1078. Motörhead / The Wörld Is Yours. 2010. 3.5/5

Having reached into their fifth decade as a band the ability to stay relevant probably hasn’t ever been at the forefront of the minds of these three gentlemen. From the outside it always appears that they go into the studio and lay down the songs they have inside them at the time. The fact is that by staying true to themselves they have done more to keep their sound alive than they could have by looking for a constant shift in style. And as such they presented as their first album of the 2010’s the disc entitled The Wörld Is Yours.

My immediate reflection was that this is a much more rock ‘n’ roll based album than the band has produced for some time. Since the acquisition of Cameron Webb as producer, a man who has looked to bring out the more heavy and perhaps aggressive side of the music, this is much the direction that the songs have come out. And that isn’t to suggest that this is lacking in either of those elements, it is just that the songs do have that old rock melody infused back into them, something that hasn’t necessarily been the case for some time. Here, at least, is an element that can be used to differentiate this album from the other recent releases. At least one of the titles of the tracks, “Rock ‘n’ Roll Music”, sort of makes this a dead giveaway, and this is the most rock ‘n’ roll track of the album.
So with the sound of this album generally pulled back into that rock rhythm, and without any songs that would be called out and out heavy and without any tracks that could be called ballads, we have a Motörhead album that doesn’t have that kind of experimentation. Instead we have ten tracks that settle for that comfortable middle ground that the band does so well, in the style that is the best attribute of the three piece.
“Born to Lose” is a title that has been decades in the making coming as it does from one of Lemmy’s favourite quotes, but it makes for a good opening track. “I Know How to Die” may well be seen to be prophetic in 2018, but more than that it is the upbeat tempo and fun song style that makes the best Motörhead albums. Ditto for “Get Back in Line” and “Devils in My Head” which goes at the same tempo and is fun to sing along to.
“Waiting for the Snake” and “Brotherhood of Man” are the two songs here that are a little off-template in comparison to the others. “Waiting for the Snake” is almost AC/DC-like throughout, holding on to its rhythm pattern all the way through. “Brotherhood of Man” on the other hand has a very “Orgasmatron” guitar sound to, and seems like either a sister track or an effort to revisit that sound from that album. The album then rushes to a conclusion, with “Outlaw” charging hard with drums and guitars blazing. “I Know What You Need” is a cracking track, being one of the harder songs on the album, while the closer “Bye Bye Bitch Bye Bye” leaves noting to the imagination and ends the disc on a highly positive note (musically at least).
While there has been a steady trend in Motorhead’s albums over the previous decade, the ones that stand out from the pack are the ones that have that consistent tempo that is not necessarily super-fast but higher than average through the songs, have Mikkey’s drums standing out in the mix, have Lemmy’s bass leading the rhythm rather than being just a part of it, have Phil’s solo’s and riffs forward and starkly in the mix, and Lemmy’s vocals being strong and bold. All of those boxes get ticked on The Wörld Is Yours.

Motörhead aren’t reinventing the wheel on this album, but perhaps you could say they have at least have a wheel alignment. The extremities have been shaved off, leaving just the good stuff in the middle. And no matter how you felt about those extremities this album is enjoyable just for the fact that they aren’t there this time around. It’s a comfortable release from a band that knows how to do what it does well.

Rating: “I know what you are, I know what you need”. 3.5/5

933. Avantasia / Angel of Babylon. 2010. 4/5

The basis of releasing two albums at the same time can be a bit daunting for the fan. While it is initially exciting to get not one but two new albums filled with new material ready to be digested, in the long run it makes it twice as hard, as you have to split your listening time between the two, and try and inhale twice as much material than you would in trying to take in one album's worth. I guess in the long run, much like I did with Guns n' Roses Use Your Illusion I and Use Your Illusion II albums you have to treat it like a double album, listen to them back to back and then rotate. In many ways this is probably easier in the fact that the two albums in this case, The Wicked Symphony and Angel of Babylon, are the final two chapters of Avantasia's concept story, the Wicked Trilogy, so by listening to these albums back to back at least keeps the story in order. Unless you change the order in which you listen to them I guess.

As stated, Angel of Babylon is the third and final chapter of this concept from Tobi Sammet. And as also outlined above, it was a difficult path that I trod in order to not only give both this and its twin album the kind of listening they required in order to enjoy the songs, but also to find out how much I enjoyed the album as a whole. It took some time, more from the fact that I fell in love almost immediately with The Wicked Symphony and so it sucked up a lot of my listening time. Eventually however, I dedicated the time required to this album, to give it the opportunity to show me how good it was of its own accord. While this is another good album from the conglomerate of Avantasia, it is more similar to The Scarecrow than its sister release. By that, I mean there are a few holes here that I don't think appear on The Wicked Symphony, and comparatively throughout it does wane in brilliance to the material on that album.
There is another monster opening track in "Stargazers", which combines the vocal talents of Jorn Lande, Russell Allen, Michael Kiske and Oliver Hartmann with Tobi. At almost ten minutes in length it is a good song again to open the album, with Kiske being the major voice in occupation. This moves into the title track "Angel of Babylon", and "Your Love is Evil", which both also have Jorn on vocals. "Angel of Babylon" moves swiftly along driven by the double kick of the drums and the fast talking vocals along the way. "Your Love is Evil" drops the tempo back a peg and the riff down a notch to a gutteral beginning while Tobi's voice reaches for the heights most of the way.
The next two songs for me are the highlight of the album. I don't know for sure, but I would reckon that "Death is Just a Feeling" was written for Alice Cooper, because not only does it suit his voice, but the singer here pretty much sings it like Alice would anyway! Jon Oliva of Savatage fame makes his appearance on vocals here, and is astonishingly good, making the song his own. Sure, the fact it stands out because it is so different from the other songs around it also helps to individualise it, but Jon's vocals are perfect here. terrific stuff. This is then followed by the electrifying "Rat Race" which picks up speed and the energy, encouraging everyone to sing along and join in the joy of the album. "Down in the Dark" doesn't quite match this, though it is satisfactorily performed by all involved.
"Blowing Out the Flame" is a ballad, a power ballad the likes of which did not appear at all on The Wicked Symphony, and is all the more disappointing because of it. And yet, "Symphony of Life", the only song not written by Tobi - it is written by guitarist Sascha Paeth - and sung magnificently by Cloudy Yang, is a triumph. The complete difference in style of tracks from those around it, just as with "Death is Just a Feeling", makes it stand out from the crowd, and really makes a statement.
"Alone I Remember" is just a rather weak song, not just musically but vocally, and here is part of the problem. The fact that Jorn Lande is so prominent throughout this album tends to water down the effect his influence has on the album as a whole. He appears on six of the tracks, mostly alongside Tobi, and while they both combine together as well as they have done in the past, it sometimes becomes overwhelming, compared to the number of songs other guest vocalists appear on. Obviously this occurs because of the importance of Jorn's character within the story, but it doesn't detract from the fact that it feels like it's just a little too much. Having said that, they both appear in the following song "Promised Land", which regains the momentum lost with the previous song, and has both vocalists utilising their strengths rather than just going along for the ride.
The final song of the album, and the Trilogy, is "Journey to Arcadia" and is a fitting way to bring the circle to a close. The chorus of singers brings a great harmony to this final track, and the excellent contributions from Bob Catley and Russell Allen really lift this final song to its rightful elevation at the conclusion of the journey.

While not being as strong overall as its same-day-of-release partner, this is another excellent addition to the Avantasia catalogue. It may not have as many stand out tracks, nor may it be as perfect in an overall sense, but it is an album that not only completes the story being told, but ends it in a way that is satisfying to the majority of the fans of this project.

Rating:   "Dead and alive, come a little closer".  4/5

932. Avantasia / The Wicked Symphony. 2010. 4.5/5

Given the length of time that passed between the initial two albums by the Avantasia project and the third installment The Scarecrow, it came as somewhat of a surprise when a follow up album came so swiftly in the scheme of things. An even bigger surprise came with the announcement that not one, but two albums, would be released simultaneously, and would combine with the previous release to complete the tale of what was now known as the Wicked Trilogy. Thus, the middle chapter of the Wicked Trilogy is told here on The Wicked Symphony.

From the first time I got this album, it felt like a better all round effort than the previous album. There are holes, and soft spots, on The Scarecrow that have always hindered my complete love of the album. The band itself this time is a real conglomerate mixture, with the core who recorded the previous album still on board, though not all of them for all tracks. While Sascha Paeth completed the majority of the guitar tracks, there were guest appearances from Bruce Kulick and Oliver Hartmann who did solo performances on different songs. The drumming was shared between Eric Singer, along with drummer from the original albums Alex Holzwarth and also Tobi's fellow band mate from Edguy, Felix Bohnke. While all of the songs were still written and composed by Tobi Sammet, the mixing of musicians, I think, has helped to give a differing emphasis on the music on different songs throughout the album.
The first half of this album is as strong an opening to an album of this genre of the metal industry as I can think of. The songs are strong lyrically, musically and vocally. Each has its own style, and is not reminiscent of the previous track, yet they all fit together perfectly. The opening title track, "The Wicked Symphony", is a perfect example of how a song of this type should be performed. The opening builds to the crescendo of the crashing opening, before the three characters come into the song. And this is performed brilliantly by the three in question, Tobi Sammet, Jorn Lande and Russell Allen. Each voice is distinctive and amazing, and here all three are used to perfection. It is both anthemic and epic in quality, and kicks off the album in a wonderful fashion. This is followed by "Wastelands", where frequent Avantasia collaborator Michael Kiske revives memories of his great days from the 1980's with a performance which echoes from that time, stretching his vocals to the heights which prove he still has what it takes. It's a great song also. "Scales of Justice" features a genuinely unique performance from first time Avantasia vocalist Tim "Ripper" Owens, who in his inimitable style makes this song his own. Some may find it over the top, but it is great to hear Ripper giving it all and leaving his mark on the album as a result. This is then followed by the single lifted from the album, "Dying For An Angel", a duet performed terrifically well between Tobi and Scorpions' Klaus Meine, whose amazing vocals dominate the song and give it the punch it really needs. These four songs to start the album are the pinnacle of Avantasia for me, a quartet that produces great vocal battles and allegiances, and magnificent drumming and guitar riffs. Awesome.
While it may not be to the same standard, the remainder of the album is well above average. "Blizzard on a Broken Mirror" features the excellent vocals of Andre Matos, and along with Tobi they soar through this song, while backed by a perfectly performed backing track. "Runaway Train" softens up the sound of the album, and drops back a notch in tempo as well. While I like the song, I do find it is a bit of a 'wailer', in that the chorus of vocals provided by Bob Catley, Jorn Lande, Michael Kiske and co. doesn't quite bring it back into the genre of the dreaded power metal ballad, and the song itself isn't that, but the vocals feel like they are pushing it in that direction. It's a tad overlong as well. This is followed by "Crestfallen", which in places sounds like an opera piece, though a very metal opera piece.
"Forever is a Long Time" is dominated by the distinctive vocal talents of Jorn Lande, who along with the hard hitting drums from Alex Holzwarth and guitar solo from Oliver Hartmann keeps the tempo on the upside and the vibe of the song positive and enjoyable. "Black Wings" is a soaring emotive song perfectly pitched by Ralf Zdiarstek, and fits surprisingly well in this landscape. "States of Matter" becomes a vehicle for Russell Allen's amazing vocals, and he is the star of this song, driving it along perfectly to the accompaniment of the great guitar riff. The album closes with "The Edge", allowing Tobi to close out the album on a slightly soft rock edge (much like the previous album) which is (just quietly) a little disappointing given everything that has come before it.

I was not as enamoured with the previous album as I was with the first two, but The Wicked Symphony restored my faith and love for the Avantasia project. It is interesting to compare it to the project that two of the heavily featured artists here have elsewhere, the Allen/Lande project, which does not showcase the respective artists talents as well as they are showcased here. What this does it not only further the story of the now-dubbed Wicked Trilogy, it also given us individual songs that work away from the framework of the concept album in place, and that is the true mark of quality. The first five songs, along with "Forever is a Long Time" and "States of Matter" are shining lights. No doubt some will disagree, but I think this is an album that perfectly portrays the best that the European metal genre has to offer.

Rating:   "Way down to the hideaway, where do we go from here, heroes in a tragedy"  4.5/5

811. Halford / Halford IV: Made of Metal. 2010. 3.5/5

Given that Rob Halford had returned to Judas Priest some years earlier, and that two albums had been released since the reformation, is it unusual that Halford himself still felt the need to go out and release another album on his own? Was he not getting enough fulfilment from his band, or was it that he enjoyed being able to express himself away from that writing partnership? Or was it just that he enjoyed being busy and releasing music, while the output of bands as they get older always tends to wind back. Whatever the reason, here is the fourth album under the Halford banner with the message plainly stated in the title - Made of Metal.

The fact that this is a return to his successful partnership with the influential Roy Z as producer and co-writer is also significant, and it is also a delight to have him playing on the album as well. Roy Z's influence in the solo careers of both Halford and Bruce Dickinson is beyond significant, and his ideas are always worth hearing in a musical sense. I particularly love his guitar solos, there is just something about them that appeals to me. Metal Mike Chlasciak returns on the second guitar and blends in beautifully with Roy. Mike Davis on bass guitar and Bobby Jarzombek on drums provide the perfect platform in the rhythm section.
To the album itself, and to be honest it is a mismatch of styles here, and all of it seems to be either fighting to set itself aside from his work with Judas Priest, or then on the other hand deliberately trying to align it self with that work. The songs blend from the faster and heavier songs, to the mid-tempo chorus sing-along songs, to the slower and more reflective tunes that, depending on your own tastes either work amazingly well or just slow down the progress of the album. I guess you know my feelings on this by now. "Twenty Five Years" would be the case in point. This song is molasses-slow and long, stretching out beyond seven minutes with barely any respite or excitement. Judas Priest made this mistake with "Loch Ness". I know there are fans out there who will love this, but it just doesn't fit the profile at all. Why have a song like this, and then follow it up with "Matador", which rattles along at a faster pace with a solid riff, double kick drums and attitude in Halford's vocals. I admit I don't get it, but it isn't the only instance on the album. Having started off at a cracking pace with songs like "Undisputed", "Fire and Ice", "Made of Metal" and "Speed of Sound" there is a bit of a change in a song like "Twenty Five Years".  Still, it is his album, and Rob should certainly be free to explore all his options when it his own release. It is still amusing that his first album under the Halford moniker, Resurrection sounded more like Judas Priest than Judas Priest did at the time. Now however, a decade onwards, and both sides have slipped into this slightly more comfortable arena.
Ignoring my moaning over one particular song, this is a solid release once again. He doesn't over extend his vocal range apart from in "The Mower" but the attitude and strength is still there in spades. "Heartless" is a good example of this, its not a racy song but Halford's vocals followed by the ripping guitar solos make it worth listening to. "Hell Razor" is similar, with the guitars starring in a repetitive lyrical conglomerate. Roy Z's influence is easily heard in most of the songs that he co-wrote here, especially in "Made of Metal", "Speed of Sound" and "Thunder and Lightning", the harmonic guitars and layered vocals give these songs their own style.

The positives far outweigh any negatives I might have come up with here on this album. Certainly, in my opinion, this is better than the two reunited Priest albums that came before this was released. It allows the band to showcase their own skills with their iconic frontman on centre stage, and while it may not be as furious as one may have preferred, there are still highlights to listen to and enjoy.

Rating:   Reeling you in to a climax crescendo of sound.  3.5/5

584. Therapy? / We're Here to the End. 2010. 3.5/5

It has taken over 20 years for Therapy? to put out a live opus, but when they did, they crammed it full of every song imaginable - all 36 of them stuffed onto 2 CDs. Quite an amazing feat. And whilst I was looking forward to the album, I wondered how the material was going to hold up under a stern examination.

On my first listen I admit I was disappointed. Many of the songs seem to have been played at a slower tempo, and just don't live up to anger and angst that the studio versions emit. In essence, pretty much all the live versions of songs off Troublegum still just don't match up to those original versions, and that's after having seen them live, and having the live DVD Scopophobia and various webcasts and bootleg videos of the band playing live. This was another test of their performance, and they still can't bring the magic of Troublegum to a live setting.
OK, so stop harping on that and get over it. Listen again. Take in the performances. Feel the energy of the crowd, and how the band are feeding off that. Listen to the song streak of "Die Like a Mother Fucker", "Stories" and "Meat Abstract". Revel in the joy that is the live version of "Diane" without cellos! Sure, you can cringe through songs like "A Moment of Clarity", but be redeemed by "If it Kills Me" and "Knives" and " The Head That Tried to Strangle Itself".
The audience reaction/participation is at the forefront in this recording, and that does add an authenticity to it. Some bands these days try to remove the audience from live recordings - why? I don't know. On this live album the crowd is a member of the band and a vital part of the recording. They in fact enhance this release, because they are singing what you are singing while listening to it.

The band sounds great. Andy's vocals do not always withstand the clinical environment of listening to a live album in the home. When in attendance at the gig, his vocals blend with the crowd and thus sound great. Without the crowd in my living room, some songs are unable to withstand the sometime off-key vocals. But that's why live albums are never as good as actually being at the gig, because they can never completely recreate the live experience. Once again, I try to stop harping on it and just enjoy it.

This is a good live album that covers twenty years of the band's history. Fans will love it, detractors will not. I still sit on the positive side of the fence in the middle.

582. Jorn / Dio. 2010. 4/5

Released scarily just a few short weeks after the sad loss of Ronnie James Dio to cancer, this album is well worth a listen whether you are a fan of either of those two gentlemen or not. Recorded as Jorn's own tribute to a man who is obviously a great influence on his own career, this is an interesting collection of songs.

It leads off with Jorn's own tribute, "Song for Ronnie James", an 8 minute composition that meshes in lyrics and song titles from Dio's career. Though I do think it is a bit long winded, it grew on me over time.
Following this is a selection of songs that intertwines Dio's career with Rainbow, Black Sabbath and his own band Dio. What impresses me most about them is that they are true to the originals musically and vocally, without being exact replicas of them. In essence they are a good updating of each song. Some stand out more than others - for me the best include an awesome version of "Lord of the Last Day", "Kill the King", "Push" and "Invisible" - but overall they are all wonderfully done.

Like all of Dio's music, nothing will ever compare to the originals along with the Master's voice. As one man's (and his band's) tribute to his music, however, this is an excellent album.

583. Ozzy Osbourne / Scream. 2010. 2/5

As per usual, no one really seems to know what is happening with Ozzy Osbourne. In a lot of ways, that is as good as any other explanation for this album, its production and writing and its eventual release. Even for Ozzy there seems to be a lot of action going on in his life without him actually doing anything, and on this album there feels like there has been a lot of rush to produce the songs, get them recorded and get them released, without any real substance being attached to them.

One of the major holes with this album is the (what appears to be final) parting of ways with long time guitarist and collaborator Zakk Wylde - for whatever reason, and from whatever quarter. As always there isn’t a lot of information coming through. Certainly from my point of view, this always meant that there would be a lot more judgement of this album, either positively or negatively. While Zakk has been involved, whether as both songwriter and performer, or even only one of those things, there was a confidence that what was going to be on the album would have a solid base of hope for the material produced. That is not to pre-judge new guitarist Gus G, as he is good enough that he doesn't warrant comparisons with any of Ozzy’s previous guitarists, and his contributions can stand alone.

 
That isn't enough to save this album. It is tired. It is formulaic. It pretty much tries to rehash the success of Ozzy from another era, and wash it up to make it sound like a new version. It fails on this level. Artists that have been around as long as Ozzy are often on a hiding to nothing – if you look to change your style you risk alienating your long-term fans. if you look to stay true to your style you’ve cultivated over years, you could be accused of being unimaginative and unable to move with the times. I think the problem with Scream is that it fails to do either, and so it is stuck in the loop.
Why does it not work? I don't claim to know the full answer, all I know is that this doesn't feel like a traditional Ozzy Osbourne album, nor does it feel like a new venture. Apart from the first single, "Let Me Hear You Scream", which in itself is very formula-written and though it is catchy does tend to become repeatable, there is no magic in the remaining songs on the album. Most of it is stuck in a very similar slow and sludgy rhythm. “Soul Sucker” is a good example of this, as is "Latimer's Mercy", just plodding songs that can't get out of first gear, and yet Gus G’s solos try to rip along at a faster pace which just confuses the whole basis of the song. Either be a grunge song or a metal song, but the complete change of tempo within the song doesn’t work. The opening track “Let it Die” seems to drag on forever in a never-ending malaise. “Life Won’t Wait” and “Diggin’ Me Down” tend to do the same. The tempo of the album just doesn’t get to the point that the songs become fun to listen to. “Fearless” comes closest to working here, with its relatively short punch and faster rhythm throughout making it more enjoyable. “Time” feels like it stretches out for eternity. “I Want it More” is tolerable, while the closing hymn of “I Love You All” is a bit schmaltzy even for latter day Ozzy. And, not to mention that a number of the riffs on this album come close to those on some of the songs on the last three albums. Running out of ideas?

 
Ozzy’s co-writer of the album Kevin Churko has worked with a lot of different artists, such as Five Finger Death Punch, Disturbed, Papa Roach and... Shania Twain, so the different track these songs have taken, along with no guidance from Zakk or even Gus G as the hired replacement probably goes some way to explaining the lackluster feel of the album.
I can also add that for me there is no desire to hear any of it live, and after the initial rotation that all new albums get on my stereo and assorted mp3 players, it has remained on the shelf, and I’m not sure it will ever come back off it.

Could this be the end for Ozzy? It's quite possible. With the passing of Ronnie James Dio this year, the possibility of a Black Sabbath reunion album with Ozzy back on vocals will no doubt now be resurrected, especially given the success of the Heaven and Hell project over the last four years. An album co-written with Iommi and Butler may be all Ozzy has left to keep his own career afloat. If this album was to signal the end of his music career, it would be a sad way to bow out.

Best: “Let Me Hear You Scream”, “Fearless”.

Rating: “I'll take this rage, rattle your cage, nobody said it's easy!” 2/5.

582. Black Label Society / Order of the Black. 2010. 3.5/5

After a succession of very average albums (unless you enjoy his piano-laden recent releases) it was only out of sheer loyalty to the man that I decided to check out this latest offering. Given that he had been finally cast aside by the Osbourne Foundation, was it possible that he could rekindle his metal spirit and deliver something that fans of Black Label Society's initial releases were craving?
Somewhat surprisingly, the answer is a cautious 'yes'.
Order of the Black is a much better balanced album than anything the band has done since perhaps 1919 Eternal. There are songs here that you can actually get enthusiastic about, sing the lyrics loudly with a lungful of air and even play a little air guitar to. While I admire Zakk's musical ability, it's the heavier songs that really make him what he is, and he had not produced enough of that lately until this album.
OK, they mightn't be the calibre of songs that he had with Ozzy in early 1990's, and his vocals have never been Ozzy's, but that doesn't detract from the product here. To be quite honest, this album outrates Ozzy's Scream on every level. Whether that is much of an achievement is open to question.
My favourites are, probably unsurprisingly, the opening three songs of the album, "Crazy Horse", "Overlord" and "Parade of the Dead", but there are other good songs here too. The two ballads again, for me, tend to destroy the momentum of the album, but better that there are only two and not ten of them.

Those that have abandoned Black Label Society before this should somehow grab a copy and at least give it a try before all hope is lost. I like the album, and to me it does raise some hope that we may yet see more good material from one of the finest guitarists we have seen in the past twenty years.

581. Megadeth / Rust in Peace Live. 2010. 4.5/5

For the past decade it has become a popular pastime for bands to either a) cover an entire album live of one of their influences (see Dream Theater's efforts) or b) play one of your own albums in its entirety live. The decision to record and release these performances is a no brainer, especially when it is arguably your finest album.

Here then is Megadeth, having recently re-recruited founding member Dave Ellefson back into the fold, letting loose with Rust in Peace Live. Though some of the songs have remained in the band's setlist since 1990 ("Holy Wars... The Punishment Due", "Hangar 18" and "Tornado of Souls") some have not been played since the tour of that album, and other never at all. That is why that, as a fan, this album/DVD did not kick in seriously until it reached the third song. "Take No Prisoners" has always been a favourite, and the band really brings it home here, driving with the speed and intensity of the original. Having warmed up by now, they fly on through the remainder of the Rust in Peace album. The musicianship is faultless, and only Dave's vocals in places seem a little forced. Given that it is generally on the songs that the band rarely performs, this is not surprising, and really not an issue. Singing live is not like singing in layers in the studio.
The set is padded out at the end with crowd and band favourites, with "In My Darkest Hour", "She Wolf" and especially the awesome crowd-inducing "Peace Sells" rounding out a fabulous live set.

This is an excellent live release from a band that has rarely compromised and is still able to deliver the best that heavy metal could hope for. More than worth the effort to add to your collection.

580. Helloween / 7 Sinners. 2010. 4/5

Given the chosen directional change that Helloween adapted for their 25th anniversary Unarmed best of album, I can admit that I approached this new album with a certain amount of trepidation. The band had promised their fans that they would be returning to their heavy metal roots for this release, but one could only wait and hope.

So let's say from the outset that Helloween have succeeded in continuing their excellence in releasing yet another powerful album. What is immediately obvious is the pushing forward of the keyboards in the mix in all songs, even more so than for instance Rabbit Don't Come Easy and Gambling With The Devil. While it came as quite a surprise initially, once you are used to it being there so prominantly again you can accept it. After all, the power metal genre relies on keyboards so much, that it shouldn't be a surprise that one of the godfathers of the genre should fall back on one of its key elements (no pun intended).

Everything works here. Dani Loble's drumming is superb, even scintillating in places. With some high profile drummers in the world tinkering with their artform (and not in a good way) it is refreshing to hear a drummer who may not be one of the bigger names outside of Europe, but plays superb breaks and rolls and has a great sound out of his kit. Markus Grosskopf is magnificent on bass again, while guitarists Weikath and Gerstner are both brilliant. Throw in Andi Deris and his still awesome vocals and everything is still working in Helloweenworld.
I love the way the album starts, with "Where the Sinners Go", the anthemic "Are You Metal?" and "Who is Mr Madman?". Other fave songs for me include "World of Fantasy" and "Far in the Future".
While there is still a couple of dalliances with slower songs, it is most definitely the faster and heavier songs that stand apart on the album, and also make the album's mark.
In regards to recent releases, 7 Sinners doesn't quite match up to The Dark Ride or Keeper of the Seven Keys: The Legacy but I think does stack up better than Rabbit Don't Come Easy and Gambling With The Devil. What is most pleasing is that it proves that Helloween are not a fading force, and that they still have plenty to offer the world of metal.

579. Metallica / Six Feet Down Under [EP]. 2010. 2.5/5

An EP released for the start of the 2010 Australian tour, and it seems to have created quite a reaction. Mostly negative.
As a collector and fan of bootlegs, I found it quite easy to listen to this collection. For those people who cannot listen to live recordings unless they are a pristine, 100% reproduction of the songs as they appear on the studio albums, there is no use coming near this release. In the long run, this wasn't released for those fans.
On the other hand, if you are a Metallica fan, who has seen the band on all of their tours of Australia, this is an interesting trip down memory lane. And THAT is who this release is for.

Containing two songs from each of their Australian tours (1989, 1993, 1999 and 2004), the quality of each song varies from location to location, and era to era. And that is how it should be. Just because Metallica now record every show they do, and offer it for sale at LiveMetallica.com does not mean they always did, and if you want a record of their material from those early eras, then bootlegs are your only choice.

So - my low rating for this EP does not come from the quality of the recording. It comes from the song selection. Quite simply, I do not like four of the eight songs here - "The Unforgiven", "Low Man's Lyric", "Devil's Dance" and "Frantic" are below par Metallica songs. They don't cut it, from an era of Metallica that, for me, is a bit hard to swallow.

If you enjoy the albums from the 90's, ignore the quality of the recordings and enjoy Metallica in their great live setting. If you are more a fan from the 80's era, then apart from the two brilliant songs here from ...And Justice For All you are probably like me in being able to put this aside.

578. Metallica / Six Feet Down Under Part II [EP]. 2010. 4.5/5

Second EP released for the Australian tour, this one A+ live recordings from the first half of the tour in September 2010.

All the songs played here are from Metallica's heyday, off the first four albums of the band's career. The sound quality is excellent, and they sound great. You have to accept the fact that Hetfield doesn't sing them the same way as he did 20 years ago - his whole way of singing changed after blowing out his voice on the Metallica album, and so there are a few cringe-worthy moments when he sings certain lines in a high sappy voice rather than the stinging anger-filled scream of youth. You also have to accept the fact that Ulrich is not going to play the drums the same way as he did on the albums, and even live up until the mid-1990's. His live kit has diminished to a size such that even learner drummers now possess more equipment, and he simply can't play the songs the same way as he originally recorded them.

Given that, Hetfield and Hammett still smoke on guitar, and Kirk's solo's are still awesome. Trujillo's bass and backing vocals do the job, and the eight songs produced are some of their finest. All in all, a worthy addition to your Metallica collection.

575. Scorpions / Sting in the Tail. 2010. 3/5

There has probably been more publicity surrounding the fact that this album apparently signals the final act for the Scorpions as a band than anything else, and perhaps it is this smoke screen that is being used to hide the fact that it has some failings.
The announcement that this would be the band’s final album, hoping to ‘retire’ while still at the top of their game, certainly drew some interest from me. However, I was more interested to see how they would follow up their finest album in almost 30 years, 2007’s Humanity: Hour 1.

Following on from the breaking of the Scorpions mould on their last album, this is a follow up that plays it straight down the line in order to try and keep all their fans of all genres happy, and in the process really not making anyone excited. The opening songs prove to be very much in the role of their typical nineties stuff, in a hard rock mode but without the great anthems that they flooded us with during the 1980's. "Raised on Rock", "Sting in the Tail", "No Limit" and "Rock Zone" leave you in no doubt that the band is trying to reinvest their past sound into their current music. There are also the typical Scorpions power ballads, which, I must say, don't quite hit the mark this time around.
In fact, the whole album is just off the track, and in trying to tie down what it is that just doesn't make it for me, I can come to a couple of conclusions - it is a very generic album, and it’s obvious that the band has played it very safe in the writing process. Being their final release, they have obviously gone out and tried to capture both lyrically and musically the best and most successful of their past, and recreate it here as a fitting finale for themselves and their fans. Though I hesitate to use the word, some of it is quite boring because of that, and in essence brings to the table the kind of emotion they were inevitably trying to prevent.
It's not a bad album, but it won't be memorable for the music, but only because (at this point) it will be their final release.

If they had announced that they were calling it a day after Humanity: Hour 1 I would have kicked up a stink, suggesting that they still had plenty left in the tank. Having now listened to Sting in the Tail a dozen times, I can honestly suggest that the band gets out and does a farewell World Tour – including coming to Australia, because we've only been waiting 30+ years – and then take a well earned rest, because maybe the bottom of the well is in sight.

553. Fear Factory / Mechanize. 2010. 2/5

Look. Here's the thing. Fear Factory started something new back in the 1990's when they first came on the scene. It was different and it was a little scary, just the right elements to draw fans in from any number of genres of music. There has been a lot of good stuff, and some average stuff. With the previous three albums (two of which did not have original guitarist Dino Cavares involved) it has been the same, a lot of good stuff mixed with a bit f the average. One of the problems that appeared to be raising its head as these albums progressed was that... well... they all seem to be sounding a little on the similar side. I mean, if you didn't know the band, and you threw on Archetype and then threw on Transgression would you really know that the albums had been changed? For heavens sake, I like a lot of Fear Factory, and I have trouble discerning between the two myself! So when it came to first getting and listening to Mechanize I wondered if the title was giving something away about the music itself. So yes, trepidation confronts me as I approached this new Fear Factory album. Whilst for the majority I enjoyed Archetype, the bad taste of Transgression still sits like a mouthful of out of date chunky sour milk.

Despite the circumstances around the abandonment of original members Raymond Herrera and Christian Olde Wolbers for this album, I could only applaud the recruitment of Gene Hoglan to play drums for this album. He is incredible under most circumstances, but his work here is quite astounding. I'm really not sure how many arms and legs he has in real life, because the speed and precision with which he plays his instrument on this album is quite extraordinary. Dino's guitaring (playing all guitars and bass on the album) is as precision perfect as always, while Burton's vocals move between the menacing growl to the clear anguish cries with abandon. And it's quite a change between the two when it occurs too. I sometimes wonder if it is too much, in the same way on early Trivium albums Matt Heafy does the same huge change between growl and clear vocals. Probably it's just me being too precious.
OK, so we've considered what could be seen as the similarity between songs and albums musically, and we've considered the vocal techniques used. As to the album itself taking those things into the mix, I still like most of this album. the opening track "Mechanize", it hits the ground running with aggression and power, with Burton's vocal chords getting a huge work out at every level throughout. The album flows nicely into "Industrial Discipline", "Fear Campaign" and "Powershifter", all the while being pushed along at speed by Hoglan's machine gun drumming. More is to come, with "Christploitation" careering through into "Oxidizer" and "Controlled Demolition". "Designing the Enemy" uses a similar theme and tracking, but the vocals by now start to grate, though more succinctly the randomness between the almost incomprehensible deep growling into the moaning clear vocal over the top of the synth programming with those drums still underneath. It's all a little too much for me by this stage. I don't like the structure and having made it so far into the album with some degree of enjoyment it is beginning to seep away. The instrumental joiner "Metallic Division" introduces itself into the final track "Final Exit", which combines the fast paced intro into the clear guitar and vocal combination before ebbing and flowing throughout the track, with a complete fade out to the finish. Given how the album started, this is a real character change to complete the album.

There was a real excitement about this when it was released, with the return of Dino to the fold, and while many parts of this album are enjoyable for me, as an overall package I didn't get as much from it as I expected. Still, for the drumming alone, this is worth a listen to try and figure out just how Gene Hoglan can play like this. And then wonder why they went with a drum machine on the next album.

Rating:  Dawn of our extinction, the human affliction.  3/5

552. Fozzy / Chasing The Grail. 2010. 3/5

I must admit that it came as some surprise when I found out Fozzy were putting out another album. Having ‘proven’ themselves as a band with the release of All That Remains and with Chris Jericho back in the swing of things in the WWE, I had pretty much written off any chance of new material from the band.
The start of the album could almost have picked up right where they left off with All That Remains, with “Under Blackened Skies” and “Martyr No More” retaining the best of what Fozzy showed us on that album. From this point on, though, there is a lot more experimentation with their style.

“Broken Soul” is an average attempt at ballad-type song. It just lacks the power and enthusiasm that most of the songs here contain, and as such it feels a bit half-arsed. It almost sounds as though they were attempting such a song just to see if they could pull it off. They could not.Add to this “New Day’s Dawn”, because this seems to be attempting something similar, and it really doesn’t work. Both these songs for me detract from the album. I’m not a nu-metal fan, and it seems to be where this track in particular is leading.

Redemption is immediate with the excellent “Let the Madness Begin” and “God Pounds His Nails”. Both are much more up-tempo, and Jericho’s vocals are at their best here.“Pray For Blood” is a bit cheesy, but Jericho is able to make it work. “Revival” is almost epic in stature, attempting to bring all of the instrumental aspects of the band to a symphonic rhapsody.
Probably the highlight of the album is the closer, “Wormwood”. Unapologetically Dream Theater-esque, this is Fozzy’s attempt at prog rock/metal, and they pull it off brilliantly. Everything about the song shows the amazing versatility of the band. There is no pretence as to the direction this song is written musically, and though it is not Fozzy’s typical song style they do it so well you cannot help but be impressed.

Overall, the album sits above average. Rich Ward is again the stand-out here, his guitaring and riffs once again fully underrated in the wider community. Whether the band has enough commitment to continue in their current line-up is possibly open to question, but this release certainly justifies their continuing efforts to do so.

551. Blaze Bayley / Promise and Terror. 2010. 3/5

With such a solid volume of work behind the band in the past decade, there was some honest anticipation towards this new release from Blaze Bayley.
What I discovered on the first few listens to the album was that it seems quite flat. In many ways, there is little to differentiate between each song, and the power and intensity just doesn't seem to be prevalent. Yes, the songs do start to sound the same, and even after many listens I have trouble distinguishing between the songs.

To be fair to this album in comparison to those he has released up to this point, it had a lot to live up to. Where this release falls down is that it doesn’t maintain the rage for heavy metal like Blood & Belief in particular does. It doesn’t contain anything unexpected or new. The riffs and melodies are all very similar, without the hook to grab you from the outset. No doubt Blaze had a lot on his mind when he was producing this album, and though it is often good to have a general theme running through an album, you need a change in the tone.
Best for me are the openers "Watching the Night Sky" and "Madness and Sorrow".

It is not a bad album, but it is for all intents and purposes an average album. Perhaps the plateau has been reached. I like the album and have no problem listening to it more than a month after first getting it, but how long that lasts for I can't say.

550. Gamma Ray / To The Metal. 2010. 4.5/5

As with pretty much every Gamma Ray release in the band’s history, I was looking forward to this album for months before its release. In these cases you can usually build it up too much in your mind, and as such have some initial disappointment in the outcome (see Heaven & Hell’s The Devil You Know in 2009 for reference). Sometimes this disappointment is too difficult to get past; sometimes you soon see the album in all its glory (as occurred with The Devil You Know).
With To The Metal I initially found small flaws.

There is little doubt that this album harks back more to the power metal aspect of the genre, but there is little compromising from that point on. The arrangement of the songs may be slightly different from recent releases, and the keyboards perhaps are more prominent, but not in a bad way.
The opening tracks are swift and powerful. “Rise” and “Deadlands” in particular are excellent additions to the Gamma Ray legacy. My initial doubts lay in the middle of the album.
“No Need to Cry” is a generic power metal ballad, (written by Dirk apparently over the death of his father, and with Dirk’s vocals through the middle of the song) though with a Gamma Ray twist that helps to make it more bearable than most. This is followed by “Empathy” which is not so generic, but is less in the vein of songs in recent releases. Then comes the title track “To The Metal” which, by all rights, should be the heaviest song on the album, but is more just a chance to chant “hail to the metal” a number of times over and over.
“All You Need To Know” is a lot faster and heavier than the previous three songs in the middle of this album – except when it comes to the chorus, which seems almost deliberately toned down. This is the chorus sung by former Helloween band mate Michael Kiske, whose current aversion to heavy metal is well publicised. It therefore seems a strange choice of song for him to be involved in. Surely on reflection “No Need to Cry” is more his style! Strange…

OK, so I’ve just picked apart the middle of the album, and yes I am being over critical, because I love this band so much, and everything they have produced over twenty years. The truth of the matter is, even though I may appear harsh, I still think all these songs are brilliant. As can probably be guessed, once I got through the first five or six listens, To The Metal had fully grown on me, and I had recognised its excellence.

The continuing brilliance of the musicianship, along with Kai’s scintillating vocals, are just two of the obvious reasons why Gamma Ray is in the top echelon of all metal bands. One often wonders how they can continue to put together such marvellous collections of songs.