by hard core Cooper fans as it is not a ‘traditional’ album of his style, it was perfect for the time. Having moved with the times (again) he and his buddies have produced an almost flawless combination of songs.
There is something for everyone here. Lyrically every song has its message, even the ‘love ballads’ have that Alice Cooper message infused into their words. As with all of Alice’s work in this direction, there is still enough rock in these songs to stop them falling into the same category as most soft rock ballads that many hair metal bands of the day fell into. Songs such as “Love’s a Loaded Gun”, “Burning Our Bed” and “Might As Well Be On Mars” are still great rock songs. “Might As Well Be On Mars” in particular showcases the best that not only Alice, but his band, has to offer, and is one of my favourites on the album – yes, that’s right, a ‘ballad’ is one of my faves.
Of course, there are the faster, heavier tracks here too. The title track for one, “Feed My Frankenstein”, “Hurricane Years” and “Little By Little” are up there with the best of this generation’s Alice Cooper works.
Not only does he have a great group of musicians around him as a part of his band, the guests on the album reads like a who’s-who of music at the time – Ozzy Osbourne, Joe Satriani, Steve Vai, Mick Mars, Slash, Nikki Sixx.
Though the ‘traditionalists’ may disagree, I think this is one of Alice Cooper’s finest moments. It is certainly one of my favourite of his albums, if not my absolute favourite. I guess seeing as I spent one night pumping about $45 dollars into a video jukebox, just so my mate and I could watch the video to “Hey Stoopid” about one hundred times in a row back when it was released (missing the movie we had specially gone out to see in the process), I’d have to like it a little bit…
Rating: A great album from one of the finest artists in his time. 5/5.
Like Trash this has a great mix of Alice Cooper rockers and ballads, and while it is probably rubbished by hard core Cooper fans as it is not a ‘traditional’ album of his style, it was perfect for the time. Having moved with the times (again) he and his buddies have produced an almost flawless combination of songs.
There is something for everyone here. Lyrically every song has its message, even the ‘love ballads’ have that Alice Cooper message infused into their words. As with all of Alice’s work in this direction, there is still enough rock in these songs to stop them falling into the same category as most soft rock ballads that many hair metal bands of the day fell into. Songs such as “Love’s a Loaded Gun”, “Burning Our Bed” and “Might As Well Be On Mars” are still great rock songs. “Might As Well Be On Mars” in particular showcases the best that not only Alice, but his band, has to offer, and is one of my favourites on the album – yes, that’s right, a ‘ballad’ is one of my faves.
Of course, there are the faster, heavier tracks here too. The title track for one, “Feed My Frankenstein”, “Hurricane Years” and “Little By Little” are up there with the best of this generation’s Alice Cooper works.
Not only does he have a great group of musicians around him as a part of his band, the guests on the album reads like a who’s-who of music at the time – Ozzy Osbourne, Joe Satriani, Steve Vai, Mick Mars, Slash, Nikki Sixx.
Though the ‘traditionalists’ may disagree, I think this is one of Alice Cooper’s finest moments. It is certainly one of my favourite of his albums, if not my absolute favourite. I guess seeing as I spent one night pumping about $45 dollars into a video jukebox, just so my mate and I could watch the video to “Hey Stoopid” about one hundred times in a row back when it was released (missing the movie we had specially gone out to see in the process), I’d have to like it a little bit…
Rating: A great album from one of the finest artists in his time. 5/5.
Tuesday, June 24, 2008
488. Metallica / Hero of the Day [Single]. 1996. 3/5
So why buy the single? For the extras of course, for the same reason everyone has bought Metallica singles for the past 17 years!
Here we have Metallica covering two Motorhead songs at a live bash they did for Lemmy’s birthday – the songs here are “Overkill” and “Damage Case”, and they are both brilliant.
Then we have a remix of the single – “Outta B Sides Mix” – which is every bit as bad as the original.
Rating: 5/5 for the Motorhead covers, 1/5 for the actual Metallica song. Making 3/5.
487. Scatterbrain / Here Comes Trouble. 1990. 4.5/5
The first logical question to come out of this review is the one I asked almost two decades ago – ‘where the hell did these guys come from?!’ Like just about everyone else in the world, I discovered Scatterbrain when their single “Don’t Call Me Dude” was played everywhere for a month back on its release, and the video was on every music program. The next step was, of course, to buy the album, and see what the rest of their songs were like.
The surprising aspect of it was that the album is terrific. Mixing their own unique style of metal, hard rock and funk together, Here Comes Trouble manages to appeal to all tastes and styles of music without allowing itself to be pigeonholed into one genre.
Taking out the excellent first single, this is still a mighty album – so original and uncompromising. Leading the way are “Here Comes Trouble”, “Earache My Eye”, “That’s That”, “I’m With Stupid”, the brilliant “Down With The Ship (Slight Return)”, which incorporates over a dozen of the best known riffs and drum fills of all time, “Mr Johnson and the Juice Crew” and “Drunken Milkman”. Each is just a brilliant tune, performed with skill and precision, and infused with the humour that makes this band a cut above others in their field.
This is a brilliant album out of left field, the kind of thing one could only hope to achieve with their debut release. The problem is to be able to follow it up and maintain the brilliance. That, as can be discovered, is a very difficult thing to do.
Rating: One out of the box. 4.5/5.
The surprising aspect of it was that the album is terrific. Mixing their own unique style of metal, hard rock and funk together, Here Comes Trouble manages to appeal to all tastes and styles of music without allowing itself to be pigeonholed into one genre.
Taking out the excellent first single, this is still a mighty album – so original and uncompromising. Leading the way are “Here Comes Trouble”, “Earache My Eye”, “That’s That”, “I’m With Stupid”, the brilliant “Down With The Ship (Slight Return)”, which incorporates over a dozen of the best known riffs and drum fills of all time, “Mr Johnson and the Juice Crew” and “Drunken Milkman”. Each is just a brilliant tune, performed with skill and precision, and infused with the humour that makes this band a cut above others in their field.
This is a brilliant album out of left field, the kind of thing one could only hope to achieve with their debut release. The problem is to be able to follow it up and maintain the brilliance. That, as can be discovered, is a very difficult thing to do.
Rating: One out of the box. 4.5/5.
486. Brides of Destruction / Here Come The Brides. 2004. 2.5/5
Starting off at a cracking pace with “Shut the Fuck Up”, it is a shame they couldn’t maintain that kind of intensity for the entire album. Sure, the lead-off track might be clichéd, but it works and has the kind of galloping beat that this music really needs to grab your attention. As an example, as much as I like “Brace Yourself” as a song, it lacks that same intensity and drive that the opening track has. Halfway through the song you can feel yourself losing interest, which certainly shouldn’t be the case.
There are other good songs here, including “2X Dead”, “Natural Born Killers” and “Revolution”, but nothing that comes close to reproducing the energy of “Shut the Fuck Up”. Even more disastrously, however, they leave their worst for last, the very average “Only Get So Far”, which as a soft rock ballad still doesn’t measure up at all.
In the end, this is somewhat of a disappointment. There was a great deal of potential from this line-up for something great, but in the end, despite a couple of good pieces, it falls into the bracket of “heard it all before”.
Rating: Not quite three stars, a little better than just average. 2.5/5.
485. The Beatles / Help! 1965. 4/5
This album doubled as the soundtrack to the film starring The Beatles, also coincidentally named “Help!”
As an album it probably rates as one of their best with consistency of tracks all the way through. It mixes the light and fluffy with the moody and sensitive, and does it in a way that doesn’t detract from the album.
Songs like “Act Naturally” and “Another Girl” and “Dizzy Miss Lizzy” start the album off on a light, marshmellowy note. There’s no genius songwriting here, but just a gentle carefree way to begin.
“I Need You” and “It’s Only Love” are just a little too slow and reflective for my taste (that’s what you get when you love heavy metal music I guess), and probably tie down the middle of the album a tad too much for my liking.
The second half of the album is where Help! really brings home the bacon. The tempo picks up with “The Night Before”, leading into the upbeat “Ticket to Ride”, McCartney’s wonderful and eternal “Yesterday”, the strains of “You’re Going to Lose That Girl” and “You’ve Got To Hide Your Love” and the lasting memory of the title track “Help!”
It is with this style of album that I believe The Beatles are at their best. On Help! they combine what I would term their ‘kiddie’ songs with their pop tunes. Some of their best ever songs can be found here. What is more, the album progresses without a hiccup, rolling along and flowing so well that before you know it, it’s over, and you feel the desire to listen to it all over again.
Rating: One of my Beatles favourites. 4/5.
As an album it probably rates as one of their best with consistency of tracks all the way through. It mixes the light and fluffy with the moody and sensitive, and does it in a way that doesn’t detract from the album.
Songs like “Act Naturally” and “Another Girl” and “Dizzy Miss Lizzy” start the album off on a light, marshmellowy note. There’s no genius songwriting here, but just a gentle carefree way to begin.
“I Need You” and “It’s Only Love” are just a little too slow and reflective for my taste (that’s what you get when you love heavy metal music I guess), and probably tie down the middle of the album a tad too much for my liking.
The second half of the album is where Help! really brings home the bacon. The tempo picks up with “The Night Before”, leading into the upbeat “Ticket to Ride”, McCartney’s wonderful and eternal “Yesterday”, the strains of “You’re Going to Lose That Girl” and “You’ve Got To Hide Your Love” and the lasting memory of the title track “Help!”
It is with this style of album that I believe The Beatles are at their best. On Help! they combine what I would term their ‘kiddie’ songs with their pop tunes. Some of their best ever songs can be found here. What is more, the album progresses without a hiccup, rolling along and flowing so well that before you know it, it’s over, and you feel the desire to listen to it all over again.
Rating: One of my Beatles favourites. 4/5.
Monday, June 23, 2008
484. Hellyeah / Hellyeah. 2007. 1/5
Following the demise of Damageplan after the murder of Dimebag Darrell, from the ashes came drummer Vinnie Paul’s new project Hellyeah.
Now nu-metal is not my perfect cup of tea, and while there are certainly things to like about this album, I think it falls short on too many issues.
For a start – it isn’t unique. That’s not an inherently bad thing, but originality does help in new bands. This sounds like a thousand other bands out there. The similarity of the songs also creates some confusion when trying to decipher which song you are listening to. Again, this isn’t necessarily a bad thing, as long as you can pull it off and make it your own. That isn’t the case here.
Indeed, I would back most schoolboy garage bands in the modern day to be able to come out and write and play stuff just like this, and in some cases probably even better it. There is nothing spectacular in the guitars, or the drums, or the vocals, or the lyrics. Kids in the garage would probably play something more inspired.
Rating: Lackluster and without any hooks. 1/5.
Now nu-metal is not my perfect cup of tea, and while there are certainly things to like about this album, I think it falls short on too many issues.
For a start – it isn’t unique. That’s not an inherently bad thing, but originality does help in new bands. This sounds like a thousand other bands out there. The similarity of the songs also creates some confusion when trying to decipher which song you are listening to. Again, this isn’t necessarily a bad thing, as long as you can pull it off and make it your own. That isn’t the case here.
Indeed, I would back most schoolboy garage bands in the modern day to be able to come out and write and play stuff just like this, and in some cases probably even better it. There is nothing spectacular in the guitars, or the drums, or the vocals, or the lyrics. Kids in the garage would probably play something more inspired.
Rating: Lackluster and without any hooks. 1/5.
483. Various Artists / Hellraiser III: Hell on Earth [Original Soundtrack]. 1992. 1.5/5
Soundtrack albums are always on a hiding to nothing. It’s very difficult to find the right balance of songs to please everyone in order to get the public to buy the album. As it is, I doubt I would have purchased this if I hadn’t received it as a birthday gift all those years ago.
Quite simply, this is full of average songs from unknown bands – apart from the two star attractions. Motorhead’s version of “Hellraiser” is here (as written with Ozzy Osbourne), along with Bruce Dickinson’s version of Alice Cooper’s “Elected”. Both songs are brilliant. The rest is just not inspiring at all, even when heard in the background throughout the movie.
Rating: Take out the two songs mentioned, and it would rate a 1. But you can’t live off two songs. 1.5/5.
Quite simply, this is full of average songs from unknown bands – apart from the two star attractions. Motorhead’s version of “Hellraiser” is here (as written with Ozzy Osbourne), along with Bruce Dickinson’s version of Alice Cooper’s “Elected”. Both songs are brilliant. The rest is just not inspiring at all, even when heard in the background throughout the movie.
Rating: Take out the two songs mentioned, and it would rate a 1. But you can’t live off two songs. 1.5/5.
482. Edguy / Hellfire Club. 2004. 3.5/5
Another in the production line of power metal albums, and as with most bands of this genre, there is nothing new here. There are the stock-standard faster metallic songs, interspersed with the two or three comfortable soft metal ballads, that announce themselves full of keyboards and strings.
Edguy are a band that I have given a lot of time to over recent years, probably mainly because they bothered to tour Australia (at least twice) when our dollar was a poor performer on the world stage. And a lot of their stuff I enjoy – especially Mandrake which is the album I first heard of theirs. However, as with most power metal bands that like to dabble in the ballad, I feel it is their downfall. It does just halt the progress of the album. “The Spirit Will Remain” is one of those songs here on Hellfire Club. The fact that it is also the final song on the album (barring bonus tracks) is also a mistake. It kills the entire mood of the album, and defeats the conscious thoughts of listening to it all over again.
Fortunately, the remainder of the album is saved by songs like the terrific “We Don’t Need A Hero” raising this album’s ranking in the long run, and containing the flying drums and guitars along with Tobias Sammat’s amazing vocal range that make this band what they are at their best. The positives here outweigh the negatives however. The album begins wonderfully well with “Mysteria”, and clambers along with help from great tunes such as “Down to the Devil”, “King of Fools” and “Under The Moon”, showcasing the best that this band has to offer. In so many ways, bands of this genre can be far too similar in style and substance. If its done well, though, none of that matters. Hellfire Club is one of those albums.
Rating: Another great effort from the lads. 3.5/5.
Edguy are a band that I have given a lot of time to over recent years, probably mainly because they bothered to tour Australia (at least twice) when our dollar was a poor performer on the world stage. And a lot of their stuff I enjoy – especially Mandrake which is the album I first heard of theirs. However, as with most power metal bands that like to dabble in the ballad, I feel it is their downfall. It does just halt the progress of the album. “The Spirit Will Remain” is one of those songs here on Hellfire Club. The fact that it is also the final song on the album (barring bonus tracks) is also a mistake. It kills the entire mood of the album, and defeats the conscious thoughts of listening to it all over again.
Fortunately, the remainder of the album is saved by songs like the terrific “We Don’t Need A Hero” raising this album’s ranking in the long run, and containing the flying drums and guitars along with Tobias Sammat’s amazing vocal range that make this band what they are at their best. The positives here outweigh the negatives however. The album begins wonderfully well with “Mysteria”, and clambers along with help from great tunes such as “Down to the Devil”, “King of Fools” and “Under The Moon”, showcasing the best that this band has to offer. In so many ways, bands of this genre can be far too similar in style and substance. If its done well, though, none of that matters. Hellfire Club is one of those albums.
Rating: Another great effort from the lads. 3.5/5.
Thursday, June 19, 2008
481. W.A.S.P. / Helldorado. 1999. 4/5
This album takes some heat amongst metal fans, and even die-hard W.A.S.P. fans, and for some reasons that heat is valid. But I don’t think all of that derogatory talk is warranted. Maybe people wanted the band to continue forever in the phase of story-telling albums such as The Crimson Idol or in the more serious vein of K.F.D. I’m really not sure, but Helldorado is certainly a change in direction again from both of those albums.
I’ll admit that when I first bought the album, I gave it a few tries, found it to be just average, and threw it in the closet for a couple of years and forgot about it. However, upon its resurrection in the past six months, I have found myself wondering why I gave it such a poor appraisal on first listen.
Take note, however. This album contains some of the most ridiculous lyrics ever written. Without knowing for sure, I can only guess that Blackie decided to get right away from the serious kind of lyrics he had been writing in recent albums, and go for pure stupidity on this release. No great problem with that, I guess, but it makes it difficult to sing along to the songs with great gusto because they are so very uninspiring. The band did it brilliantly with songs like “F*#k Like A Beast” and “Blind in Texas”, but a whole album of clangers?
It really is a shame, because the music itself is top shelf W.A.S.P. riffage and energy. Blackie is in fine form on vocals, Chris Holmes is at his rocking best with typical leads, Mike Duda on bass and backing vocals continues his excellent work, while Stet Howland is again fantastic on drums.
No doubt this was an effort to return closer to the sound of the original three W.A.S.P. albums, and musically they have done it brilliantly. Lyrically however it’s just a little too childish to enjoy fully. Having said that, I think this has been underrated for many years because people have been taking it on face value. The tunes are still great, and listening to the music without analyzing the lyrics will give you a greater appreciation for it as a whole.
Rating: Better than it is given credit for. 4/5
I’ll admit that when I first bought the album, I gave it a few tries, found it to be just average, and threw it in the closet for a couple of years and forgot about it. However, upon its resurrection in the past six months, I have found myself wondering why I gave it such a poor appraisal on first listen.
Take note, however. This album contains some of the most ridiculous lyrics ever written. Without knowing for sure, I can only guess that Blackie decided to get right away from the serious kind of lyrics he had been writing in recent albums, and go for pure stupidity on this release. No great problem with that, I guess, but it makes it difficult to sing along to the songs with great gusto because they are so very uninspiring. The band did it brilliantly with songs like “F*#k Like A Beast” and “Blind in Texas”, but a whole album of clangers?
It really is a shame, because the music itself is top shelf W.A.S.P. riffage and energy. Blackie is in fine form on vocals, Chris Holmes is at his rocking best with typical leads, Mike Duda on bass and backing vocals continues his excellent work, while Stet Howland is again fantastic on drums.
No doubt this was an effort to return closer to the sound of the original three W.A.S.P. albums, and musically they have done it brilliantly. Lyrically however it’s just a little too childish to enjoy fully. Having said that, I think this has been underrated for many years because people have been taking it on face value. The tunes are still great, and listening to the music without analyzing the lyrics will give you a greater appreciation for it as a whole.
Rating: Better than it is given credit for. 4/5
Wednesday, June 18, 2008
480. Slayer / Hell Awaits. 1985. 4/5
Listening to this album in a modern light, against modern heavy metal bands, and comparing it against modern production techniques and advancements, and you would wonder why people saw this as such a radical employment of musicianship. By today’s standards it sounds quite tame. That of course is not the case when you hear these songs performed in a live environment, but on vinyl (or disc) it is not so ferocious.
Take yourself back 20-odd years though, to when this was released, and imagine yourself in an era that produced sugar-pop songs by the truckload, and think about how it would have been viewed in its original era. Shocking? No doubt. Heavy? Oh yes!
Hannerman and King’s guitars shake the house down with their killer riffs, even at this early stage of their careers. Araya screams and spits with contempt, crying out the lyrics that shocked parents around the world when they first appeared. Add to this the flying drumming from Lombardo that lifts the tempo of the album to greater heights, and you can still hear the roots of what this band soon became.
The title track is still a gem, and along with other favourites such as "At Dawn They Sleep", "Necrophiliac" and "Hardening of the Arteries" this still comes up trumps. Like I mentioned, it just doesn’t sound as threatening as it used to back in the mid-80’s, but then again neither do other albums of that era, such as Exodus’ Bonded By Blood and Megadeth’s Killing is My Business… And Business Is Good! But you know they are, and you know they were.
Rating: Disregard this at your own risk. It’s still bloody good. 4/5.
Take yourself back 20-odd years though, to when this was released, and imagine yourself in an era that produced sugar-pop songs by the truckload, and think about how it would have been viewed in its original era. Shocking? No doubt. Heavy? Oh yes!
Hannerman and King’s guitars shake the house down with their killer riffs, even at this early stage of their careers. Araya screams and spits with contempt, crying out the lyrics that shocked parents around the world when they first appeared. Add to this the flying drumming from Lombardo that lifts the tempo of the album to greater heights, and you can still hear the roots of what this band soon became.
The title track is still a gem, and along with other favourites such as "At Dawn They Sleep", "Necrophiliac" and "Hardening of the Arteries" this still comes up trumps. Like I mentioned, it just doesn’t sound as threatening as it used to back in the mid-80’s, but then again neither do other albums of that era, such as Exodus’ Bonded By Blood and Megadeth’s Killing is My Business… And Business Is Good! But you know they are, and you know they were.
Rating: Disregard this at your own risk. It’s still bloody good. 4/5.
479. Michael Schenker Group / Heavy Hitters. 2005. 3.5/5
The fact that this has been released under the MSG moniker is a bit misleading. It is in fact a collection of covers played with Michael Schenker on guitar, and a number of guest musicians lending their support to different songs. Like other ‘tribute’ albums he has been involved in, Bob Kulick again put together this compilation, and in reality it probably should have been promoted as such.
Anyhow, leaving that behind us, here are ten songs, selected from the word of hard rock and heavy metal, featuring the legendary guitarist on all tracks, with different vocalists lending their voices. For me this is a rather strange selection of songs, and most sound better in their original environment. I mean, why would you try and do “All Shook Up”? Sure, Joe Lynn Turner tries to do something different with the vocal, but why would you ever try and beat the original? Then, for some reason they do a ‘cover’ of “Doctor Doctor” which he’s played a billion times in his life. Why? “War Pigs” with Tim “Ripper” Owens is worth a listen, and though I like the song, the version of “Out In The Fields” is a bit blah really, certainly compared to the original.
Most of the other songs? Well, average fare again.
As a way of showcasing his talent, I don’t think this quite pulls it off. Most of us know how great a guitarist he is, and listening to him playing cover songs does nothing to diminish that, but nothing to enhance it either. From someone who has helped to write some of the best songs of all time, as well as some of the most well-known lead guitar breaks, what purpose does this album really serve?
Rating: It sounded better in promotion than it turned out to be. 3.5/5
Anyhow, leaving that behind us, here are ten songs, selected from the word of hard rock and heavy metal, featuring the legendary guitarist on all tracks, with different vocalists lending their voices. For me this is a rather strange selection of songs, and most sound better in their original environment. I mean, why would you try and do “All Shook Up”? Sure, Joe Lynn Turner tries to do something different with the vocal, but why would you ever try and beat the original? Then, for some reason they do a ‘cover’ of “Doctor Doctor” which he’s played a billion times in his life. Why? “War Pigs” with Tim “Ripper” Owens is worth a listen, and though I like the song, the version of “Out In The Fields” is a bit blah really, certainly compared to the original.
Most of the other songs? Well, average fare again.
As a way of showcasing his talent, I don’t think this quite pulls it off. Most of us know how great a guitarist he is, and listening to him playing cover songs does nothing to diminish that, but nothing to enhance it either. From someone who has helped to write some of the best songs of all time, as well as some of the most well-known lead guitar breaks, what purpose does this album really serve?
Rating: It sounded better in promotion than it turned out to be. 3.5/5
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