974. Iron Maiden / No Prayer for the Dying. 1990. 3.5/5

After the soaring highs of Seventh Son of a Seventh Son and the excitement it had brought forth in continuing the Iron Maiden juggernaut through the 1980’s, changes in personnel and direction meant that the follow up album was going to signal a changing of the guard. Adrian Smith’s departure to follow a different path which brought the recruitment of Janick Gers as his replacement, and Bruce Dickinson’s dalliance with a solo career of his own meant that the start of a new decade also meant the start of a new chapter for the band and its music.

The popular euphemism is that this is ‘stripped back’ and certainly the majority of the synths and keyboards that were a more major part of both of the previous albums are not present here. Given that this is more the direction that Adrian was heading for (anyone who has heard his album Silver and Gold that came out soon after his departure will know this to be true) it is not terribly surprising he decided to not be involved at that point.
The best tracks are great. The opening salvo of “Tailgunner” comes at you with fire and speed, Bruce spitting his lyrics at you in a true historical sense, bringing back memories of “Aces High” in both its lyrical and even musical sense. Everything about the song is a winner, and it kick starts the album the way it should. Its follow up is “Holy Smoke”, and its humorous portrayal of serious events mirrors a number of other songs from the era that also gave their take on the evangelical sordidness that was occurring. Bruce hams it up nicely in his vocals, and the energy of the song continues the drive of the opening of the album.
The core of the album is where some doubts are raised about what is happening in the new decade of Maiden. There are serious issues – political, wordly – being raised in the lyrics of the songs, not something that is completely foreign to the band, and still in the mix of those songs that the band usually writes, the ones based on movies or literature and the sort. It just feels a tad more morbid than perhaps they usually are, and it’s the music that tends to drag it in that direction. The title track “No Prayer for the Dying” I can still sing along to today, but it does have the distinction of being the first ever Iron Maiden song that I would not automatically look at putting on a mixed tape if I was making one. I would pass over it and look for the next song. Mind you, that applies to this album in general. There are four or five songs in that category which is a telling aspect of the change that has come so quickly between albums. “Public Enema Number One” also joins that category. I can still sing every word of the song such is the constant airplay I gave this album when it was first released, but I would NEVER consider just putting it on at home out of the blue. Ditto “Fates Warning”. Why? I think in essence the answer is… its boring! The energy doesn’t appear to be coming from the band at all, the songs feel like they are plodding along instead of bursting the seams of your speakers. Bruce is singing along but not really driving the songs themselves.
Side Two starts with something akin to enjoyable without fully restoring order or faith. “The Assassin” juggles its momentum by sharp stops and starts and changes in pace throughout, which messes with its ability to be adoringly taken on board. “Run Silent Run Deep” for me is where the album comes out of the doldrums and starts to pick up again. Bruce feels like he’s back in the groove, and the clear run of the music brings back that smooth transition that is required.
“Hooks in You” is a winner, and not just because it was Adrian’s sole contribution to the writing for the album before his departure. Another song to add to the Charlotte Saga, this is a fun song with double entendre and innuendo thrown around with Bruce obviously enjoying himself. This is followed by “Bring Your Daughter… to the Slaughter”, an anthem so strong it had to be banned, blocked and re-recorded to make it the hit it is. Bruce had originally recorded it for the A Nightmare on Elm Street 5: The Dream Child soundtrack with Janick, and when Steve Harris heard it he loved it so much he had the original version suppressed so that Maiden could re-record it and add it to this album. It’s loud, it’s fun and it has energy and drive. It may not be Maiden’s greatest song, but on this album it is the shining moment. The closing track “Mother Russia” is meant to be the epic finisher, drenched in the history of the changing face of politics through Europe. Again, I don’t mind the song, but I really don’t see it as a classic that only this band could perform.

When this album was released I played it over and over and over. For months. I spent lunchtimes in the car listening to it. I drove home longer from places in order to fit it all in. I had it playing on my tape deck and my record player and eventually my CD player. It was Iron Maiden after all, and despite the changes I couldn’t get enough of it. Even then I knew it wasn’t the same as what had come before, but I literally didn’t care. It probably wasn’t until the release of Brave New World, and the re-fusing of Adrian and Bruce back into the band, that I truly understood the flaws that this album has. On reflection over the years, it was the first Maiden album that showed that no band can continue forever to produce albums of such spectacular material that you can rate it as nothing else but full marks. Music was changing, and even bands as huge and synonymous as Iron Maiden felt the need to adapt to what was happening. For me, and for many, Seventh Son of a Seventh Son was the end of that line. What we have here with No Prayer for the Dying is an album that is better than most, because of the band and the writers and performers in that band. Compared to what had come before however, there is a slight dip in quality.

Rating:  “I’ve got the keys to view at Number 22, behind my green door there’s nothing to see”.  3.5/5

973. Elton John / Too Low For Zero. 1983. 3/5

Back in 1983, in the middle of those years where pop and synth were ruling the airwaves of Australian radio, Elton John released this album, and my mother went out and bought it. It was unusual, as Mum didn’t buy many albums, and possibly none since the abomination (my mother’s words) that was Yoko Ono’s contribution to the Double Fantasy album in 1980. It was my first initiation to an Elton John album, as before this it was only the songs that were played on the radio that I knew, and here again the only reason that I sought it out and played it of my own volition was on the strength of the first two singles released that found airplay. It was an education, one that in later life had me searching for all of his albums.

The opening track wasn’t part of that reason. Listening to it didn’t auger well for what was to follow if it was going to follow along these lines. "Cold as Christmas (In the Middle of the Year)" is a dreadfully deadpan, boring opening to an album, one that has the potential to push away would-be listeners immediately. The opening of an album has to be a grabber, one where your attention is diverted immediately to it and drawn into its spell. This opener does almost the exact opposite, and is a disservice to album overall.
“I’m Still Standing” is still the song that punctuates the 80’s decade for Elton. It’s the upbeat, grandiose song that shines with positivity and ecstasy, a bright and breezy proclamation for both Elton himself, and as an anthem for those who wish to push it. You can’t help but like this song, no matter what your mood, as it drags out the bad and replaces it with the good.
The title track “Too Low for Zero” reaches for those same emotions but in a different way, expressing from the depressed side of the spectrum and garnering a slow and melancholic drip feed as a result. I always liked this song as a teenager, perhaps allowing it to feed on my own angsts of the time when they arose. Without those feelings 30+ years later, it probably doesn’t impact me as much. “Religion” is one of those Elton John songs that doesn’t come along too often, one where the piano doesn’t dominate. It’s the guitar, bass and drums that make the most impact here, though in that same mid tempo that the majority of his songs sit in. This has never been a favourite of mine, perhaps because of the lack of piano which is his signature, but it’s a combination of all lots of factors that pushes me away.
The first side ends with what I consider to be a classic, “I Guess That’s Why They Call It the Blues”, a beautifully paced song led by Elton’s piano throughout and sung just perfectly. I can’t explain why I have always loved this song so much. It is completely outside the box of what I would consider my usual style of song, but it grabbed from the start and has never left me. It is one of my three go-to karaoke songs whenever that particular urge grabs me, and although it sounds like I’m strangling a cat when I sing it, I don’t care.
The second side opens with the hybrid craze-induced “Krystal”. Musically it is as far away from a typical Elton John song as you could imagine, but it works. The constant back beat and bass line keeps the momentum flowing throughout, allowing the instruments to fade in and out where necessary, and leaves Elton to sing over the top, telling the story as he does. It is strangely effective, and though I don’t think it works as a radio single as it does become repetitive, on the album it fits in nicely.
This is followed by “Kiss the Bride”, the partner to “I’m Still Standing” in regards to the upbeat up tempo vibe that it provides, a perfect party song to bring out the happy spirits and encourage a singalong as well. It provides the same brightening of the album as its partner does on the first half of the album. The segue into the two works perfectly. It’s a mood lifter. “Whipping Boy” doesn’t quite contain the same energy, but it does maintain the momentum that the album has picked up along the way. It just feels a bit samey all the way through. “Saint” and “One More Arrow” are for me as disappointing as the opening song. For me they are limp and lifeless, and are always a signal to either restart the album (preferably without the first track) or change albums to the next in line. It is a somewhat disappointing finish to the album.

This is probably Elton's best album from the 80’s, and while it was an excellent decision to have Bernie Taupin return as ‘full time’ lyricist here, the songs are still mixed in quality. The best songs here are excellent, ones that you can still sing along with today. The not so good are completely forgettable, and harm the album as a whole when trying to look at it objectively.

Rating:   “And it won’t be long, before you and me run, to that place in our hearts, where we hide”.   3/5

972. Elton John / Goodbye Yellow Brick Road. 1973. 4/5

The album that is spoken about more often than any other in the Elton John catalogue is Goodbye Yellow Brick Road. It is considered a classic, one of those albums that everyone must listen to during their lifetime. Does this necessarily make it a great album? One that can and will be listened to time and time again? Or does it just have a quirkiness about it which makes it a ‘necessary’ listen to appreciate its place in time, and then move on to the next album?

The danger with double albums, as this release was on vinyl, is that they risk being too long, too drawn out, and overstaying their welcome. Having songs that become timeless within the mix can help with that, and that is certainly the case here.
You can imagine that those that have this on double vinyl have probably worn out the first side of the first album, because that is where the gold is situated. The opening instrumental stride of “Funeral For a Friend”, which is then tagged with the brilliant “Love Lies Bleeding” as an 11 minute opening track is still one of my favourite moments from Elton John’s career. The quiet, almost haunting beginnings of the track slowly builds, with the growing musical overlay and addition of instruments along the way, to the crescendo that then halts as it moves into “Love Lies Bleeding” itself is magnificent, and one Elton starts singing as well, bringing with it the emotions of the lyrics, it is one of those songs that I will still get goosebumps from whenever it is played. For me it is a triumph.
“Candle in the Wind” is often referred to as one of Elton’s greatest tracks. Yes, I like it. I’m not sure it would rank in my first ten or so songs of his though. In many ways it was cursed for me when he re-worded it for “Candle in the Wind 1997” for the tribute to Diana Spencer and was then overplayed for months everywhere. That might be unfair, but just the way I feel. What can’t be argued is that it is a part of this album’s allure. "Bennie and the Jets" changes up the attitude of the album for the third song running, with Elton’s hammering piano and halting vocals the main styling of the song. These two songs became big selling singles which increased their influence in the world of Elton John. The opener is still my favourite.
Side two opens with another mega-hit, the title track “Goodbye Yellow Brick Road”, and still has the emotive impact and the change in vocal pitch that separates it from the run of the mill songs. Bernie Taupin’s lyrics here are as far as I am concerned the star attraction. It is still a song everyone can get on board with.
“This Song Has No Title” finds itself in no man’s land after this, the first song on the album that doesn’t come with its own reputation, and as a result it feels out of place. The following song “Grey Seal” is better, played at a better tempo and with more enthusiasm vocally as well. The reggae-influenced and less ordinary “Jamaica Jerk-Off” is followed by “I’ve Seen That Movie Too”, a song that sets itself with the John/Taupin template of easy listening vocals over the placating piano and synth. And it works wonderfully well. It’s the kind of song you listen to while sitting on the lounge relaxing rather than singing along to in a louder atmosphere, but it is still a good track.
The second album starts off in a similar vein with “Sweet Painted Lady”, once again with the tempo not getting out of second gear, just idling along gently like you would hear at a piano bar. You can’t help but like "The Ballad of Danny Bailey (1909–34)". Whether you take notice of the lyrics or note, this has a harder element on the piano and drums than in recent songs, and the jaunty aspect of Elton’s playing brings back that toe-tapping quality which is usually prevalent in his best songs. “Dirty Little Girl”, I think, sounds a bit too much like what came before it in “Benny and the Jets” – not precisely, but to me it always feel like it has the same formula, just with more guitar in holes. Still, this is followed by “All the Girls Love Alice” which is a ripper of a song, utilising all of the instruments to keep the song moving along perfectly in unison, once again picking up the pace and jive of the album, and Elton’s vocals telling the story in style. The only thing that halts this for me is the two parts where he stops to brood over the lyrics, but overall this is one of the better songs on the second album.
Elton channels the fifties on the second side of this second album, starting off with "Your Sister Can't Twist (But She Can Rock 'n Roll)", infusing the synth keyboard into a song that feels as though it should have Chuck Berry playing along with it in the first half, and then the Beach Boys in the second half. Somehow he manages to combine the two into the upbeat song it is.
"Saturday Night's Alright for Fighting" is the undoubted highlight of the second album, building on the previous song by going into all out hard rock, with hard hitting drums, rock n roll piano, heavy licking guitar, thumping bass line and fantastic lyrics and vocals. This is still the song by Elton that produces the most blood-pumping moments, showcasing the fact that he can write the ballads and the pop, but he can also write these hard and rocking songs with just as much aplomb. One of the greats.
“Roy Rogers” moves back to the comfortable mid-tempo piano bar range that this band does so well, though through Elton’s crooning I often think that no matter how much I like this song despite its country and western leanings, what I wouldn’t give to have heard more of the direction of the previous song. “Social Disease” is slightly more enthusiastic while not getting too excited with itself, while “Harmony” finalises the deal in a rising expectation of a wave of emotion that may work better for others than it does for me.

For me, and probably for many people, this would have been an even better album had they done some cutting and pasting, or tried to cull some songs from the release. Hindsight is a wonderful thing, and I wonder if Elton ever thinks about that. It would have been a task, and it would have changed the feel of the album, so given it is considered a classic it probably wouldn’t have worked. For me, the good (and great) far outweighs the less good, and it gives a varied selection of the writing techniques of both Elton as musician and Bernie Taupin as lyricist. In the end, I can only agree that everyone should listen to this album and experience it, for all of those reasons mentioned here. You may not agree with its status as ‘a great’. You may be like me, someone who appreciates the excellence within the music, while understanding that not all of it reaches that pinnacle.

Rating:  “You said sorry honey if I don’t change the pace, I can’t face another day”.   4/5.

971. Twisted Sister / Stay Hungry. 1984. 5/5

Every single person who grew up in my generation of the 1980’s, those that spent those middle years in high school and witness the birth of MTV as a phenomenon, were exposed to the wonderful film clips for those two hard rock anthems, “We’re Not Gonna Take It” and “I Wanna Rock” by Twisted Sister. Some of the in-jokes of the videos may have passed over the head of those thank didn’t also see National Lampoon’s Animal House, but they were memorable all the same. Many of those people will have gone out and bought the album on the strength of those videos, and those that did will not doubt discover, just as I did, that there was much more to the band and the album Stay Hungry than just the outfits and humour that are the initial perspective.

The title track “Stay Hungry” is, in my opinion, one of the greatest opening tracks on an album of all time. It grabs you from the start, the pounding drums and rhythm line, with Dee immediately grabbing you with his recruiting call, announcing the lines of the song in a demand that you sing along with gusto. It’s a fantastic song, an anthem in every sense of the word, and for me is still the outstanding song of Twisted Sister’s career. Whenever I made a mixed tape, or now whenever I make a playlist, this song is almost always a part of it. This is followed by the song that got everyone in, “We’re Not Gonna Take It”, that still evokes a chorus of singing whenever it gets played, especially in my house. I loved the video and song when it was released, and my kids still love it today, thirty years later, so it shows how entertaining it is. From here we move in to “Burn in Hell”, where the star of the show is the chorus, with the chanting between the main lines in the background taking centre stage, such as ‘HEAR no evil, don’t you SEE no evil, don’t you LAY no evil down on ME!” Still great after all these years.
The two parts that make up “Horror-Teria (The Beginning)” are terrific for completely different reasons. “Captain Howdy” is the slow, almost chanting track that reeks of doom, the forbidden and gleeful trappings of Captain Howdy himself, which then morphs into the faster paced and harder rock of “Street Justice”, for the vigilantes to take justice into their own hands. You either love or hate this dual barrelled song. I think it’s great, and follows up the hard core start to the album perfectly.
The second side opens up with the second single, the hard core “I Wanna Rock”, which gets the adrenaline running to the right levels once again, another great anthem to sing along to. And while “The Price” can be considered to be a power ballad, it has the right amount of grunt and emotion in it, perfectly sung by Dee, that it doesn’t feel like it is intruding upon the party. I like the sing-along aspects of “Don’t Bring Me Down” as well, all played at a good pace and filled with the right paraphrases. “The Beast” slows itself down in much the same way as “Captain Howdy” does, which just possibly comes at the wrong time of the album for such a change in momentum. It’s a small thing, but by the time we reach this section of the road I am looking for a continuation of the speed, rather than what is effectively just putting the brakes on instead. This is rectified by the closing track “S.M.F.” which charges at you and is then finished abruptly, concluding what is still a terrific forty minutes of hard rock.

Perhaps this album is rooted in the 1980’s, but that is not to say it has dated. In fact, I really think it is as fresh now as it was when it was released. Let the kids laugh at the video clips, then expose them to songs such as “Stay Hungry”, “Burn in Hell”, and “S.M.F.” and I reckon you’ll have them hooked. Perhaps I’m not in the mood to hear all of the songs every day, but the second I hear the opening to “Stay Hungry”, I’m ready to listen until the end. An album for the ages.

Rating:   “Expect no sympathy, there’s none to be had!”  5/5.

970. Queen / Sheer Heart Attack. 1974. 4.5/5

Queen is the servant of all varieties of music. There is no one way to try and pigeonhole what genre of music they sit in, because each writer and performer has a different style, strength and love. The fact that they have been able to marry that all up over the years and make albums that don’t turn people off because of it is amazing. Here on Sheer Heart Attack it continues to be so.

The overall style of this album does progress from both Queen and Queen II in that there is probably less of the real prog rock that catagorised those early albums, and a more formularised approach to the individual songs. That’s not to say that the style of the songs doesn’t change, they most certainly do, depending on the writer of the song itself. It’s just that the songs themselves seem to moving out of that early experimental atmosphere and into an entirely different arena.
The opening half of the album shows this merging perfectly. Brian May’s assault during “Brighton Rock” is spectacular, and he shows off all of his skills within the framework of the song perfectly. Topped off by Freddie’s marvellous vocals, changing as they do from falsetto to mainstream, and the rollicking rhythm section, halted only by Brian’s unaccompanied solo in the middle, makes this a great opening track. This is followed by the world renowned “Killer Queen”, the kind of radio friendly short sharp heightening of every great part of Queen that made them the band they are. The wonderful combining of Roger Taylor’s crisp drum work and John Deacon’s precision bass playing, Brian May’s scene stealing guitar riffs, combined with the easy tinkling on the piano, and topped off with Freddie’s wonderful vocals and lyrics, backed by the support vocals of the other three members. It seems such an easy task on paper, but the right combination of everything here makes a single that the whole world knows and loves.
The three songs in the heart of the first side almost form a medley, such is the way they segue into each other. Roger’s excellent “Tenement Funster” starts it off, with his lead vocals showcasing how well he sings, despite being the drummer and possibly third in line for vocals in this group. Brian’s layered guitar solo is killer here as well. This is succeeded by Freddie’s “Flick of the Wrist”, which lifts the pace while combining layered vocals of the four all over the top and the introduction of the piano as well, and finally the third part of this triumvirate is “Lily of the Valley”, a quieter, slower Freddie song, concentrating on his vocals rather than the band as a whole, who are for the most part sedately in the background. Each song is terrific on its own, and even as a merged entity it works just as well.
The first side concludes with the brilliant, heavy “Now I’m Here”, dominated by May’s guitar and the layered vocals throughout, Freddie accentuating the power required through his singing on the song. This has been a favourite of mine since I first heard it, which was well after its initial release. It was one of the songs that drew me to Queen, quite simply because of the grunt it has with the guitars and drums and Freddie’s aggressive vocals. Quite simply a ripper.
The opening track of side two is “In the Lap of the Gods”, dominated by Roger’s amazing vocal, so high it is impossible to recreate, though it is Freddie who sings the basis of the song itself. It not only harks back a little to those early albums innovations, but looks forward to where it took the band on following albums. Those vocal overdubs are amazing, but take special attention to Roger’s part. Amazing. This moves straight into the second heavy song of the album, “Stone Cold Crazy”, which again is important in not only being a great song but in giving each member a chance to shine. Roger’s drumming throughout is a joy, John’s bass line perfectly awesome, Brian’s heavy guitar riff the star attraction and Freddie as always emoting throughout. It is no surprise a band such as Metallica covered this song, because it has elements for each member of the band to show their stuff.
The versatility of the band is then proven in Brian’s “Dear Friends”, a quiet reserved short tale which shows that he doesn’t always write just the guitar heavy anthems. This is followed by John Deacon’s first solo composition recorded by the band, “Misfire”, a great song on which he plays most of the guitars. “Bring Back That Leroy Brown” follows a familiar take, with Freddie injecting his ‘jangle’ piano into the song which highlights a separate style of song from most of those here on this album. It wasn’t that last time these changes were noticeable on a Queen album, which in essence highlighted the fact that their style couldn’t be nailed down.
If there is one song that doesn’t do it for me here it is probably "She Makes Me (Stormtrooper in Stilettos)". Perhaps it is too much change through the back half of the album for me, but it has never been a favourite of mine. The album concludes with the crowd anthem “In the Lap of the Gods… Reprise” which gives off a good vibe to complete the full set.

This is top shelf stuff from one of those bands that could do little wrong, even when they didn’t quite live up to your own very high standards. You simply can’t ignore the fact that each of the four members are brilliant in their own right, and that when you put them together they still shine just as bright.

Rating:  “Your matches still light up the sky, and many a tear lives on in my eye”   4.5/5

969. Twisted Sister / Under the Blade. 1982. 3.5/5

I was never really sure what all the commotion was about when, after the success of Twisted Sister’s third album Stay Hungry, there was a rush to re-release and go back in time with this, the debut album Under the Blade. Having said that, I had probably not heard this myself at the time, and was much more enamoured with You Can't Stop Rock 'n' Roll and felt it deserved a better audience. Still, in revisiting this album now, some 35 years after its release, there was probably more to it than I thought then.

While the sound is probably dated in this day and age, the basics of the band, and for the most parts of the album the songs themselves, are all in order and still make all of the right moves. The raw energy of songs such as “Tear it Loose”, whose song current flows along like a torrent while mixing in the duelling solos with Dee’s fighting vocals.
The opening track, “What You Don’t Know (Sure Can Hurt You), starts off strangely and stagnantly, before finally getting into gear about halfway through and delivering a much more emphatic ending to the song. I laugh a little bit when Dee sings “We’re the Bad Boys (Of Rock ‘N’ Roll)”, because, well…it doesn’t SOUND bad! It sounds tame given the punk era that has just passed and the thrash metal era that is growing around them in 1982. But, it’s a catchy tune and vocal gathering which of course makes it fun, if not dangerous.
“Run For Your Life” drags its feet a little, slowing the tempo right down to almost nothing before busting out to a more enjoyable style – reminiscent of another song a couple of albums down the track. This jumps straight into “Sin After Sin”, which faithfully reproduces a similar riff progression and vocally melody line, which easily flows into “Shoot ‘Em Down”, another straight up hard rock anthem led by Dee’s vocals, which do seem somewhat strangely a tad in the background of the mix.
“Destroyer” goes back into the box of the slow moving hard riff sludging chant fest, the kind of song that needs to be a good one or else it can induce boredom. For me here it is more the boredom inducing variety. “Under the Blade” and “Tear it Loose” both redeem this, moving along at a gloriously fun pace, with “Teat it Loose” in particular giving the teenager in all of us some fun lyrics to sing along to.
“Day of the Rocker” is the final track on the album, and is one where it feels as though the wrong move was made. Following all of the energy and hard work put into earlier tracks, to decide on this as the song to finish on, a plodding AC/DC inspired soundtrack without the drive and desire of that bands’ music, makes this an unfortunate finale to what is a pretty enjoyable album.

As I probably made clear earlier, better albums were to come after this. As a starting point it is more than worthy of your attention, because it shows what a lot of hard work in cracking the market can produce. The fact that they found their niche in the 1980’s is not surprising and this starting point has all of the characteristics you will recognise.

Rating:   “I’m gonna live my dream, shout and scream!”  3.5/5

968. Queen / Live Killers. 1979. 5/5

Back in the mid-1980’s the first version I had of this album, firstly recorded on cassette by my mate, and then my own purchased vinyl version, was entitled Live, a one album condensing of the 2 LP version that was released in Australia when the band toured in 1985. It wasn’t until a few years later and the advent of the compact disc that I finally got the fully fledged two album version of Live Killers, and the expansion of this set is what then blew my mind.

Recorded on the European tour to promote the Jazz album, it is the perfect time to do a live album, given the material that the band had up until this point. It can be argued that these songs were never bettered from this point on. Certainly this set list is almost perfect. Those of us who grew up with the albums from the 1980’s can see the benefit of those songs however. Arguments will always arise in this regard.
I only have two contentious points with this live album. I feel it would have been much more beneficial to have left off both “Get Down, Make Love” – which while is a reasonable song just doesn’t gel right into this set list – and “Brighton Rock” – which if I had been at the concert would have been my cue to line up for a beer – and have substituted in “Somebody to Love” and “Fat Bottomed Girls”, which would have kept the momentum of the album upbeat and lively throughout. When I listen to this album today, both of those first songs for me are skip songs.
Apart from that, it is a brilliant live album. Starting off with the fast version of the wonderful “We Will Rock You”, which really starts the fire, it is followed in quick succession by the less well known but absolute pearler songs “Let Me Entertain You” and “Death on Two Legs”. The medley versions of “Killer Queen”, “Bicycle Race” and “I’m in Love with My Car” all flow together perfectly, and after “Get Down, Make Love” the album picks up again with “You’re My Best Friend” and the rollicking “Now I’m Here”.
The acoustic break of Freddie’s “Love of My Life” and Brian’s “’39” is perfect, showcasing the amazing talents of all four members, before the grandiose extravagance of “Keep Yourself Alive”, “Don’t Stop Me Now” and “Spread Your Wings” show why this band is considered one of the finest live acts ever. The classic “Bohemian Rhapsody” is then followed by the hard rocking completion of the album, with “Tie Your Mother Down” and “Sheer Heart Attack” complemented by the finishing salvo of “We Will Rock You” and “We Are the Champions”, along with the recorded “God Save the Queen”.

Some may mock the production or the mastering or the mixing of this album, but nothing can take away from the fact that it presents the live package of Queen in an extraordinary way. The sheer strength of all of the songs in the set list is overpowering, showcasing a band at its peak of both performance and confidence in itself. It doesn’t matter when or where this album comes on, I never tire of listening to it.

Rating:  “You suck my blood like a leech, you break the law and you preach”.  5/5

967. Accept / Russian Roulette. 1986. 3/5

After the mixed response that radiated from the previous album, Accept came back here with Russian Roulette which was going to be their attempt to not embrace the creeping commercialism that they were somewhat branded with on that album, but to retain the production values that the album had provided.

The opening songs all come at you with a great running bass and double kick rhythm, allowing their natural momentum to pull you into the album. “T.V. War” is a smooth regulated train travelling down the tracks, with an easy to abide chorus and vocal line. This is followed by the curiously appealing “Monsterman” which gains your trust easily and without any qualms. “Russian Roulette” has that slightly uneasy shift in tempo that can kill an album, but it is done well here on this song, and still invokes the crowd chant chorus that tends to improve songs when loud and in groups. These three songs make another solid start to the album.
“It’s Hard to Find a Way” is a hard rock ballad, and perhaps the best thing I can say about it is that at least it isn’t a power metal ballad that grew out of this era of metal. It isn’t a ballad in the sense of the word, but lyrically and musically it has moved in that direction, and I still can’t come at things like that. The first side is recovered by “Aiming High” which is an atypical “I love hard rock” raise your fist kinda song, again replete with chanting vocals and guitar solos. Songs like “Heaven is Hell” utilise that tried and trusted method that AC/DC had popularised during the 1980’s, and this is very much in that mould, a slow tempo built around a solid rhythm and moving along in that style for the whole seven plus minutes. It’s either too slow or too long. Perhaps a little of both.
“Another Second to Be” returns us to that faster paced rocking tempo, lifting the mood of the album significantly once again. Udo’s vocals have returned to that higher register again along with the feel of excitement of the album. Perhaps it is only because of the songs like the previous one that makes these kind of tracks stand out, but if that is the case it should be a warning sign. “Walking in the Shadow” again changes that mood, but retains enough of the band’s real character to pull it through. “Man Enough to Cry” is similar in slightly different ways, but now just feels like they are overdoing the chance to find a chorus which appeals to the masses. The album concludes with “Stand Tight” which again builds on this idea of construction a song, which by this stage of the album just feels like it is well overdone.
This isn’t a bad album by any stretch of the imagination, but it is the kind of album you have on in the background and barely notice as it runs through its repertoire. The formula is set from the opening songs and followed throughout, and it’s a very ‘easy listening’ kind of album. Sure the lyrics might be taking on the world, but the easy flow of slow 2/4 drums and rhythm that follows it isn’t inspiring great vertical leaps of excitement. It incites a slow bobbing of the head and a smile of enjoyment that touches the sides of the mouth without eliciting a break for the teeth to shine through. There is little of the commercialism that could be said to have been infused in the music on Metal Heart, but there just needed to be more songs such as “Another Second to Be” on here to bring it to life.

Rather than coming to life with a raging album that sets the precedence, this instead finds itself struggling for air amongst the rising steel of the American invasion of Metallica, Anthrax, Megadeth and Slayer, along with fellow Germans Helloween who had taken on the example set by the guitars of early Accept albums and transformed them into what would be the inspiration for European bands for the next 20 years. This album treads the water of the hard rock line, the comfortable section which they shared with AC/DC. They do what they do well, but whereas they once appeared to be the leaders in what was coming, they by this stage had conformed to settle on the calm waters whilst other took on the storm.

Rating:  “For love I had to give you up”.  3/5

966. Accept / Restless and Wild. 1982. 4/5

Through the course of Accept’s first three albums, there had been flashes of inspiration, songs or even just moments in songs where you could feel the real sound of the band trying to escape into the open. On Breaker those came through almost fully formed, only to have other moments that made you forget that. From the opening moments on Restless and Wild however, you know that the moment has arrived, and so had Accept.

The joy that exudes from the opening track is magnificent. “Fast as a Shark” is vindication for the evolution of their sound, to come up with this track which blitzes along with drums and guitars while Udo chants his vocals, reaching the crescendo in the chorus. Though some ‘historians’ have described this as the first speed metal track, I tend to think of it as the first song of Accept’s Golden Age, announcing the arrival of a faster, heavier, more dominant band. This is followed up by the title track “Restless and Wild” which continues in this direction, and also features Udo moving between his low spoken and high screeching vocals for one of the first times with such conviction. Both of these tracks are a great opening to the album. “Ahead of the Pack” plays along in this style as well, while “Shake Your Heads” is more of a traditional tempo song with the anthem chorus in-built for crowds to sing along to.
The middle section of the album brings things back to a different mood, a much slower tempo and different feeling to the album. “Neon Nights” almost has a Rainbow pacing and sound to it, mixing as it does in the soloing. “Get Ready” is a straight forward hard rock outing with basic rhythm backing along with that lyrical output that encourages the crowd singalong again. “Demon’s Night” sludges into action and driven by Udo’s vocals it moves up and down in tempo throughout but also gathering momentum as it progresses.
“Flash Rockin’ Man” begins the final stanza of the album in style, with energy and guitar riffs that pick up the pace in satisfying style. “Don’t Go Stealing My Heart Away” again has similarities to AC/DC in both style and substance, but is entertaining and enjoyable in its own way. The closer “Princess of the Dawn” goes to another extreme from the speed of the opening track, settling itself into a constant mid-range tempo driven by the rhythm of the guitar, bass and drums, and allowing the song to play out over the top of this, with the lead breaks, keys and Udo’s chanting leading the way. I was surprised that I enjoyed this track so much, even the abrupt ending of the song where it just cuts off in mid stroke rather than the traditional fade out.

Unlike the previous album, that was brought down by three songs that just didn’t fit in with the mold that Accept was trying to break, Restless and Wild contains none of those filler tracks. Everything here works in its environment, mixing faster and medium paced tracks without compromising the whole. The musicianship is second to none, and the overall package is a winner. This is still an album that can be put on and enjoyed at any time, which to me is always the best indicator.

Rating:  “Fast as a shark he'll cut out of the dark, he's a killer, he'll rip out your heart”.  4/5

965. Accept / Breaker. 1981. 3/5

In interviews with the band both at the time of this album’s release and at times since, this is the point where Accept decided to make the music they wanted to without an outside influences. There is little doubt that for at least half the album it can be heard that the direction of the music has gone up a notch in speed and aggression, and yet there is enough there that harks to the past that suggests that there were still a few tendrils holding them to that previous period.

The album kick starts on a great note with “Starlight”, with Udo reaching the heights with his vocals from the beginning, signaling that a new Accept appears to be in motion. This is followed by the faster paced title track “Breaker”, which continues the reimagining of the music, with Wolf Hoffman and Jörg Fischer’s guitars here giving an insight to a future sound of Helloween’s guitar sound. “Run If You Can” expands on this again, looking for the catchy chorus to endure the time between guitar riffs. “Can’t Stand the Night” does tend to begin reigning in back to a previous version of the band’s songs, with Udo stretching to maintain the dignity of his output in what is trying very hard to sound like a ballad like rock song.
“Son of a Bitch” is a classic, if only for young kids who want to release some pent up anger. The expletive-laced vocals, according to all reports having a crack at record companies, make for easy repetition after a few beers and this turned up loud. Probably not as effective at age 47 as it was at age 17, but still enjoyable in the right company. “Burning” jumps straight in with that AC/DC-like fast paced guitar and drums, evoking images of Bon Scott and Angus Young performing it. That’s not meant to be a derogatory comment, just a comparison of what is a great rocking track with similarities between styles. “Feelings” drops back a notch with a heavier riff, but is still driven along by Udo’s vocal power.
“Midnight Highway” is the first real change up the band throws at us here on this album. It moves back to a very 1970’s commercial rock tone which is immediately noticeable in the guitar sound, and then the bridge being sung by Peter Baltes, changing the tone of the song completely. It isn’t bad as such, but it is very noticeably different from everything that has come before it on the album. I don’t get good vibes from it whenever I put the album on, it tends to distract me.
And then… oh my god… what the hell is “Breaking up Again” doing here?! Seriously! I thought we were going in the new direction, taking on the mob and making a serious move towards that heavy sound that would make them the success they should be! Now, I am a renowned deplorer of ballads of most varieties and in most circumstances. But this is just vile. I cannot believe – still! – that this was allowed to make the album.
The album then concludes with “Down and Out” which while it doesn’t fully recover from the insanity of the previous track, at least allows the listener to finish the process with a slightly less bitter taste in the mouth.

This could have been an absolute top shelf album, apart from three things – “Can’t Stand the Night”, “Midnight Highway” and “Breaking up Again”. Those three songs drop this album back a full star in rating, and more is the pity. Take those out (which in the modern age you can do) and it really does have the right energy throughout. Put them back in, and you have a promising album that points to a promising future.

Rating:  “Icicle brains, bicycle chains”.  3/5

964. Accept / I'm a Rebel. 1980. 2.5/5

Mixing a sound that sounds like a cross between Judas Priest and AC/DC, Accept are back with their second album, trying to find their feet in a crowded music marketplace, and establish the identity that they eventually found so well.

Anyone who comes into this for the first time in the modern age, some 35+ years after the album was released, is going to find it somewhat difficult to assuage how this is the same band that they may now be aware of. The answer of course they it isn’t. But listening to this album is like listening to other albums of the age, such as Praying Mantis and Angel Witch and the like. The only difference is that those two bands were comfortable in their music, where if you listen to this you can only imagine that here was a band still trying to discover itself musically.
If you mix the harder rock tracks in you can see a pattern for the future beginning to emerge. Title track “I’m a Rebel” and “Save Us” showcase those Udo Dirkschneider vocals with the guitars of Wolf Hoffman and Jörg Fischer to make pleasant and foot tapping hard rock songs which are more than satisfactory. “Thunder and Lightning” and “China Lady” do the same, perhaps a little repetitively with “China Lady” than is necessary with the vocals, but the soloing towards the end makes up for this over indulgence. “I Wanna Be No Hero” and the closing track “Do It” are serviceable enough songs.
Then there is the change up. “No Time to Lose” is a real rock ballad in the way of the 70’s/80’s fashion, replete with the ‘oooooh wooooo” behind the lead vocals. Peter Baltes takes on the lead vocals here, as this song is completely out of kilter with what Udo would have offered in the role. No surprises for guessing that the other ballad on the album is “The King”, which also features Baltes on vocals. There’s nothing overly inspiring here. This album appears to go towards a more commercial bent that their debut release, perhaps simply because they felt it was necessary to gain some notoriety. I guess if these songs had taken the public’s ear, then we have had a very different history of the band to follow. For so many reasons, not the least that these are average songs, it is a blessing it wasn’t to be.

So, as an album, I’ve no doubt that this would have been better if discovered in 1980 rather than 2017. Having had it only for a few years myself I can accept its flaws as a product of its time and in the birth of the band. The turning point for Accept came over the following few albums, which shine much brighter than this one.

Rating:  “Twilight zone is getting dark, lighted by the sparks”.   2.5/5

963. Testament / Brotherhood of the Snake. 2016. 3/5

Since the reformation of the (almost) original line up of Testament in the past decade, there have been only good things coming forward. New albums to enjoy, a great feeling coming from the band at large, and tours to most of the world. The thought of a new album was something to be celebrated. And perhaps this is where some of the anomalies lie.

The two comeback albums, The Formation of Damnation and Dark Roots of Earth have been good – spectacular in places even, backed by opening tracks that kick start the momentum immediately. The energy present in “More Than Meets the Eye” and “Rise Up” is contagious. Here though, the title track “Brotherhood of the Snake” doesn’t match that, and comes across a little weak in that respect. You would hope for better to follow, and while there are songs that can bring a bit of vibrancy to the album such as “The Pale King”, “Centuries of Suffering” and “Neptune’s Spear”, something isn’t quite right.
What perhaps is a little troubling here on Brotherhood of the Snake is the sameness of the song content. Some may feel this is a general attitude of this genre of music, but Testament has always managed to steer clear of the similar rhythm and riffing that can bring this comparison. Here though it has sounded like it has crept in. The consistent double kick of Gene Hoglan’s drum kit can be attributed to some of that, but it is a combination of factors such as the drums, the rhythm guitar and bass riff blending in together, and Chuck Billy’s vocals not really moving out of the one key for the majority of the album. This might appear to be ill informed or just plain wrong to many people, but I have been waiting for this album to grab me since its release. Usually I can at least attached myself to a couple of songs, and from that point I have a connection which drags me in. That hasn’t happened here. Sure, I can put the album on, and I can have it play in the background and listen to it easily enough. But there is no pull to MAKE me put it on in front of any other album on my current rotation, and that spells trouble to me.

For the first time in a long time, I just feel like we’ve heard it all before. It’s not a bad album, it is just an average album. No doubt many of these songs will sound much better in a live environment, and I hope I get the chance to experience that. Compared to what they have produced in the past, this is slightly disappointing.

Rating:  “There's no place to hide, our sights are set on you”.   3/5

962. Metallica / Hardwired... to Self Destruct. 2016. 3.5/5

I had truly begun to wonder if Metallica would even bother to ever release another album of new material. In a day and age where money is made by touring rather than selling albums, did they even need to bother? They will forever sell out concerts around the world playing everything off the albums of their first ten years. After the horror of much of the material from Load and Reload and St. Anger, did they need to put themselves through all of that again? Sure, Death Magnetic had half an album of good material, but do you actually want to hear any of that live? All of this sounds negative, but in the long run, on the announcement that they had indeed pulled their finger out and recorded a new album, I can honestly say that, on this occasion at least, I was looking forward to hearing what the band had come up with.

What is the deal with releasing double albums? Iron Maiden did it with The Book of Souls, and now Metallica has done it here with Hardwired...to Self-Destruct. Is it a payoff for the length of time between releases, or just an inability to edit and cut out songs to fit it all on one disc? The ludicrous situation comes when you have to put out THREE vinyl albums to fit the material on it! Obviously, if every song is strong enough to warrant inclusion then this is okay. Much like Maiden’s last release, I’m sure the consensus is that a little editing could have been done.
At least you can say that on this album, Metallica has had a crack at finding that lost ground from 25 years ago. It’s not completely successful, but as with the previous album there are at least places here where you can hear that not everything has been washed away from the original item. It would not be an accident that the first three songs that were released as teasers to the album were “Hardwired”, “Atlas, Rise!” and “Moth Into Flame”, as they are still the three songs that give you the best feeling about the album and the band. Harder, faster, vocals that spit and guitars that flame. They won’t necessarily be everyone’s favourites on the album, but they are the ones that best portray the old warm feelings that Metallica once harboured in all fans. “Now That We’re Dead” sits between these, and while the tempo is not the same as the others, the groove works despite its similarity to pieces of Load.
The slower songs still dredge up bad memories of stuff from Load and Reload. It’s that slow sludgy lack of momentum that really harks back to that era of Metallica, an era that sends shivers down the spine for all the wrong reasons. “Dream No More” is the first impact of this. This could almost have come from the sessions from those albums. “Confusion” also drags up memories like that, but probably more from James’ layered vocals, which are a staple of their releases from the 1990’s. “Halo On Fire” finishes much better than it starts. “ManUNkind” is only average at best, mixing as it does some Sabbath-like riffs along with a halting tempo that I find difficult to like.
“Here Comes Revenge” is a creeper, starting out somewhat morbidly before growing throughout until it concludes with you moving to the music without even realising you are doing it. “Am I Savage” is another where the tempo just doesn’t sit quite right. Again it’s that 1990’s tempo, one where the band moved to after its conversion period, and while the build to the end of the song improves dramatically overall it is average.
I must admit that while “Murder One” is not a bad song, I don’t understand why you would write a song in tribute to Lemmy Kilmister that is played at this tempo. Surely it would have made more sense to get it up to the tempo of those great Motorhead songs that he wrote – I’m not suggesting rip them off, but make it a celebration of the man and his music. Instead, we are stuck in this low tempo grunge that had little to do with his music at all. Strange. “Spit Out the Bone” though ends the album on a positive thrashier note. It’s just a little strange that the preceding songs were of such a different vibe that this is suddenly thrown at you as the closer. It lifts your perception, but in many ways it is a false perception.
As a band the individuals still all have what it takes. Robert Trujillo, while in some places still appearing to be overwhelmed by the wall of guitars in the mix, does an excellent job once again. His part is as support player in the band, but he is terrific again and when he is allowed to break out it is noticeable. Kirk Hammett, following the disasterous St. Anger no-solo experiment, again proves he can put together his craft at a high point. James Hetfield strives to find that middle point between youthful screams and middle age lower tone with his vocals again, and for the most part succeeds. The elephant in the room is still the drums. They sound fine, and at least Lars has never repeated that god-awful sound that he decided was awesome on St. Anger. But honestly, has he even put any effort in to what he’s playing? Yeah, he’s rich and clicked up enough credits in those early albums to allow him (and the band for that matter) to do whatever they like, but seriously? Like millions of my generation, when ...And Justice for All came out I spent hours and hours trying to play those songs just like Lars did, and it was fantastic. He was the top of the pile then. Now I reckon my nine year old could play this album with barely a listen. It’s not the only reason the songs these days can’t match their earlier stuff, but to me it’s a major one. Lars inspired generations of drummers with his playing in the 1980’s. Now everyone has gone past him. It’s a little sad to see, and hear.

Initially I thought the album sounded good, with pieces attracting me immediately, and some not so. At the time, it was my assumption that, like many albums, it would grow on me over time the more I listened to it, and that I would be better for it. To be honest for me that wasn’t the case here. The songs that grabbed me straight away I still listen to happily. Most of the songs that I had trouble with have mostly remained that way. If you played only the opening track and the closing track to someone, they would probably think this album could be a rival to the first four albums the band released. If you play two of the songs from the middle, that same person may think this was a rival to those albums from the 1990’s. That’s how subjective it is. I think it is overkill, and by having the courage to remove two or three songs and making it a 60 minute single disc album it would have worked better. But hell, what would I know.

Rating:  “Plug into me and I'll save you from emotion”.  3.5/5

961. Accept / Restless & Live - Blind Rage - Live in Europe 2015. 2017. 4.5/5

Since the return of Accept to the metal maelstrom some years ago, and the recording of three excellent albums, it was probably only a matter of time before the re-imagined line up got around to putting out a live album to showcase their wares. Little did we know that it would be a monster, containing 27 brilliant tracks pulled from throughout the bands amazing back catalogue, and taken from different concerts all over Europe.

Just about everything you could want to listen to is here. From the timeless classics to the newest releases to the surprising entries, very song is performed with heart and steel.

The band sounds great, no matter which venue the song has been taken from, and with the two newbies doing a great job. The rhythm section of Christopher Williams on drums and Peter Baltes on bass keep everything in control, leaving Uwe Lulis and the immortal Wolf Hoffman to showcase their wares on guitar. Impressively, Mark Tornillo on vocals does a sterling job, whether it be the old material made famous by Dirk, or the material he has performed on through the last three albums. He does justice to it all.

I unfortunately missed their tour of Australia some 18 months ago, something that I will probably regret for some time if they don’t tour again. Given that this is an indication of what they can do on the stage, you would think people would be flocking to see them. As a record of their live tour, and how the current line-up can perform, it is well worth giving this a spin whether you are a 40 year fan or an interested entry level listener.

Rating:  "Now you know your dreams are useless, and there are lies you'll never tell"  4.5/5

960. Grave Digger / Healed By Metal. 2017. 4/5

In the modern age, where the world is opened up to the music listener through the internet age, the ability to access all manner of bands and their material means you can experience more music than ever than was the case in my teenage years. So when I see a band is releasing their eighteenth studio album, and I have never heard anything of theirs before, it’s time to get their latest release and give it a spin to see where the longevity comes from.

Thus, Grave Digger is another band I have heard nothing of their back catalogue, and so went in with little to guide me. The thumping start to the title track “Healed By Metal” sets everything off in the right direction, a simple but effectively branded song that encourages chanting along with the chorus with the underlying heavy riff. This is followed by “When Night Falls” which picks up the tempo and flies along with those speed metal guitars, reminiscent of Judas Priest in their heyday. This is exemplified by “Lawbreaker” which jumps straight in and continues in this direction, once again powered by a chorus that encourages the sing along.
“Free Forever” continues to channel the 80’s heavy metal styling, using many of the guitaring techniques used in the hair metal scene (in a heavier sense) to contribute to the music. I don’t know if it was deliberate, but it is effective (think Mick Mars’ guitar sound and you’ll know what I mean). The crowd anthem chorus of “Call For War” uses that theme as well. It’s a simple but effective song progression, and one that pulls on the strings of my youth. “Ten Commandments of Metal” goes for the mid-tempo heavier riff, while the chorus of Chris Boltendahl’s vocals again demand a crowd-chanting involvement.
“The Hangman’s Eye” brings in those Helloween and Gamma Ray hints while retaining the basis of the band’s sound, belting out the vocals and then letting the guitar solo flay along during the break. It really drags you into the album again. This is followed by “Kill Ritual” where you can taste Judas Priest’s influence again, and the pull on my love of metal is again inflamed within the solo break.
And then, hello! “Hallelujah” wants to have an old school thrash influence, though not with the same ferocity. Still enjoyable. “Laughing With the Dead” slows everything back to a chanting mid-tempo again, which for me was a strange thing to do at the ‘end’ of the album. It sounds fine, but why end an album on that tempo? The answer to that is that there are two ‘bonus tracks’ following this – which surely in this day and age everyone gets, this making the ‘concluding track’ NOT that at all? Anyway, Kingdom of the Night picks up that tempo again, but is bettered by the final track “Bucket List”, a romping heavy tune that is a joy to bang your head along with, singing along at the top of your voice. Terrific stuff.

I’m not sure what the long-time fans of the band think about this album, but I rather enjoyed it for the most part. The foundation of the 80’s heavy metal scene being sewn into the fabric of the songs is what appealed most to me, and made it an enjoyable experience. While Boltendahl’s vocals are not what you come to expect from the speed/power metal bands of the halcyon period, where high pitched melodic vocals are most prominent, his fit wonderfully well here, uniquely his own and perfectly crafted to the music. Like a few other bands I’ve found lately, I need to make a serious effort in discovering the bands back catalogue to see what I’ve missed, but as a starting point of Grave Digger for me, this was more than worthwhile.

Rating:  “We hold our shields high in the sky, never surrender till we die”.  4/5