356. Gary Moore / Dirty Fingers. 1983. 4.5/5

This is one of those albums that you just love, because you have had it for so many years, and that it had just ingrained itself into your psyche.

I always loved this album, and the songs are catchy from the start and keep your interest. OK, maybe they are a bit corny, and certainly a lot '1980's', and perhaps if you picked up the album for the first time in this day and age, it would be very dated, and maybe - just maybe - you wouldn't get as much out of it as I do. But, in my case, it brings back so many memories of the time when I had it, and how I wore the grooves down in the vinyl on the record player, and how I would jump around screaming "HIROSHIMA!! THE PLACE WHERE INNOCENCE WAS BURNED!!", and "RUN TO YOUR MAMA, BUT DON'T COME CRYIN' TO ME!!", and thrashing that air guitar at the same time.

Gary Moore's rock is still great, and this album is one of my favourites, because it's simple with great riffs and a message in his lyrics.

Best for me include "Hiroshime", "Run To Your Mama", "Nuclear Attack" and "Rest In Peace".

Rating: In my view, a very underrated album. 4.5/5

355. Black Sabbath / The Dio Years. 2007. 5/5

This is the compilation album brought out to commemorate the three albums of the Dio era.
While it would be foolish to argue over the inclusions, when you are only drawing material from three albums and still leaving out great songs, you know you are on a good thing.

Most interest from this album comes from the three new songs written by Dio and Iommi and recorded by them and Butler and Appice – “The Devil Cried”, “Shadow Of The Wind” and “Ear In The Wall”. All three are good solid additions to the legacy, though it is interesting to notice how the balance shifts without the input of Geezer into the writing process. While I think all three are just great songs, "Ear In The Wall" is my favourite - just a little bit more up-tempo than the other two, and this is where the band sounds at its best.

Bring on the new album in 2008!!

Rating: Impossible not to give it full marks. 5 / 5.

354. Midnight Oil / Diesel And Dust. 1987. 4/5

If you are Australian, and you grew up through the 1980’s, then you know the band Midnight Oil. On the back of extensive and furious clubbing in their early days to garner their reputation, the band had chart topping success with both albums and singles throughout the 1980’s decade. Albums like “10 to 1”, “Red Sails in the Sunset” and the EP “Species Deceases” were enormous for teenagers like me and 20-something adults, who all bolted on to those big singles that dominated the airwaves, and the albums that were played over and over in lounge rooms and bedrooms. People would try and dance like Peter Garrett, and manically play the drums like Rob Hirst. And, sometimes without even knowing, they would learn some things about the world, as the band’s intelligent and thoughtful lyrics exposed the holes in governments and industry and other wrongs being perpetrated in the world.
Prior to the writing of the “Diesel and Dust” album, Midnight Oil went out on the road on the so-titled Blackfella/Whitefella tour, which included indigenous bands the Warumpi Band and Gondwanaland, which focused on touring remote Aboriginal communities. For several months of 1986 the band saw first-hand the seriousness of the issues that existed in both health and living standards in these communities. When it came to writing and recording their new album, it was these experiences that the band drew upon, and became the basis of “Diesel and Dust”. The band members in interviews at the time expressed that the album was focused on the need for governments and so-called ‘white Australia’ to recognise the past injustices involving the First Nations, and the need for a reconciliation between the two on all levels. And it is obvious when you listen to the album that this message is quite passionately exclaimed throughout every song.

The four singles released from the album are the best known tracks, but it is perhaps the other tracks on the album that reveal the changing style of the band at this time of their career. Having been known for their high octane live gigs and songs with amazing energy and passion that had drawn in their fan base over a period of over a decade, some of the songs here reveal the bands' ability to write and record songs that didn’t lose their passion or appeal, and that the power of the music could remain even though they brought it back to a slower, softer and somewhat quieter level. “Arctic World” is a prime example of this, focused more on keyboards and Garrett’s vocals with other instruments non existent or muted. This segues almost unnoticed into “Warakurna” which is a beautifully understated song musically, restrained even. It allows the lyrics to grow their full meaning, be the prominent part of the track in an easy singalong style, with the music there to contribute but not to dominate. It is a great example of the way Midnight Oil were changing their style to incorporate tracks like this, not to bombard as they do on stage but to offer their thoughts in an open light. “Whoah” offers a light takedown of several issues hiding in plain view at the time. “Bullroarer” is another great song, again understated musically, not pushing the boundaries of the group’s former high energy output, but instead invokes the lyrics that are being sung. It’s another song invoking the altered style of the band and performed beautifully. “Sell My Soul” and “Sometimes” and “Gunbarrel Highway” all paint their own pictures, perhaps in a more traditional Oils fashion with more Garrett passion in the vocals, more percussion beats in Hirst’s drumming, and more hard hitting on the guitar strings by Moginie and Rotsey.
You know the singles here, or if you don’t you have been on another planet. “Dreamworld” is the bright and fast track that the Oils have always produced in their energetic frame. “Put Down That Weapon” is the anti-arms track of the album, a step away from the ideology and stories of the majority of the songs on the album to keep listeners know they still have an ear and eye on the outside world. “The Dead Heart” is the most prominent of the change in styled songs form the album, released as the first single prior to the album being composed for the tour that preceded it. And of course “Beds Are Burning” which became arguably the band’s biggest ever song, and one that was played on radios... well... still I guess.

I’ve spoken of 1987 often on this blog, the year I finished high school, and how so many albums released in this year have ingrained themselves on me, that remind me of this time of my life because of it. As it turns out, this album reminds me of a different time, of a decade later. Why? Well, when this album was released, my music tastes were dominated by heavy metal. Any type of heavy metal. I was discovering all of these new great bands, and they were my main focus. So when “Diesel and Dust” was released, and those that loved pure rock more than metal began to play it, I listened to it as well. But it just didn’t take. For me, “10 to1” was my template, that album was what I believed Midnight Oil was, and it was that album that I judged everything else they released on. And it is quite clear that early listens to this album didn’t fit that template for me at all. The quiet and soft songs were... quiet and soft... and I didn’t have any motivation to sit down and listen to that at that time of my life. And so I bypassed it, noticing that it sold amazing numbers and the singles were played to death on the radio, and that’s it. Until, as I said, about a decade later, when my wife and I went on a month long trip of the UK, and in the car we had almost all Australian artists to listen to as we drove around the countries. And it was Midnight Oil that struck home hardest on that trip, and the stories they told and the music they played. It was instrumental in my return to the band in a big way. And on revisiting “Diesel and Dust” at that time, I discovered what I had missed in my teenage years. In essence, I was now ready to hear it, and embrace it, without only having to have thrash guitars and double kick drums traipsing through every song I listened to. And now, when I listen to this album, as I have once again a couple of dozen times in the last few weeks, it reminds me of driving around the UK, and how Australian music had kept us company on our overseas journey.

More recently, a few years ago my family and our friends family journeyed through the Aussie outback to Uluru and experienced first hand the magic that this monument exudes, which was a truly amazing experience. And what did we listen to while staying out there while we enjoyed our evening beer? Why, “Diesel and Dust” of course, because this album is the soundtrack to Uluru, the outback, the First People's nations. It is even now a most remarkable album. “10 to 1” will always be my favourite Oils album, but this album continues to grow in significance and importance – and brilliance – the more I listen to it. It is one that everyone should listen to, to hear the lyrics and feel the mood of each song, because they are all entwined in the story being told, and that story is no less important today than it was 35 years ago.

353. Danzig / Devil Songs: Live USA 1989 [Bootleg]. 1990. 3/5

Here is another bootleg (geez I copped a few in a row here...), this one from Danzig in 1989, and is a B quality album from the 1989 tour.
This contains the best of Danzig's early work, as well as a couple of hits from his Samhain and Misfits days.
Overall I think the first half of the album, containing songs such as "Mother", "Am I Demon" and "Twist Of Cain" is terrific, but is let down a little by the back half of the concert.
Still worth a listen for the fans.

Rating: Good for the fans, probably not for those with only a passing interest in the band. 3/5.

352. Megadeth / Deth at Woodstock 1999 [Bootleg]. 1999. 5/5

Soundboard bootleg of the entire Megadeth set at Woodstock 1999, as broadcast on FM radio.

This is a great set, with the best of everything from Risk back to Peace Sells... But Who's Buying? Not only are the four piece in fine form, they blow Metallica off the stage from the same gig.
This is the last performance I have of the Megadeth Prime outfit of Mustaine, Ellefson, Freidman and Menza, but it is a worthy one.

Rating: Great songs, great band, great performance. 5/5

351. Iron Maiden / Den Bosch 27-11-2006 [Bootleg]. 2006. 4/5.

It had become habit forming in the first decade of the 2000’s to perform a concert that contained one of your own albums (or in Dream Theater’s case, someone else’s) in its entirety. Countless number of bands did it, and some did it with multiple albums over multiple tours. 

It was then no surprise when Iron Maiden announced that they would be performing their latest album, A Matter of Life and Death, in its entirety during their touring schedule of 2006. Perhaps the only surprise was that it was this album they chose to follow this path with. Sure, it meant that the band could actually play songs they had not worn out to death, and no doubt this came to them as a fresh idea that carried a lot of merit.
Of course, fans would no doubt have preferred to have heard Piece of Mind or Powerslave in their entirety. The slight downside with this choice was that, as an album, this can bit a bit slow and morbid in its subject matter and music. To be honest, if it had been me seeing this on tour, I would have felt a little bit ripped off, given there would be lots of other songs I’d have rather seen.

Still, getting back to the subject, this is a good quality audience bootleg from this show. From an interest perspective, it is an experience to hear an entire, newly released album played in its entirety. Generally you might get three, four, sometimes up to six new songs played at a gig, most of which will then never be played again on subsequent tours. Here, we have the entire album, and while the same result will be true for most of the songs, at least we have had the opportunity to hear them all live. 

Even if you weren’t entirely enamoured by the album, it is worth catching this to see the difference the songs take on in their live setting. And if you didn’t see the tour (we in Australia did not) then it is probably the only time you’ll ever hear them played live. 

Rating:  An interesting piece worth listening to at least once.  4/5.

350. Metallica / Demonic Invocation [Bootleg]. 1986. 5/5

A-quality bootleg from the Ride The Lightning tour, which like others of its vintage is absolutely sensational. 10 songs, everyone of them classics, featuring Hetfield at his best on vocals.

As good as other tours have been, this one is my favourite Metallica era in regards to bootlegs. It's when they played these songs best, with a real passion, and before James began to sing them rather than emote them. Once again the songs from Kill 'Em All such as "Phantom Lord" and "Motorbreath" and "The Four Horsemen" are in their prime, and sound just brilliant.

Rating: Another brilliant bootleg in every respect. 5/5.

349. Armored Saint / Delirious Nomad. 1985. 3/5

Armored Saint was one of those bands that, in the 1980’s in Australia, you heard about but couldn’t really gain access to. I know I was familiar with their name through the end of high school, but ‘regular’ record stores didn’t carry their albums, and they most certainly didn’t want to order in that ‘heavy metal rubbish’, and the second hand record stores that littered the cities also didn’t ever seem to have any.
Finally a couple of years ago, when John Bush was forsaken by Anthrax and returned to his former band, I decided it was time to check them out, now that the opportunity to gain music from overseas is much easier. Delirious Nomad was the first album I found.

There is little wonder they had a good following in the day. John Bush’s vocals are just fantastic, and the songs rock along. OK, maybe in this modern age the songs have dated, like many of the bands from that era, but that doesn’t mean I don’t enjoy them just as much. I find myself disappointed I didn’t have this album in high school – I could have annoyed a lot more people.

Rating: Good solid outing from a good solid band. 3/5

348. Scorpions / Deadly Sting. 1995. 4.5/5

Bring it on! Another best of collection for the Scorpions! And just in case you don’t think you can fit everything onto one album – we’ll make it a double disc!!

OK, so it’s the record companies who put these out constantly, not the band. And in retrospect it probably wasn’t such a bad move considering the success of Crazy World and in particular the single “Wind of Change”, which brought a whole new fan base to the band that probably hadn’t experienced all the great stuff they had released before that.
As for the tracklist, you can’t fault it. As a greatest hits release, it is top notch.

Rating: For the very best of the Scorpions, this is where to come. 4.5/5.

347. Arch Enemy / Dead Eyes See No Future [EP]. 2004. 3.5/5

This is an EP featuring the excellent song “Dead Eyes See No Future”, two live tracks from Paris, “Burning Angel” and “We Will Rise”, and three cover songs.
Megadeth’s “Symphony of Destruction”, Manowar’s “Kill With Power”, and Carcass’ “Incarnated Solvent Abuse”.

All songs are good. Worth catching if you get the chance.

Rating: Good EP. 3.5/5.