1145. Ozzy Osbourne + Motorhead / Hellraiser [Single]. 2021. 5/5

“Hellraiser” was written for the Ozzy Osbourne album No More Tears which was released in 1991. It was one of several songs on that album that was co-written not only with guitarist Zakk Wylde, but with Motorhead bassist and frontman Lemmy Kilmister, a role Lemmy performed with several artists through the years. The lyrics are very much about the touring musician, the life on the road, and would have pulled vey much from the trio’s own experiences and feelings about their life and roles.
The version recorded for Ozzy Osbourne’s No More Tears album is typical Osbourne – the high range vocals filled with melodic choruses, rumbling bass and drums and superb soling and riffing from Wylde at his peak. It has always been considered one of the highlights of the album.
Whether it was the success of Ozzy’s song, or whether Lemmy just enjoyed the song itself as it was, but Lemmy was approached to have Motorhead record their own version of the song, which would then be used on the soundtrack of the film Hellraiser III: Hell on Earth - Movie Soundtrack. The Hellraiser films, conceived from the book of the same name by Clive Barker, were the epitome of horror films in the late 1980’s and early 1990’s, and so the addition of this version of the song (which appears over the closing credits) was a winning solution. At the same time, the song also appeared on Motorhead’s album March ör Die which was also released in 1992. It is the Motorhead version of the song, with some of the lyrics changed to suit their own metal style and with different solo riff and singing style.

With 2021 being the 30th anniversary of the song appearing on No More Tears, and with Lemmy now having left us some five years ago, to celebrate the moment a new version of the song has been released. Through the wonders of technology, the two versions of the song you have just heard have been spliced together, in order to create a duet between the two great metal vocalists along with the varied versions of the song itself. An animated music video has also been created which really is a joy to watch, and is worth checking out on YouTube if you have not yet seen it.

For me, each version proves just how good a song it is, that it is able to flex and stretch to each different way it has been put together, and to me that suggests just how strong the bones of the song are.

992. Foo Fighters / Run [Single]. 2017. 4/5

So, 20-odd years on from Foo Fighters entering the music scene, what can we surmise from the release of this single. Is this a taste of what is to come from the next album, that is in the process of being recorded and for which a release may well be imminent? Or is this a one-off single, taking advantage of their schedule to remind everyone that they are still out there and working together?

Whatever is the case, it is an interesting single. In many ways it harks back to Dave’s early influences. It starts off in a quiet fashion, before Taylor’s drums jump in, followed by some very punk rock oriented guitar, and even more fashionably those famed screaming vocals from Dave himself that haven’t appeared as often in recent times. Can you, like me, hear bits and pieces of that old Seattle sound in there? Nirvana, Alice in Chains, Soundgarden. I can hear them all. The fact that this tends to hail back to those grunge and punk roots more than the hard rock and even soft rock that has been the staple of recent years is interesting to me because I admit I would like to hear an album based around this kind of writing and performing. I don’t believe we’ll get it, but I know that Taylor is hitting those drums and cymbals bloody hard, and the three guitars distorted riffing together with Nate’s familiar bass line running underneath beautifully also mix well with the keyboards that are beginning to find their way into the band’s music.

Is Dave writing a metal/punk Foo Fighters album? Again, I’m guessing not. But this song is an enjoyable thought in the process.

893. Iron Maiden / Virus [Single]. 1996. 5/5

I understand why people had a natural aversion to Blaze Bayley and by association Iron Maiden when he replaced Bruce Dickinson as lead vocalist of the band in the 1990's. But really, if those same people had given the two albums that were released during this period the time of day, they would have discovered some pretty good material.

This single came out when Maiden released their first (but somewhat sadly not last) greatest hits package, Best of the Beast. The double disc version took two songs from each album released to that time, and a couple of other songs. As a sweetener, a new song was also produced, which led off the greatest hits package and was released as this single.
"Virus" would be one of the best Maiden songs ever, if only they had abandoned the first two minutes and twenty seconds of the song, and even the last 30 seconds. The "short" version of the song that can be found on certain versions is actually the best version of the song, as it does exactly that, removing the useless first part of the track. I love this song, and I love Blaze's vocals on it.
The other two songs are the original tracks that were found on the Metal for Muthas album from 1979. These versions of "Sanctuary" and "Wrathchild" both feature Tony Parsons on guitar, a treat for the die hard fans, but perhaps not so exciting for those that just want to listen to the band and not care about its history.

Rating: "Without a conscience they destroy, and that's thing that they enjoy". 5/5

733. Metallica / Lords of Summer (First Pass Version) [Single]. 2014. 2/5

In the absence of any new material for the last six years (if you choose to ignore Lulu, which I most definitely choose to do!), this single was released in the middle of 2014, as a portent to the possible sessions that were going on in regards to possibly putting together material for a possible new album. Possibly. So, like very other poor sap out there, I plonked down my hard earned to have a listen to what Metallica circa 2014 sounds like.
I am somewhat at a loss as to why the song that was written and released had to be over 8 minutes in length. I mean, it comes across as though they just had about six different riffs out there, so if we throw them all together in varying parts of this, then extend them as long as we possibly can, then we will have something we can sell the public on. Oh, and it's over 8 minutes long, so you know it must be quality.

Really? I mean... really?!

I don't hate this. Let's get that out there. It has merit. Or at least, pieces of it have merit. I can hear some good things in here, but I can't hear anything that really makes me want to sing, or headbang, or even vaguely tap finger-drumsticks on the table. And why the time changes? I thought they had gotten all of this out of their system long ago. In the past they fit, now we go from frenetic shredding to slow strumming then back to mid-tempo, all within about 60 seconds. That annoys me. So do Hetfield's vocals when he goes into his "St. Anger" high pitched wailing. Enough James, St. Anger sucked, let's go back to singing in mid range.

Is it the drumming that annoys me the most about this? I think so, even more so than James' vocals. Seriously, if Lars makes his drumkit any smaller he'll be playing the bones instead of the drums. And you really notice it here. It is simplified stuff, because he simply doesn't have any variety in his kit anymore to do anything else! Check out the thousands of drummers in metal bands around the world right now - the ones Lars inspired back in the 80's when he was the out and out king of drumming. They have toms galore to play rolls on. They play their double kicks at lightning speed, because Lars did it. Every drummer in the world is now more powerful and more proficient in music because of Lars... except Lars himself. He is now denigrating his own music, because he wants to play on a box and a piece of tin. I don't get it. This song is not as full sounding as it should be because Lars does not have a drumkit to play onto make it sound that way.
And the solo mid-section just goes on way too long.
Anyway...

If this song makes the next album, then beware the rest, because they need to work a bit harder if they are going to make something that captures the public's attention for the right reasons. This isn't it.

Rating:  Lords of summer have returned... to mediocrity perhaps... 2/5

732. Iron Maiden / Lord of the Flies [Single]. 1996. 3.5/5

This was the second single released by Iron Maiden from The X Factor album, with Blaze Bayley having come into the fold to replace Bruce Dickinson on vocals. Written by Janick Gers and Steve Harris, the lyrics are based on the famous novel of the same name. I like the song, but it barely seems to get out of second gear all the way through. In a way, the whole of the album tends the same way.

Additional songs here are cover versions, The Who's "My Generation" and UFO's "Doctor Doctor". Both songs sound rather flat compared to the original versions by the original artists. This has been a sore point for me for a long time. The originals are energetic, full of life. And this is Iron Maiden, one of the finest bands... ever! Unfortunately, I really think they should have played these in a live atmosphere and really gone to town on them. Instead, we have a studio feeling, as though it is over produced. You can't over produced these two songs, they really needed to be let loose. While "My Generation" has an innate energy on this recording, it isn't anything spectacularly different, while I must admit I was hoping for a breakout version of "Doctor Doctor" that just doesn't arrive.
Overall, this single is satisfactory without sending shivers down the spine.

Rating:  Saints and sinners, something willing us...  3.5/5

727. Sonata Arctica / Last Drop Falls [Single]. 2001. 3/5

I can't (but can) understand why this was released as a single. I mean, it's a slow, mourning ballad. The kind of song Sonata Arctica do so well, and the kind of song I really don't enjoy. So from a personal point of view, I wish they had released another song from the album as a single. However, when you are looking for single sales and hopeful radio play, then this is the kind of song that may attract that kind of attention. For a start, the lyrical content may not be a persuasive argument to a radio executive that it should be played!

In buying singles, you generally buy them for the other songs attached to them. This is the case here, with an excellent cover version of Iron Maiden's "Die With Your Boots On". This again showcases the amazing talent in this band. Following this is an acoustic version of "Mary-Lou" to round it off.
Worth getting your hands on for the maiden cover alone.

Rating: I have found the whore in you. 3/5

674. Sweet Savage / The Raid - The Ripper [EP]. 2005. 3.5/5

The songs on this single/EP/whatever you want to call it, were recorded back in 1980, when Sweet Savage had their core group together of Haller, Campbell, Fleming and Bates. Though rumours abound that it was released, or was supposed to be released, as a single back in 1984 or 1985, it had never been confirmed. this "EP" as it is called was released in 2005 with the original songs. Both of these songs, "The Raid" and "The Ripper" are the original 1980 versions, while a demo version of "The Raid" is tacked on as the third song to make it look like value (I guess). Before listening to this, I had visions of "The Ripper" being a cover version of the classic Judas Priest song, but it is in fact its own enjoyable version of the age old story.

Both songs here are as enjoyable as most of the smallish repertoire the band had prior to 1983, and if you enjoy those songs then you will certainly enjoy these as well. Perhaps you will also reflect as I often do as to how they were unable to make it with the talent they had in this band.

673. Sweet Savage / Caught in the Middle - Teaser [Single]. 1983. 4/5

Such is the scarcity of being able to drag up original material from Sweet Savage, given that the original incantation of the band was unable to break into the recording market, it has only been in very recent times that I have been able to track down a copy of this, their second single. More is the pity, because not only is it terrific, it brought with it some very enjoyable surprises.

Take "Straight Through the Heart". It starts off with a sensational riff, a riff that really gets you going straight away. The thing I knew instantly was that the riff had been written by lead guitarist Vivian Campbell. How did I know this? Well, if you listen to Dio's first album Holy Diver, released not too long after this single by Sweet Savage, and play a song called "Caught in the Middle", then you will be amazed that, yes... it is the same riff. Far from being disappointed, I think it's great. The song itself is completely different apart from that opening riff, and it kicks along terrifically. New lead singer Robert Casserly lends his lead vocals to both these tracks, and he shines, showing off a more pure vocal than Ray Haller, who did vocals on the first single. The B side to this single is "Teaser", and perhaps lends itself closer to a Def Leppard-type sound than earlier songs had, but it too is a good rocking song.

Campbell left the band apparently only a couple of weeks after recording this has been completed, and the band soon folded without him. Although they were revived in the 1990's, it is a shame that they were unable to make it work it this time period, given the strength of the material they had, which this single showcases nicely.

672. Sweet Savage / Take No Prisoners - Killing Time [Single]. 1981. 4/5

This is the first single release from Northern Ireland's Sweet Savage, which to all intents and purposes should have been the springboard to further success. For whatever reason may have eventuated, that success was never forthcoming, which I find remarkable.
"Take No Prisoners" is a smart song, led by the vocals of bass guitarist Ray Haller, and driven by the twin guitars of teenager Vivian Campbell and Trevor Fleming. This is backed by the B side "Killing Time", which also showcases the best of the band, with a speedy pace rocketing along with both guitars and drums. Both songs here are good, solid songs from the NWOBHM era, and perhaps this was drowned out by all of those bands who were clambering over each other at the time to try and 'make it big'.

Sweet Savage was never able to make it unfortunately, although this single did manage to influence others. Campbell eventually left to join Dio and later on Whitesnake and Def Leppard. Meanwhile, a young band called Metallica had discovered this band, and played "Killing Time" in their early rehearsal days, and some years and millions of record sales later, they recorded a cover version of the song for the B side of their "The Unforgiven" single in 1991. Recognition just a few years too late perhaps.

588. Unisonic / Ignition (EP). 2012. 4/5

This single is the pre-cursor to the debut album from the new band Unisonic, and as a taster it succeeds in whetting the appetite.

What this brings to the table is what you are hoping - up tempo songs with that familiar European power-speed metal sound, powered up to 10 by the presence of Kai Hansen on guitar and song-writing duties, and driven by the still wonderful vocals of Michael Kiske.

Backing up the short and sharp single "Unisonic" is another song from the upcoming album, "My Sanctuary", and a fairly substantial demo version of "Souls Alive".

Then, just to prove these guys still pack a punch, there is a live version of the Helloween favourite "I Want Out", which showcases the band perfectly, and proves that they all still have what it takes.

All in all, this is an excellent EP to set up the debut album's release.

586. Metallica / Beyond Magnetic [EP]. 2011. 3/5

Given that, of the 12 songs that eventually found their way onto Metallica's Death Magnetic album, I found six were in a good-to-excellent catagory, and six were in an average-to-poor catagory, it was always going to be hard to get into this EP. Let's face it, if they didn't make the cut in the first place, and there were average songs on the album, could they be better than those?

 

Cutting a long story short, the four songs here are OK. Not super, not complete rubbish. All four clock in at about 7-8 minutes each, which really is a bit of overkill, especially when you are trying to retain some sort of interest. There are some reasonable ideas here, and some better than OK soloing and riffs. Kirk's solo in "Rebel of Babylon" in particular is memorable.

 

If nothing else, given this release and the aforementioned last album, it does raise some hope that Metallica may well be getting back to a place where they were in their infancy. they will never produced another Master of Puppets or ... And Justice for All, but neither will anyone else. Cut off the fat off these songs, pulling them back to 4-5 minutes, and you'll have a much better collection. Getting Hetfield to listen to that advice would of course be the more difficult problem.

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.

562. Iron Maiden / Infinite Dreams [Live Single]. 1989. 5/5

One of two live singles released to coincide with the Maiden England video, recorded on the Seventh Tour of a Seventh Tour in 1988.

This contains three excellent live renditions three song - “Infinite Dreams”, “Killers” and “Still Life” – none of which appeared on the eponymous Live After Death, which not only makes it worthwhile buying for that reason, but to sample how these brilliant songs are almost improved in a live setting. Bruce’s vocals are probably the key here, as being able to sing them almost note for note as the studio versions is a remarkable thing. If you don’t have this single, you won’t be disappointed.

537. Dream Theater / Stargazer [Digital Single]. 2009. 4/5

A pretty good update of the brilliant Rainbow song. A tough gig trying to take on this task. For the most part they remain faithful to the original, which is no mean feat, especially in trying to recreate the aura and magnificent feel that the 1975 version has.

As much as I respect this band and the individual musicianship of each of them, what comes to pass here is this - John Petrucci is no Ritchie Blackmore, Mike Portnoy is no Cozy Powell, and James LaBrie is a million miles away from being Ronnie James Dio.

Rating: Well worth a listen, but cannot approach the original. 4/5.

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

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

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.

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.

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.