Orchid: The Mouths Of Madness

   San Francisco's Orchid released "The Mouths Of Madness" earlier this year. Garnering pretty rave reviews, the band has more than a passing similarity to metal masters Black Sabbath, and much of the press focusing on this band has drawn comparisons between the two bands. Are Orchid the rightful heirs to the Sabbath throne, find out below.. 

   The title track "The Mouths of Madness" reminds instantly of Black Sabbath classic "Killing Yourself to Live". Singer/keyboardist Theo Mindell echoes Ozzy, without feeling totally like a tribute band. The heavy psychedelic feel of the song is certainly unsettling. The drumming of Carter Kennedy is solid on the tune, but a tad too bombastic at times. Lead guitar by Mark Thomas Baker obviously reminds of Tony Iommi, especially his trademark 70s palette of sounds. A good opener. "Marching Dogs of War" is the band's answer to "War Pigs" and "Children of the Grave". I like the almost lo-fi feel of the song, and the album truly sounds like it could have been recorded in a dreary English recording studio in the early 1970s. Bass player Keith Nickel has Geezer Butler down pat, and plays in a very similar manner with wondrously "busy" bass-lines. Even the harmonica comes in before the solo, Orchid have really gone all out to replicate the sounds of vintage Sabbath. As a huge Sabbath fan, I love this rocking and heavy anti-military number. But, I can understand why some criticize the band as mere imitators, I mean this song and album border on plagiarism. However, the band gets closer to the Sabbath sound and feel than any other band I've heard so far.

   "Silent One" opens with a massive riff that reminded me of "Into the Void" by Sabbath. Telling of the coming of Satan, I like how the band does vary in its subject matter. Like Sabbath before them, the band is certainly very focused on the occult and things that go bump in the night. A killer solo in the middle of the song is the highlight, as is the pretty good rhythm section of Nickel and Kennedy. You could easily mistake the instrumental section of the song for a Sabbath studio out-take, and that is not something I say lightly about bands, these guys are fuc&$$ serious about replicating that heavy, thick, and dank Sabbath sound.  "Nomad" is the album's answer the mighty and untouchable "Sabbath Bloody Sabbath" with a touch of "Snowblind". It is at this point I realize that all of the bands that have sought to imitate Sabbath over the years really have nothing on these guys, this is the real deal, at least in terms of coming so close to Sabbath that I got goosebumps. The song slows half-way through, and is gorgeous and introspective, before speeding up to break-neck speed again. Orchid take you on a roller-coaster of musicality, with tempos and lyrically motifs ranging from spectacular highs to crushing lows, much like Sabbath did before them. A great song, even if it is a pastiche of more than a couple Sabbath classics.

  "Mountains of Steel" is the album's answer to my favorite Sabbath song of all time, the incredibly underrated "A National Acrobat". While not in the same league as "Acrobat", the song is pretty darn cool. The rubbery bass-lines, jazzy kit-bashing, and Iommian leads combine with Mindell's hypnotic voice and mystical lyrics to create a great homage. My pick for the best song on the album, a fantastic tribute that even features a jazzy interlude, that sounds directly from "Sabotage". "Leaving It All Behind" closely mirrors "After Forever" from Black Sabbath masterpiece "Master Of Reality", before warping into a song that sounds very close to Sabotage-era Sabbath. The song is insanely positive from a lyrical perspective, and the flowery lyrics reminded me of "Sabbra Cadabra" from "Sabbath Bloody Sabbath". The song is a bit slow at points and corny, and I found it to be the least exciting song on the album.

   "Loving Hand  of God" opens with some murky bass from Nickel, before some bluesy guitars come in. The most American-sounding song on the album, think a heavier version of The Black Keys, White Stripes, or even Rival Sons. A tale of vagrancy, a strict upbringing, and general misery, the song warps into a fast and dizzy Sabbath jam resembling both "The Wizard" and "Hand of Doom". Not a bad song at all, and it shows off the band's musical chops. "Wizard of War" reminds of "War Pigs" and "Paranoid", an almost punk-like song that is very fast. The song concerns a demonic overlord presiding over death and destruction. Not a bad song, but very unoriginal, even for this band. "See You On the Other Side" again sound very much like something off "Sabbath Bloody Sabbath". About death and confronting mortality, the song is pretty heavy, both musically and lyrically. A fairly long song, it features a quiet and contemplative acoustic section, that is very much like "Spiral Architect", also from "Sabbath Bloody Sabbath", as well as hints of that album's title track. Like a cold shower, Orchid lets loose for the end of the album with an all-out assault of classic metal and speeds up the song.

   "The Mouths Of Madness" certainly lacks any form of originality. The album plays like a Black Sabbath playbook, and you will spend a great deal of your time with the album trying to figure out what Sabbath song each section of each song on this album sounds similar to. However, the band is phenomenally talented at paying tribute to Sabbath, and each song comes very close to the vibe and feel of that band. If you like Sabbath, you could do a lot worse than listen to this band. If you praise music for originality, Orchid may not be for you.

Rating-7.5/10

   

Ghost: If You Have Ghost EP

  Released this year, Swedish fiends Ghost released an EP of covers produced by Foo Fighters main-man Dave Grohl. The covers that the band choose might surprise you, as I certainly did not expect such a non-rock/metal set of tunes. However, Ghost are full of surprises, and you might find something to like here.

   First up is a Roky Erickson cover. "If You Have Ghosts" is a great cover of the 1981 original.A wonderful rendition of the song, it is the highlight of the EP. Ghost make the song less folk and more modern rock by adding brighter guitars, bigger drums and production, and an overall poppier sound. I really like what Ghost has done to the track, and it is nice to hear them move away from the dark and ominous lyrics that their own work contains, even though the songs' lyrics could certainly be interpreted as dark. Even stranger than a Roky Erickson cover is the cover of fellow Swedes ABBA's 1977 single "I'm a Marionette". Taking the song in a heavier and more metal direction, it's a strange choice for a cover that somehow works. Ghost's creepy organ dominates the track, as does the thick guitar sludge that plods through the track. Somehow, they pull it off.

    Keeping with the Swedish theme, Ghost takes on their countrymen and women with a cover of the 1991 hit "Crucified" from the little-known outside Europe dance group "Army of Lovers". The original was certainly a little creepy and sleazy, but Ghost takes the track and warps it from a dance song into a macabre trip through a graveyard, a la King Diamond. The chorus retains the pop element of the song, but albeit much more spooky. I again like their take on the decent original, an interesting metamorphosis. The last cover is a cover of Depeche Mode's 1990 song "Waiting for the Night".  Their version swaps the synthesizers and gentle beats for heavy guitars and swirling organs. Singer Papa Emeritus II takes the vocals in a more operatic direction. Still slow and sleepy, I prefer the original and think it was dark enough, but not bad at all.
A live version of recent single "Secular Haze" is included as a fifth track. A decent rendition, but not one of my favorite songs.

   "If You Have Ghost" is an interesting EP. Fans of the band will certainly like the covers, and despite most of the artists being quite pop in nature, the band definitely add their own warped vision to the music. Pick it up, if only for the superb cover of "If You Have Ghosts".

Rating-7.5/10

  

Judas Priest: Sad Wings of Destiny

   Released in 1976, Sad Wings of Destiny was Judas Priest's second album. Much heavier than their debut, most consider the album the true start of the metal gods. Easily one of the best studio albums by Priest, let's take a look at what makes the album so remarkable.

  "Victim of Changes" opens in spectacular fashion. One of the most recognizable riffs in metal history, the song is a masterpiece. Singer Rob Halford sounds amazing on the track, and many would consider the song one of his best vocal performances. K.K. Downing and Glenn Tipton unleash the heaviest guitar work this side of Black Sabbath circa 1976. I love when the song slows down near the end, and the hazy Scorpions-like section is frosty but beautiful. Halford closes the song with some uncanny banshee-like screams, an incredible range. A Priest staple, and easily the best song on the album. "The Ripper" is another Priest classic. About the infamous "Jack the Ripper", the song is a dark and dank journey through the back-alleys of olde London. The riffs are very intricate and groove-based, and the sound of metal would forever be changed by the seemingly endless riff factory that was Tipton and Downing. Short, but a great song.

    "Dreamer Deceiver" shows off the importance of acoustics on the album. It opens with a bone-chilling introduction. Halford sounds gorgeous and hazy, while the gentle acoustics set the slow pace alongside the half-awake drumming of Alan Moore, who would leave the band after this album. The song's psychedelic and introspective lyrics build, until finally Halford unleashes some amazingly high notes. Besides maybe "Painkiller", I would be hard-pressed to find Halford performing better from a vocal standpoint. Some blazing solos play over the acoustics and solid rhythm section, and the lead guitar work on the album is nearly flawless. A great song that is occasionally played live even today. The albums rolls directly in "Deceiver", which is sonically connected to the previous track. Much faster and heavier, I love the rawness of the production, sparse but epic-sounding. The album really shows off the raw talent of the band, who have little need for effects or layers of distortion. Again very short, but a nice rollicking joint that sounds not that far off from the sound the band would take on the next few albums, much faster.

  
   Side 2 opens with the short instrumental "Prelude". Piano and strings play a Wagnerian-esque orchestral piece. Very ominous, it sets the tone for the second half of the album and is one of the earlier examples of strings on a metal album. "Tyrant" is one of band's more underrated and unknown songs. The main riff is absolutely stellar, one of their most memorable in my opinion. Despite having too much echo, Halford's vocals deliver as well, and I love the lyrics concerning authoritarian despotism. A stand-out track. "Genocide" is another deep-album track from Priest. The more bluesy riff is not as heavy and dark as many other songs on the album, despite the very dark lyrics about massive swaths of death and destruction. I like the creepy spoken word narration section that happens before Halford comes back in full force, and the groove gets even tighter, dare I say disco-like. An interesting song for sure that closes with Halford almost rapping, via a lack of a better word.

    "Epitaph" is an odd song and not nearly as heavy as it sounds. A soft and jazzy tune. I like the Queen-like harmonies and deep lyrics that concern mortality, but it is very different from anything you have heard from Priest. Still, an interesting song. The album closes with "Island of Domination". Classic Priest, a rollicking rhythm section drives along Halford's soaring operatic lyrics combined with some fierce riffing from the Priest boys. Despite some fairly nonsensical lyrics, I like the song in many ways. But not a standout track, it lacks the lyrical depth and emotional impact of many Priest songs.

   "Sad Wings of Destiny" is the first true Priest album. Much heaver than their debut, it shows the band embracing and moving more towards the heavy metal sound that would propel them to international success.

Rating-9/10

Down-Down Part IV Part One: The Purple EP

   New Orleans-based metal super-group Down returned for their first EP in 2012. Widely regarded as one of last year's best albums (well, half of one), fans are eagerly awaiting part 2. I really enjoyed Down IV, so let's jump in and take a look.

   "Levitation" kicks off the album with a blast of sludgy and doomy metal. The first thing you will notice about the album is stylistic shift of the band on the album. Moving away from the more modern and slick earlier albums, Down IV is very raw and grimy. Singer Phil Anselmo delivers a great performance as usual, sounding very gruff and ragged here, matching the roughness of the guitars. New bassist Patrick Bruders adds some more finesse to the bass playing, not to knock former bassist Rex Brown. Guitarists Pepper Keenan and Kirk Windstein sound great as usual on the track, and the departure of Windstein after the completion of this EP was a sad loss for the band. In any case, a great opening track with some mystical and occult-like lyrics. Lead single "Witchtripper" is what initially attracted me to the EP. Think of Queens of the Stone Age meets Slayer and you get the sound of track. Incredibly heavy and doomy, it is my pick for the best song that the band has ever done. Anselmo's low pitched vocal interjections add a great element of paranoia and uneasiness to the track. Drummer Jimmy Bower pounds away in spectacular fashion, and is a great drummer.  The song's creepy lyrics seem to concern dark magic and witchcraft, and suite the deep, growling music very well.

   Down IV continues on with "Open Coffins". Very confrontational and hostile, the song is most traditional Down song on the album. Sonically, the song is less sludge and more Pantera-like than any other track. A decent song, but much more modern rock than the very doomy and creepy first two tracks. "The Curse Is A Lie" is a slow-burner of a tune, very hypnotic and trippy. The cryptic lyrics made no sense to me, but certainly sounded cool atop the deep and downtuned sludge-metal riffs and rock-solid drumming. Black Sabbath were obviously a big influence on the direction of this album, and their influence can clearly be heard on the direction of this track. A pretty good song, I love the heaviness and rawness of the EP.

     "This Work Is Timeless" is a thundering steam-roller of metal magic. Very groove-based, Anselmo works great when he has a huge guitar groove-riff to work with, and the song is again in the vein of Pantera. However, the track contains elements of progressive metal, with quite a few complicated musical changes and drumming patterns. I love the end of the song, and the twin leads sound hauntingly beautiful. Anselmo's effect-covered vocals repeat over and over at the end, increasing the tension before coming back for one more round of riffs and vocal flexing. A complicated song, but quite good. Down IV closes with the doomsday-sounding "The Misfortune Teller". Again, the lyrics are pretty cryptic and apocalyptic, par for the course for Anselmo, who has penned some pretty complex lyrics in his day. The riff is again quite heavy, plodding and Iommi-like in heaviness. Massive.

   "Down IV" is very heavy, raw, and pissed off. There is no "Stone The Crow" on this album. Instead, we get six very deep and dark songs about witches, the end of the world, and of course, death. I personally like the new direction, but the depth of its darkness and heaviness may be a  bit much for some. I look forward to the next EP.

Rating-8/10

KISS:Psycho Circus

   Released in 1998 amidst the massive financial success of their 1996 reunion, the album has been seen by some fans as a massive disappointment and a wasted creative opportunity. I don't necessarily agree with that sentiment, so let me tell you why....

   The album opens with hit single "Psycho Circus". Despite the fairly lame title, the song is one of the stronger on the album. Great vocals from Paul Stanley, solid playing from the band (or maybe not, we don't necessarily know who played what), and some solid production. Whoever played on it, it's a KISS classic and there is a reason it's still played at most live shows even today. "Within" is a pretty good Gene Simmons song. I love the backwards solo played at the beginning. Despite not officially being a member of the band, KISS stalwart Bruce Kulick was supposedly responsible for much of the guitar work, and it certainly sounds like him. Peter Criss is certainly not likely the drummer on the track, but stand-in Kevin Valentine does a great job, perhaps even better than Criss would have. An ominous and heavy tune that would have fit nicely on the underrated "Carnival of Souls" album. I dig it, despite not being very KISS-like at all.

  "I Pledge Allegiance to the State of Rock & Roll" is my pick for the best song on the album. Paul Stanley delivers one of his best anthems in years. Very catchy, well-produced, and very KISS-like. While the lyrics may be a little vapid, it's a fun song and KISS should certainly be fun music. One of the highlights of the track in the bass playing, which sounds like Simmons to me, but who knows. "Into the Void" is the sole Ace Frehley song on the album, but what a song it is. My pick for second best track on the album, it contains that classic laid-back, hazy sound that Ace created with "Rocket Ride" and of course "Shock Me". Frehley sound great on the track, despite having his vocals a little low in the mix. A highlight for sure.

   "We Are One" is one of the poppiest songs on the album. The Simmons tune has a pretty catchy chorus and is certainly not bad. However, it's too much of a left turn for the band for me. I find the track to be pretty boring and dull. ZzzzZz. "You Wanted the Best" fares a bit better. It features all original members of the band trading off lead vocals. While the lyrics are a bit tacky and forced, it's cool for a fan to hear all the members on the track. According to my sources, the guitars on the track are done by Ace, unlike the majority of the songs. Whoever delivers it, the solo is quite good. A pretty decent song.

   "Raise Your Glasses" sounds like Paul's answer to "We Are One". Very Beatles-esque, Paul takes a stab at another memorable rock anthem with varying results. While I like the huge and catchy chorus, the whole thing feels a bit soulless and far too polished. An average track at best. "I Finally Found My Way" is the album's answer to classic "Beth". Totally out of touch with what KISS represents, the song is a sappy and dull Rod Stewart-like ballad. I really can't get into the song and producer Bob Ezrin's version of the
"wall of sound".

   "Dreamin" is another Stanley song. Like many of Gene's songs on the album, it wouldn't have sounded out of place on "Carnival of Souls". Very fuzzy and distorted thank to Bruce Kulick's playing, I like the song, but very modern and out of character from what the fans might have expected from the KISS reunion album. "Journey Of 1,000 Years" is another trippy Gene song. Brooding strings play over acoustics and jazzy drumming while Simmons sings a vocal that reminds of course of the Fab Four. An ambitious song, and certainly not bad, but a tad bloated sonically speaking.

   "Psycho Circus" is not really a KISS reunion album in the strictest meaning of the word. Most of the tracks don't feature Ace and Peter, and many tracks don't bear any similarity to their classic 1970's sound. However, there are a few decent tracks on the album that warrant a listen. Fans of the band should definitely give the album a spin, but prepared to be slightly disappointed of you are expecting a return to form.

Rating-7/10
  

Mercyful Fate-In The Shadows

    After releasing two stellar albums during the early 1980s, Danes Mercyful Fate broke up and left the metal world with a cavernous hole. Easily one of the best metal acts of the era, many were taken by surprise when the band reunited in the early 1990s and produced more than a few albums during the decade. Let's delve a little deeper into the band, beyond their classic albums "Melissa" and "Don't Break the Oath".

   "Egypt" opens the album in spectacular fashion. The all-out metal assault is about as heavy as you could hope for. Guitars from Michael Denner and Tom Shermann are as spectacular as always, very raw and crunchy. Vocalist King Diamond tones down the falsetto a little from his solo days, and sounds in fine form. The song's lyrics and the indeed the album as a whole are a step away from the satanic lyrics of the band's early albums. "Egypt" appropriately seems to be about Egyptian gods and mythology, an interesting topic. A decent track, but nothing to rival their earlier material. "The Bell Witch" opens with a great riff, a sludgy, progressive groove. Bass from Timi Hansen sound great, one of the highlights of the band's sound. After about a minute, the song gallops into a thundering blast of metal. Lyrically, the song covers much of the territory that King Diamond covered during his solo career. About a witch haunting a family in the American South, the song could easily be mistaken for a King Diamond solo track, sans the keyboards so present on his albums. I really like the solos, and Mercyful Fate have certainly produced some great guitar work. A solid track.

   "The Old Oak" seems to be a story about a haunted tree and burial ground. I like the occult and creepy lyrics, but the song just lacks the spark and depth of earlier albums. The drumming is solid, but sounds a bit wooden in terms of the recording, not very crisp. Some great solos are on the track, but I found it to be a tad dull. "Shadows" opens with another chugging, muddy riff. The operatic vocals are gorgeous, as are the gothic-like leads and soft classical guitar. Classical MF, the song is a highlight and a great sign of the classic sound of the band. Great stuff.

   "A Gruesome Time" seems to be a tale of endless torment by a supernatural being for terrible deeds done. The song is one of the more unsettling on the album, very dark. Musically, the song is classical Mercyful Fate: classical-influenced leads, heavy riffs, and powerful drumming along the master of horror's (Diamond) devilish lyrics and trademark screams. A pretty good song, if not somewhat exceptional. "Thirteen Invitations" brings back the satanic lyrics of past albums. More a cautionary tale about satan, it concerns a group of individuals who attend an event hosted by the devil, in which he promised eternal life. A great story, King Diamond certainly has a knack for telling a great tale. The short solo is fantastic, one of the most epic by the band. A classic, I really enjoyed the song.

    The album continues along with the instrumental "Room of Golden Air". I like the classical guitars on the track, as well as the nocturnal organ. As always, the album features killer leads, very technical and classical based. A good interlude into the next song. "Legend of the Headless Rider" features dueling riffs, each playing from separate speakers, akin to what Twisted Sister did on "Stay Hungry". The song title exactly describes what the song is about, a demonic headless horseman roaming around the countryside.  Another song that could have easily fit on King Diamond solo album, it sound less like Mercyful Fate and more like his solo material. But I certainly not complaining, as King Diamond produced some of the greatest metal albums of all time. I like the speed metal section near the end of the song, and it's great to see the band playing fast again, as parts of the album can be a bit slow. The album closes with "Is That You, Melissa?". It seems to be connected to the story told on the band's debut album, "Melissa". After a haunting harpsichord introduction, a massive riff blasts in telling of Melissa's death and how she haunts King Diamond on a daily basis. A beautiful song at first, it soon turns to a chugging and grim tale of haunted despair. An epic song, and a great close to the album. "Return of the Vampire" is included on the album as a bonus track. This rerecorded version features fellow Dane Lars Ulrich on drums. Not bad, but I prefer the rawness of the original, which can be found on various compilations.

   "In The Shadows" is a pretty good album. Although it often feels like a King Diamond solo album, there are plenty of moments when the classic sound of the band comes out. Fans of the band's earlier albums could do worse than giving later albums a spin, and this album is no exception.

Rating-8/10
  

Pantera-Metal Magic

   Strictly for the hardcore, few casual metal-heads delve into Pantera's 1980's material. Mostly self-released on a limited budget, the albums are generally seen as inferior to the obviously classic albums that the band released during the 1990s. Now an insanely expensive collector's item, the album has grown with the band's massive stature as one of the biggest metal bands of all time. Is it worth your time? Let's take a look.

   The sadly departed Dimebag Darrell certainly loved Ace Frehley, and opening track "Ride My Rocket" certainly reveals that love. The song bears more than a passing similarity to Detroit Rock City, and even Frehley's KISS classic "Rocket Ride". Despite this, it's a pretty good song for a bunch of teenagers. Dime reveals his virtuosity coming to fruition here, already playing far beyond his years. The vocal stylings of Terry Glaze sound more like Rob Halford than any member of KISS, and get the job done. However, I can see why Glaze would leave the band, and be replaced by the much more aggressive Phil Anselmo. "I'll Be Alright" reminds me of Paul Di'Anno-era Iron Maiden. This is certainly not a bad thing, and I happen to love the Di-Anno years. The song is basically speed metal. Very raw and fast, Vinnie Paul already sounds great and is certainly no slouch himself, and incredibly talented group of young men.

   "Tell Me If You Want It" is a little more dated. A power ballad of sorts, it sound pretty out of character for the band. Apparently this is direction that Glaze would want to take the band during the mid-1980s. I can see why the other members of the band disagreed, pretty bad schlock. The whispering vocals are very amateur, even given the band's age and the budget of the recording. The drums sound like cardboard as well. Cheesy synths are all over the song as well. The only highlight is Dime's fantastic leads, and any chance to hear the man play is worth a listen. "Latest Lover" is horrible, really really bad. A generic rock song, it barely even qualifies as metal, sounding more new wave than anything. Still better than anything I wrote as a teen, it nonetheless sounds like The Cars and Judas Priest playing together. Yes, as bad as it sounds. Dime supplies a few tasty leads, but the song is devoid of almost any value other than as a very strange artifact from the band's past.

   "Biggest Part Of Me" is a ballad in the most 80s of ways. Big synthesizer strings accompany Glaze's vocals amid Paul's massively heavy drums. The song sounds like Journey on steroids, which is not necessarily a good thing. Pretty good drumming and an excellent solo slightly save the song, but it is nothing spectacular and I am glad than Pantera would later abandon all vestiges of this sound. The title track "Metal Magic" must certainly be heavy, right? After a few synth washes and helicopter sound, Dime treats us to a pretty crunchy and heavy riff. Very thrash metal, the song is pretty fast and heavy. However, the song is terribly recorded, even worse than the other songs on the album. The vocals have far too much echo on them, and it becomes very distracting. A terrible organ solo occurs in the middle of the song. But alas, Dime unleashes a killer solo near the end of the song. The only highlight of this turd, it is almost worth a listen.

   "Widow Maker" is the best track on the album. Despite the quality of the recording, the Judas Priest-like tune stomps its way into your brain. The song shows the early signs of the "groove metal" sound that the band would become synonymous with later in the 1990s. Great leads, solid drumming and bass, and some pretty decent singing from Glaze show the early seeds of greatness from the band. "Nothin' On (But the Radio)" is another fairly generic 80's hair/glam-sounding tune, I would go even so far to say Eddie Money-esque. Not really any worse than a lot of 80s crap, but certainly not what one would expect from Pantera, and far below the standard set by some of the better songs on the album.

   "Sad Lover" is a little heavier. Van Halen were likely an influence on the track, as you can hear the influence of Eddie Van Halen in Dime's playing, as well as the rhythm section. Great playing from Dime, but not a great track, fairly average. "Rock Out" closes out the album.  The song starts as a fairly generic sounding hair/glam tune, but gets much faster will some insane solos from Dime, including some of his first "dive-bombs" on record. A great guitar showcase, but not a great song. The lyrics are especially basic.

   "Metal Magic" has some cool moments. Fans of the band should definitely listen to the album to hear the band's evolution. However, I would not recommend the album as an essential listen for those only casually interested in Pantera. Terrible recording quality, numerous 80s ballads, and even some hair/glam tracks are a far cry from the song unleashed on "Cowboys From Hell" and "Vulgar Display of Power". The level of playing from Vinnie and Dime and to a certain extent Rex Brown is quite good, but Terry Glaze lacked the star power of Anselmo, that powder keg combination of his time with the band. Good for a bunch of teens, but far below what you would expect from Pantera later in their career.

Rating-5/10

  

Monster Magnet:Last Patrol

     Released this year, veteran "stoner rock" (what a dumb genre title) band Monster Magnet comes back for a ninth album. After a moderate amount of commercial success during the mid-90s and early 2000s, the band has certainly seen dwindling attention. However, the album has been heralded as a return to form for the New Jersey band, and with good reason.

   The album opens with "I Live Behind the Clouds". A single guitar note is played hypnotically, before crashing guitars and some killer screams from singer Dave Wyndorf really kick off the album. Wyndorf definitely sounds a little ragged after all his years of intense singing, but his voice still has tons of power, one of the most unsung singers in modern rock. Guitars trade off leads, and the band makes a tremendous racket. The song gets quite trippy when a buzzing guitar plays constantly. I like the tune, a classic Monster Magnet track that could have easily come off the superb "Dopes To Infinity" album. "Last Patrol" takes us on another trip through the cosmos, this time sounding more like something off the incredibly underrated but commercially successful "Powertrip" album. Think the Fantastic Four going up against Galactus in musical form. If you don't get what that means, let me simplify: f**king power. Massive power chords play over Wyndorf's spacy and powerful vocals. Some great leads from Garrett Sweeney round out a great song. A return to form indeed.

   The album continues with  a cover of Donovan's "Three Kingfishers". You may think that the song is too mellow for Magnet to cover, but think again. The band add some pretty heavy riffs to the track. Wyndorf sounds great, as do the sitars from Sweeney, a great trip. "Paradise" is next. Opening with repetitive note-playing like "I Live Behind the Clouds", it's equally as much of a slow-burner of a song. Monster Magnet is all about build-up, and this song has it in spades. Hendrix-like leads increase the psychedelic feel of the song, very retro. Unfortunately, the song builds, but never reaches the "climax" musically speaking. I felt the song could have been heavier in the middle, but it's still a decent song. "Hallelujah" bears no relation to the Leonard Cohen classic. Instead, we get a song that sounds like Steppenwolf meets Hendrix. Bluesy, from a vocal standpoint, Wyndorf supplies some great vocals and lyrics. But the song is a bit boring to be honest, it sits on the same notes for a long, long time, never feeling like it is going anywhere musically speaking. An average Magnet track.

   "Mindless Ones" is another song very influenced by the 1960s. The psychedelic lyrics and copious amount of flanger are very typical of the band, and it does feel very familiar. Longtime fans of the band will enjoy the return to the classic Magnet sound, and it's hard to disagree with that. The song is a bit too loud in terms of production for me, and while the album sounds vintage and raw, at times it suffers from being too distorted. Drummer Bob Pantella is a highlight of the track, and his drumming is solid and powerful throughout the album. "The Duke (Of Supernature)" is the albums' answer to massive hit "Spacelord". Mellotron strings add a great vintage vibe, as do the percussion jangly acoustics. The song never reaches the heights of "Spacelord", but does get heavy near the end, with a great solo and groove, as well as some nice slide guitar. This album will certainly please guitar players, as the band has three guitarists including Wyndorf. One of the best songs on the album by far.

   "End of Time" is one of the few fast songs on the album. Think the Rolling Stones on speed. After the last tune, the song really picks you up. The lyrics are the most druggy on the album, despite Wyndorf supposedly being sober, the song is certainly a trip. Good stuff, and classic form for the band. "Stay Tuned" borders on progressive rock, and again features Mellotron. Desolate and paranoid, the song is apocalyptic in feel, sounding like the tale of the last man alive on Earth. Wyndorf delivers some cryptic lyrics about not trusting those in power. I like the "Planet Caravan" laid-back feel the song, a great song to chill out to. The guitar leads at the end of the song are superb, and only increase to isolation of the track.

   The deluxe edition of the album contains two bonus tracks. "Strobe Light Beatdown" is the closest in feel to 2000s Monster Magnet. Very bright sounding, the song should have been included on the album proper in my opinion. Easily one of the best songs by the band in years, it's straight up rock and roll to the core. A great song. "One Dead Moon" is another bonus track. Acoustic through the first half, it comes in with a heavy riff that sounds great. Again, I don't know why this song was not included on the album, a great heavy song that builds tension in all the right ways. Listen for yourself.

   "Last Patrol" has moments of greatness. The band's glory days are possibly behind them, but this album is their best effort in years. If you at all like the band, give the album a shot, especially if you liked their mid-90's output as it more closely resembles "Dopes To Infinity" and "Superjudge" than "Powertrip".

Rating-7.5/10
  

Blood Ceremony: The Eldritch Dark

   One of my favorite hometown bands, Toronto's Blood Ceremony have been cooking up their particular brand of occult rock for more than a few years now. Released this year, their third album "The Eldritch Dark" has already been on many lists as one of the best metal albums of the year, the band also supported the mighty Ghost on their recent North American tour. Let's see if the praise for this album is warranted.

   The appropriately titled "Witchwood" opens the album. The song tells the tale of what seems to be a pretty dark and haunted place. Singer/organist/flutist Alia O'Brian sounds great, and it is no surprise that the band has risen to the top of the heap of occult rock bands that seem pop up everyday. Blood Ceremony are relative veterans of the movement, and it shows. Guitarist Sean Kennedy plays as if he were Hendrix possessed by Tony Iommi, a great combination of blues and metal influences. The band's rhythm section is also quite solid. The song is very complex musically speaking, it goes through multiple sections and changes before dueling guitar and flute solos come into play. I actually quite like the flute played by O' Brian, I think it adds an interesting dimension to the music, much like it did to Black Sabbath and Jethro Tull. A great opener. "Goodbye Gemini" opens with bass/flute instrumental, before pounding drums and garage-like guitars penetrate the song. The song is very rooted in 1960's bands such as Shocking Blue and Coven, but obviously heavier in many respects, combining elements from proto-metal bands such as Blue Cheer and of course the omnipresent Black Sabbath. The lyrics, like many of the songs by the band, concern pagan rituals and rites and mysticism. A great track, epic to say the least. The band's songs can be pretty long, but always take you on a musical adventure, often very complex.

   "Lord Summerisle" opens with a hauntingly beautiful electric guitar instrumental, a la Tony Iommi. Speaking of Iommi, the song is obviously influenced Sabbath "Solitude". The sombre and lonely flute is the highlight of the track, one word, gorgeous. The song also features dual lead vocals from O' Brien and bassist Lukas Gadke. The tale seems to concern spirits, pagan rituals, and the heaviness of life. A short track, but my pick for the best song on the album. You need to hear this song. "Ballad of the Weird Sisters" tells the tale of siblings who encounter what seems to be witches and demonic possession, spooky stuff. The fiddle playing is an interesting element to the track, and brings it into the folk realm more than metal. I liked the song, especially the storytelling element to the song. The song does get heavy at the end, with some pretty crushing and doomy guitars over O'Brian's flute.

   The title-track comes next. "The Eldritch Dark" is one of the heaviest songs on the album. A sludgy assault of vintage Gibson guitar dominates the song. The most doom metal-like track on the album, it concerns witchcraft and what seems to be the sacrifice of witches. The song is both lyrically and musically heavy, with pretty good results. There is a tad too much flute on the track for me, but it doesn't really take away anything from the track, a damn fine song. "Drawing Down the Moon" again concerns occult rituals, especially of the lunar variety. Musically speaking, Coven would be a reference point here, obviously a massive influence on the band. I love O' Brian's organ playing on the track, an incredibly talented and multifaceted musician. Drummer Michael Carrillo delivers a great performance on the track, pounding the sticks with "Wardian" fervor. The song closes with Kennedy's fantastic guitar leads atop flutes, organ, and crashing drums, a wonderful cacophony of rock goodness.  

  "Faunus" is the only instrumental song on the album. Flute again dominates the track. With O'Brien's attention full devoted to the flute, she delivers some great playing. Not bad at all, but I actually think the song is begging for vocals. The album closes with "The Magician". A Sabbath like jazz/metal sound dominates the song. The track tells the tale of dark entity named Haddo, who has come to take the soul of the nameless victim in the track. Dark stuff indeed. I like the main riff, it certainly has a nice groove to it. Drumming is again a highlight, very jazzy with a great swing. A classically-tinged organ solo straight out of a Vincent Price movie closes the album in spectacular fashion, before being joined by some great guitar leads, chanting, and some of the crispest drumming you have ever heard. A great close.

   "The Eldritch Dark" is very good. I think the band have yet to produce their magnum opus, but are certainly on the right track. Dark, heavy, gentle, sombre, creepy, are all words I would use to describe this album. Fans of bands such as Ghost, Uncle Acid, Purson, and even Electric Wizard will certainly find a lot to like here.

Rating-8.5/10

 
 

   

  

Purson: The Circle and the Blue Door

   In a very short amount of time, London's Purson have gone from being relative unknowns to the darlings of the burgeoning "occult rock" movement that is sweeping metal and hard rock in the wake of Ghost's massive level of success. Combining folk, doom metal, and psychedelic rock, the band are an interesting mix of those sounds and styles. Let's examine their 2013 debut album in more detail.

   The album opens with the short instrumental "Wake Up Sleepy Head". A short acoustic-based tune, it features some haunting Mellotron as well as some great vocals from singer Rosalie Cunningham. A short, but very atmospheric opening that sets the tone for the album quite nicely. The song segues into "The Contract". A hypnotic swirl of bass and Mellotron lays the psych on heavy. Cunningham's vocals remind me of the critically underrated Shocking Blue and their sadly-departed singer Mariska Veres. A great voice in rock, a star among the many similar sounding female-fronted rising occult rock bands. A great song, with some creepy lyrics about what seems to be the fate of your soul.

   "Spiderwood Farm" opens with some Bill Ward-like jazz drumming from great talent, drummer Jack Hobbs. A heavy Sabbath-like riff then comes in, with hints of Iron Butterfly. Cunningham's voice is simply jaw-dropping, one of the more hauntingly gorgeous voices I have ever heard. The folky verses provide a nice balance between the very heavy choruses. The lyrics seem to concern a group of ghouls haunting the premise of said farm. The song is one of the heavier on the album, and one of the more memorable. "Sailor's Wife's Lament" is the band's take on the classic sea songs of yore. Shocking Blue would again be the reference point here, you could easily mistake this song for a Shocking Blue tune, but I'm certainly not complaining about that. I like the sounds of the sea playing the background, as well as the creepy keyboards, which sound like Tom Waits "vibes" at certain points.

   "Leaning On a Bear" is another straight-up psychedelic romp. One of the songs that has helped break the band, I like Deep Purple-like instrumental combined with Cunningham's stellar vocal performance. Like Deep Purple, multiple members get to solo on the track. Keyboardist Samuel Shove provides a great example of the long lost art of the keyboard solo, only to be soon taken over by guitarist George Hudson, who provides a Ritchie Blackmore-esque solo. A great tine about what appears to be an occult meeting, one of the best songs on the album. "Tempest and Tide" brings us back to the folk influence. Pastoral acoustic guitars pluck over sombre strings. Fans of 1960's psychedelic folk will certainly love the track. The ethereal lyrics, delicate instrumentation, and great vocals make for a killer track.  Detractors criticize the band and the genre very much for trying to emulate the past, but with music this beautiful I don't care how old they are (Purson are pretty young) or who they take influence from. In any case, a great track, and my pick for best song on the album.

   "Mavericks and Mystics" shows why some have compared the band to the almighty Jefferson Airplane. Think Black Sabbath meets Jefferson Airplane and you get how this track sounds. Bluesy at points, but also quite heavy, the song picks up the pace nicely from the last, sleepy track. I love the bouncing bass-lines of Barnaby Maddick on the track, and the band has a great rhythm section. A great solo rounds out a smokin song. "Well Spoiled Machine" is a love song, of sorts. The gyrating, distorted bass drives the song along with the jazzy drumming of Hobbs. Hudson injects some pretty heavy and sludgy guitars, a great sound, very clear compared to so many occult/doom bands that try to make their guitars as distorted as possible. The Mellotron is laid on thick, and provides a very full sound. Progressive elements enter the song, and some sections change key multiple times, a very interesting song structurally speaking. But the highlight is again the brilliant vocals and lyrics of Cunningham,  I cannot praise her performance on the album enough.

  "Sapphire Ward" is another trip down the proverbial "rabbit hole". The heaviest song on the album, you'll love the crashing drums, huge riffs, and strangely calming chorus. Cunningham's vocals have a bit too many effects on them in my opinion, but that's one of the few faults I could find with this album. A great track again, it's shaping up to be a pretty damn good album. "Rocking Horse" is a slower, Airplane-like tune. One of the weaker songs in my opinion. There's nothing wrong with it, I just find it a bit slow and plodding. The song actually reminds of the Beatles at certain points, specifically the sound honed on Abbey Road. "Tragic Catastrophe" takes us back to where we left off. "Coven" would obviously be an influence here, and I need to mention said band's influence on the movement, which is huge (just check the eBay prices for anything "Coven"). A slow-burner, the song grows on you, and you'll find yourself humming the song days later. The song seems to concern a tragic figure of sorts, a rocker looking to make his way in a world that has passed him by. I think the song references the feelings of being born at the wrong time, clearly something that Ghost, Purson, and many other bands can attest to, with their vintage brands of rock and metal. A beautiful tale, Purson are great storytellers, and their lyrics are a treat compared to the exclusively demonic lyrics of many of these occult rock bands.

   "Purson" is about as good a debut as a band could hope for. Fans of late 1960's heavy psychedelic folk/rock will certainly enjoy the band. Some might be turned off by the folk elements, but the songs contain more than a few killer metal riffs. I look forward to what the young band has to offer, and I recommend that you check out their debut if you are into the whole retro thing going down in the music industry right now.

Rating-9/10

Clutch: Earth Rocker

  Maryland's Clutch is one of the biggest cult bands in rock. A small, but dedicated group of followers have kept the band afloat since the 1990s. Their tenth full-length "Earth Rocker" gained great reviews earlier this year, so let's take a little closer look beyond the awesome album cover.

   The album opens with the title-track, "Earth Rocker". Singer Neil Fallon sounds like a mix between Phil Anselmo and Danko Jones. A pretty modern sounding band, but with hints of 60's and 70's progressive rock. A pretty heavy song, with some great drumming from the heavy-handed Jean-Paul Gaster. A great start to the album. "Crucial Velocity" is a more metal-sounding song. The Megadeth-esque cryptic lyrics might not be for everybody, but match the song quite well for me. Think Monster Magnet meets Megadeth and you understand where this song is coming from, a great mix of stoner rock and thrash elements. A great cruising song, it will certainly please fans of the bands' previous work. Off to a great start.

  "Mr. Freedom" offers us a tasty groove. "Funk metal" would be the term to describe the tune. Some great bass playing from Dan Maines is solid, especially when combined with the stellar drumming of Gaster. The gruff and ragged vocals from Fallon match the music quite well. A good tune with a nice groove. Hendrix-like guitars round out a nice sound and some great leads from guitarist Tim Sult. "D.C. Sound Attack" brings in a little blues, albeit more modern and crunchy-sounding. Fallon sounds great, his voice aging quite well. Think Hendrix playing for Pantera as a reference point, a very heavy, modern blues tune about American politics.

   "Unto The Breach" is a fast-paced song with hints of D.C. Hardcore bands such as Minor Threat. Clutch's musical influence are varied and complex, and they are one of the most versatile bands that I have ever heard, perhaps too versatile and "all over the place" at times. In any case, not a bad tune, one foot in hardcore, the other in classic hard rock, an odd mix that works somewhat for the song. "Gone Cold" brings in some jazzy playing. Very slow and trippy, the song is a bold experiment. The band's Southern Rock influence comes in here. Smoky, desolate, I like the vibe of the tune. Sparse at best, but a nice break from the fast pace of the previous song.

   "The Face" opens with a big metal riff. The verses build the tension by drawing attention to Fallon's deep and rich voice and anti-establishment Queensryche-like lyrics over some restrained drumming and punchy and short guitar jabs. A big chorus seals the deal for the song. Earth-shakingly heavy and soulful, the tension built during the verses is released in a fury of musical greatness, a great track to say the least. At this point, I am beginning to understand what all the fuss is about. "Book, Saddle, And Go" sounds like thousands of horses running through a canyon. A very muscular song, I like the outlaw, Jesse James-style lyrics. Pantera would be the closest band in sound to this tune, and certainly the band were contemporaries during the 1990s. A nice heavy tune.

   The curiously titled "Cyborg Bette" is kind of a filler song. The tongue-in-cheek lyrics tell the tale of what seems to be a robot lover. A rapid-firing blues number, the music is decent and heavy, but not one of the stronger songs on the album in this author's opinion. "Oh, Isabella" is another dull tune. The song again reminded me of Pantera, with a little more pop sentiment. Not terrible, but just kind of boring. The song seems to middle about, not really going anywhere at all. However, the track has some great bass and drum work, as well as some interesting lyrics. The album closes with "The Wolf Man Kindly Requests". A pretty throaty vocal from Fallon, with some nice bluesy lyrics. The song morphs into a metal tune half-way through, and gets pretty heavy. One of the albums best solos happens in this track, a welcome addition after an album sparse in terms of soloing. A pretty good closer, it even reminded me of Faith No More at certain points.

   "Earth Rocker" will please hard rock fans with eclectic taste in rock. Elements of metal, hard rock, southern rock, stoner rock, and funk are fused together to create the Clutch sound. This album is a mature culmination of many years of forging that sound, and Clutch certainly have a unique sound, despite being comprised of so many diverse elements. I like the band, and I believe that "Earth Rocker" is one of their best musical statements to date. Give it a shot.

Rating-8/10
 

 

Ghost-Infestissumam

  
  The fiendish band of Swedish devil-worshipers (are they really? who knows) released their second album earlier this year to great fanfare. While I didn't immediately "get" the band, I have come to appreciate Ghost and their particular mixture of pop and metal. With a cover like that, this album begs further exploration. Let's take a look at what evil lies within.

   The title track "Infestissumam" opens the album and sets the tone of the album nicely. A choir of ghouls chant Latin-sounding lyrics over a fairly clean and clear rock beat accompanied by classically-tinged electric leads. Hauntingly beautiful, a great intro. "Papa Aspera Ad Infini" sings about the band's favorite topic, the supposed coming of Satan. Fans of metal will surely not be squeamish about the demonic lyrics, but this album is certainly not for your church-going friends.  I try to separate music from any religious message, but the band has certainly done enough to piss off many detractors. In any case, I really like "Papa". Pretty heavy in the verses, but amazingly catchy and calming in the chorus, the combination of the dark lyrics with the pop-like hooks are part of what makes the band so interesting. An organ solo is a great addition, and I have previously expressed a great liking of the organ on Ghost's records. Keyboards take on a more important role on this album, to the dismay of some listeners. A great opening track, haunting, ethereal and catchy as hell (pun intended). 

   "Secular Haze" sounds like a demonic carnival ride. Singer Papa Emeritus II sounds great, a wonderfully pop-like voice. The song is not great however. A little dull compared to the band's earlier singles, it lacks the impact that most of the songs on 2010's "Opus Eponymous" made. The drumming is great, as is are the swirling organs, but I fail to get excited about the track. Not bad.The curiously titled  "Jigolo Har Meggido" barely resembles metal in terms of music, and contains some pretty pop-like sounds. Harmonies, swirling organs, and big hooks all make for a song that will certainly detract some fans of the band's first album. A keyboard solo further brings the album into pop territory, but I don't think any of these elements make the band any softer. The devilish lyrics contrast sharply to the music, and Ghost present a very unique contrast. A fairly decent track, but again, not as fresh or interesting as anything from "Opus".

   "Ghuleh/Zombie Queen" is the best song on the album, and the most majestic song the band have recorded to date. As if ABBA were possessed by demons, it's a piece of pure Swedish pop wrapped in black metal clothing. The Eno-like fragile piano chords combine with the sombre lyrics and vocals to create a beautiful song. Suddenly, the song turns into something approximating "psychobilly". Great drumming, a massive chorus, and awesome organ will convince even the most ardent detractors of the band of their merit. A masterpiece of a song. "Year Zero" opens with demonic chanting amid a pretty heavy riff. The heaviest song on the album, it will certainly please those who feel that the band have lost their edge. The disco-like beat drives the verses along, before opening into a massive chorus, literally sounding like the gates of hell itself opening. Horrifyingly unsettling, but a song that commands attention, much like the band itself. Spooky stuff, but a great song.

  "Body And Blood" is another slice of Scandinavian pop.  The song is a blasphemous take on Christianity, and will surely offend some. As a song, it's a decently catchy song, but somewhat bland. The solo is a highlight, and Ghost's lead guitarist(s) is excellent, a true highlight of the band's sound.  "Idolatrine" contains some of the band's most cryptic lyrics. A tough song to understand, it shows that the band's lyrics are really open to interpretation. The music itself is quite catchy,  a big and almost jazzy song with some great organ and bass work. A strong song.

   "Depth Of Satan's Eyes" tells of the lure of the most unholy one. The song sounds "new wave" at some points, and shows the growing focus on keyboards. However, at other points, the song is quite heavy, one of the more metal-like tracks on the album. An interesting song musically. "Monstrance Clock" closes out the album in spectacular fashion. Epic, would describe the song most aptly. Basically telling of the birth of the Anti-Christ, it's the musical equivalent of the film "Rosemary's Baby". Dark stuff indeed, but a fantastically catchy and remarkable song, one of the band's best to date.

   "Infestissumam" is a very good album. The band are great musicians, and their brand of demonic pop-metal will forever be remembered. Combined with their theatrics, the band cannot be ignored. While a few songs lack the impact of Opus Eponymous, some of these tracks are among the best any metal band period have ever written. The moments of genius outshine the average tracks, and I look forward to what the band have to offer in the future. If you aren't easily offended by dark and demonic lyrics, give this album a spin, it's worth it.

Rating-8.5/10

 
  

   

Killer Dwarfs: Dirty Weapons

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   Currently living in Oshawa, it's a shame that I haven't done a review of the band that put my hometown Oshawa, Ontario on the map in terms of metal. Released in 1990, it was one of the band's bigger albums, coming in the wake of opening for a string of dates for Iron Maiden the same year. Let's jump in and see what the local boys got.

   "Dirty Weapons" was one of the biggest songs for the band and can occasionally be heard on classic rock radio today. I've always liked the song, a great example of late-period glam/hair metal, much bluesier and fuller than a lot of the crap released by bands such as Britny Fox and Nitro during the late 1980s. The band never really fit totally into the glam scene, and were more in the vein of Skid Row and the edgier hard rock acts of the late 80s and early 90s. A great track, with some great vocals from singer Russ Dwarf(Graham) and some great solos from Mike Dwarf (Hall). The adoption of Dwarf as a surname of each band member is perhaps one the most remembered aspects of the band, which is still a pretty funny idea today. Anyways, "Nothin' Gets Nothin'" shows the band moving towards more commercial territory compared to the band's early sound. A big song sonically speaking, you can see the band's sound moving more towards a stadium-rock sound. I like the song, and the band's rhythm section is especially of note, very powerful drumming from Darrell Dwarf (Millar). A pretty good tune, but a bit less raw than earlier albums, much more slickly produced.

   "All That We Dream" sounds like a mix between Tesla and Iron Maiden, which is pretty much how I would describe the band's sound. I mean this is the best possible way, as the band combine both American metal influences while still maintaining elements of  the NWOBHM sound. The bass work is especially of note on the track,a great sound. I like the song quite a bit, and it's nice to see a band move a little away from the sleazy subject-matter that dominated metal at the time. Oshawa's a town full of heart and soul, and these Canadian boys had that in spades. "Doesn't Matter" reminds me very much of Tesla, a country-tinged rock song that isn't very metal at all, but is pretty uplifting and catchy. I like the acoustics, and great backing vocals. A Dwarfs classic with a very nice solo from Hall.

    "Last Laugh" is the most traditional 80's metal tune on the album. Dokken would be the reference point here, a little darker and heavier. I like the song, one of my favorite on the album. Hall's leads are solid throughout the album, and the song features some of his best with the band. Another solid song about what seems to be getting revenge in a relationship gone wrong. A tad short, as are most songs on the album. "Comin' Through" takes us back into Ratt territory, full of swagger and bravado. I like the edge to the song, more rough and tumble than some of the more commercial-sounding tracks. Good stuff.

   "One Way Out" shows the growing incorporation of a bluesy/pop sound among many glam/hair bands during the late 1980s. Not crazy about the chorus, but I love the heavy drumming from Millar, a very powerful sound. Not bad, but not one of my highlights. "Appeal" reminds me of Winger for some reason. Very powerful vocals from Graham show off the song. Unfortunately, the vocals are a little low in the mix. However, it's nice to hear the bass come to front as well.  A solid rocker, with another great solo.

  "Not Foolin" is the bluesiest track on the album. I like the rawness of the track, a very live-sounding recording. The song reminds me of a Cinderella song, without the sometimes grating vocals of Tom Keifer. The best track on the album, pure bluesy rock and roll at its best. The album closes with "Want It Bad". The opening riff is pretty heavy, and in a sense, musical complex for their genre. I like the effect-laden verses, pretty trippy and atmospheric. The chorus picks up the tempo, with some memorable lead guitar and great vocals. A great song.

   "Dirty Weapons" doesn't contain one bad song. Despite a few less-than-killer tunes and the band becoming a little more polished, it, and their other early albums remain some of metal's best kept secrets. A very solid band, they eschewed the brainless subject-matter of many peers, and produced some interesting music, Give them a shot.

Rating-8/10

  

   

  

Black Sabbath: Gathered In Their Masses (Audio CD)

   After their massive 2012/2013 reunion tour, Black Sabbath has decided to release their Melbourne, Australia show on Blu-Ray, DVD, and CD in time for the holiday season. I will be reviewing the live album that comes packaged with the concert video. Let's take a look.

   "War Pigs" opens the set, and what is there really to say about the song that has not been said already. Certainly not the best rendition of the song on record, but not bad at all for a band that has been active for more than forty years in some capacity. Ozzy's interjections make the song enjoyable, but the song does sound a little sloppy in places. The sound of an aging Sabbath is still powerful and massive, but one does notice a big difference in quality between this version and the definitive version off the "Reunion" album. One positive is that you really feel in the crowd here, much more so than the slightly sterile "Reunion" album. "Loner" was my pick for the best track off 2012's "13". The studio version is certainly better, but it is nice to hear a new Sabbath track played live. Bassist Geezer Butler and touring drummer Tommy Clufetos have a nice rapport going on, and they form a mighty rhythm section. Iommi and Ozzy have moments of brilliance, but the once bright lights of these aging rock gods are definitely dimming. Ozzy seems to forget some of the lyrics, and Iommi's playing is not nearly as tight as it used to be. But who gives a crap really, these guys have nothing to prove at all.

   "Black Sabbath" sounds as ominous as ever. A good version of the track that forged the sound of metal, Ozzy sounds surprisingly clear and powerful on this version, proving the Prince of Darkness still has some fire in him.  I was glad that Sabbath included the new songs on this album. "Methademic" was included on the deluxe version of "13", and is a very underrated track. I love the massive riff and rapid-fire drumming from Clufetos, one of the highlights of the album. The new songs are really the best part of this album, as the band seems more into playing some new and fresh stuff than the old tunes. A great song, and a pretty good live version of it, despite Ozzy's vocals being fairly low in the mix."N.I.B." comes in next. I love how Geezer's bass solo changes ever time it's played, and this version is pretty good. A classic song to say the least, this version is more than adequate, but again not quite as good as the much younger Sabbath playing it on "Reunion".

   "Iron Man" is a song that man Sabbath die-hards (like moi) actually don't really care for. I'm pretty much indifferent to the song at this point. It's nice to hear the crowd get fired up for the track, but I can honestly say that I don't listen to the song often. That being said, this version is quite good, especially due to Clufetos' brilliant drumming, which I was lucky to see in the flesh at the epic Lollapalooza 2012 show. "End of the Beginning" comes next. A underrated track from "13", it's a slow-burner of a song. This version is quite good, despite Ozzy having some timing issues. It was one of my favorite tracks from 13, and it's great to hear it played live. I was happy to hear the song played live at the Toronto show in August 2013, despite the lukewarm reaction of the crowd to the song.

   "Fairies Wear Boots" is a timeless metal anthem, and the song needs little introduction. While Bill Ward is sorely missed, Clufetos' drumming is definitely the highlight of this version, a great drummer. Geezer also sounds great, having evolved his bass playing and sound over the years, adding a more modern element to the track. A pretty good version, I would actually say this version is better than "Reunion", more raw and jammy. "God Is Dead" was met with a mixed reaction from the public and press. The song has grown on me over the last year. This version is pretty good, and is the closest of the new tracks to studio-like quality.

   "Paranoid" comes in to close off the album. But first, we are treated to a teasing of the introduction to Sabbath Bloody Sabbath. Sadly, the song is no longer played completely, due to it being far out of Ozzy's current vocal range. Not much to say about "Paranoid", easily one of the most played and important rock tracks of the 20th century, so sit back and listen. A great closer, especially Iommi's solos and Geezer's killer bass playing.

   Black Sabbath might not make another go of it. But if so, "Gathered In Their Masses" is a fitting testament to the godfathers of metal. While they may be aging, the songs are still quite good facsimiles of the recordings that they have done. The inclusion of four new songs makes it worth it alone. When combined with the excellent and longer concert video, fans of Sabbath will certainly enjoy the package. Pick it up this holiday for your dad, brother, heck even yourself. Long live Sabbath. 

Rating-7.5/10 (Audio CD)

8.5/10 (Complete Package)

   

Windhand:Windhand

  
   Richmond Virginia's Windhand released their debut full-length in 2012. The album received a decent amount of press, but not as much as 2013's "Soma". Let's take a look at where the Windhand saga began.

   The first thing that makes Windhand unique is the fact that they have a female lead singer. This is rare for metal bands in general, and exceptionally rare for bands in the doom metal genre that they occupy. Singer Dorthia Cottrell has a great voice, and it adds an ethereal quality to the music. First up is "Black Candles". A very dark and gloomy song, it obviously reminds of the godfathers of metal Black Sabbath and their 1970 debut. The crackling sound of what appears to be rain plays throughout the start and end of the song. A crushingly heavy down-tuned riff dominates the song. Cottrell's wail is tormented and unsettling, a perfect accompaniment for the hazy and sludgy music. A great introduction to the band. ""Libusen" continues the deluge, by again opening with the sound of a downpour of rain a la 1970's "Black Sabbath". I love the heaviness of the track, but Cotrell's vocals are a bit too covered in effects on some tracks for my taste. Also, the song drags on a bit at over eight minutes in length. Drummer Ryan Wolfe does lay down some killer drum work, and the solo adds an element of desolation and crushing bleakness, but the song is a bit long in the tooth.

  "Heap Wolves" opens with a great, doomy riff. The song instantly reminded me of Alice In Chains, especially Cottrell's voice. The lyrics are quite hard to hear, due to the fact that the vocals are so heavily effect-laden.Despite this, I love the massive riffs, thunderous drumming, and banshee-like voice of Conttrell. The best song on the album, it is one of the better doom metal songs I've heard in years. The genre is certainly a little bloated right now with many bands sounding way too similar. Windhand seamlessly combine the best of doom bands such as Electric Wizard and Orange Goblin, while also taking sonic cues from 1990's alternative/grunge. A great sound. "Summon the Moon" is an incredibly slow and plodding song, but has a massive sound. The occult-inspired lyrics occupy familiar territory for the genre, but sound somehow more creepy coming from Cottrell than many other singers in the genre. A great track, but the song tests patience at over ten minutes long. The speed of the song may also turn some off, but fans of doom metal know that slow speeds are par for the course on many tracks. The solo on the song is great, easily the best on the album.

    The album closes with "Winter Sun". The song opens with the sound of a harsh wind blowing. The band is great at creating ambiance for their tracks. The song sounds like the musical equivalent of some death march through some icy mountain path, very bleak indeed. Cottrell adopts a more traditional style of singing here, and it sounds great. The best track on the album, it's also their most approachable. A great closer, with some smokin' solos.

   "Windhand" is a great album. One of the best doom metal albums to come around in years, fans of the genre will certainly like the album. A fresh take on an increasingly stale genre, I look forward to what the band has in store down the road.

Rating-8.5/10

UFO-No Heavy Petting

  

   Released in 1976, UFO's fifth album would be my pick for their best studio album to date. A masterpiece of hard rock, there is a lot to like about this very underrated album. Let's take a look.....

   UFO really hit their stride with their third effort with German wunderkind Michael Schenker. The album opens with the macho swagger of "Natural Thing". An ode to sex and rock and roll, the song is basically about the band finding various young females to ummmmmmm have fun with. Anyone with a passing interest in hard rock cannot deny the greatness of this track, and it will be playing in your mind for week to come. A classic. Next comes a fan-favorite. "I'm a Loser" is a beautiful song that shows off UFO's range in terms of songwriting. Basically about a man who is down on his luck, the delicate keyboards accompany singer Phil Mogg's hauntingly powerful voice. Schenker's leads add the rock to the song, and words can barely describe what a great song "I'm a Loser" is. Top stuff.

   The album rolls along (pun intended) with "Can You Roll Her". I personally like the dimension that keyboardist/songwriter Danny Peyronel added to the band during this short time with them. The ferocity of his playing was great, and it really fills out the song. Great drumming from Andy Parker, killer leads from Schenker, and some of the best bass work by Pete Way combine with Mogg's voice in perfect fashion, a great track. "Belladonna" is a bit of a ballad, and quite different for the band. A big hit in Russia, the song is slower and more introspective than ever before. Seemingly about a failed romance, the song is less rock-like than many of their other tracks, but that's certainly not a bad thing. "Belladonna" shows the band expanding and maturing their sound, becoming equally comfortable with all-out rockers as well as more soft and delicate ballads. A UFO classic. "Reasons Love" closes out side 1, and what a closer it is. A massive riff from Schenker opens with track, with some solid drumming from Parker. Mogg's lyrical and vocal bravado is at its peak here, a great front-man to the one of the most underrated rock bands. Basically about rock's classic "evil woman" archetype, the acid-tongue lyrics are great. Schenker's mastery of the guitar becomes even more apparent during the track, and its hard to believe that the band had only one guitarist at this point, a very full and heavy sound.

    Side 2 of the album slows things down a bit. "Highway Lady" is one of the weaker songs on the album. Written solely by Peyronel, the song doesn't match well with the overall sound and feel of the album, sounding like Bruce Springsteen lite at points. Very heavy on piano, it sounds quite foreign to UFO, despite some solid vocals from Mogg and a decent solo from Schenker. "On With the Action" is a great song, another UFO heavy-hitter. Bluesy, the song Mogg's voice taking on a bluesy sound for one of the first times. Schenker's leads are out-of-this-world, backed up by one of best rhythm sections to ever grace the rock world. 

   "A Fool in Love" is a version of the Frankie Miller/Andy Fraser song. Kind of useless on the album, it sounds very typical of the era of cock-rock, like a Bad Company outtake. Not of the quality of UFO, the song is a mere footnote in the history of UFO. Not bad, but not necessary at all. The album closes with "Martian Landscape", a remaining vestige of their psychedelic days. A utopian tale of a future sci-fi world, I quite enjoy the track, a sign of things to come on "Lights Out", the band's next album. Particularly strong is the great keyboard playing of Peyronel. The song reminds of Queen at points, with some very progressive sections featuring very complex chord changes. An interesting song.

   "No Heavy Petting" is a fantastic album. Fans of hard rock need this album, which in my opinion is better than both "Force It" and "Lights Out".

Rating-9/10

 
 
  

Thin Lizzy:Renegade

  
  1981's Renegade was Thin Lizzy's eleventh studio album. A very overlooked album, many are quick to write it off as the band running out of steam. I would not agree, let me tell you why.....

   The album opens with one of Lizzy's most ambitious tracks, "Angel of Death". Lizzy's answer to "Sympathy for the Devil", it tells the story of Death, that constant taker of souls as he witnesses people die during catastrophes throughout history. Although the production is a bit too keyboard-heavy, I like the song. Great lyrics from the master poet, singer/bassist Phil Lynott, and some pretty good leads from guitarists Scott Gorham and Snowy White. Next is "Renegade". A kind reggae-tinged song, it reminds of the sound that Phil Lynott had started exploring during his less-than-stellar solo career. The song drags on in parts, very slow and again quite heavy on keyboards. Lizzy was definitely moving away from the hard-rock sound they had forged during the 1970s at this point. Not bad, but not a Lizzy classic.

    "The Pressure Will Blow" picks the album up a bit. It opens with a classic Lizzy riff containing some killer twin leads. The timeless Brian Downey provides a solid beat, a great drummer as I have said in my previous reviews of Lizzy albums. A lame interlude almost derails the song, and it sounds like the theme to a game-show of the era. Thankfully the interlude ends quickly. Like on Chinatown, the album really starts to reveal the fast-deteriorating condition of Phil Lynott, his voice scratchy and gravelly. One of the better songs on the album, a near-classic. "Leave This Town" is a traditional rocker.In this rollicking toe-tapper, Lynott tells of getting out of dodge for health, financial, and other reasons. I'm sure that this song was at least semi-autobiographical at this point in time. A decent song, but somewhat of a filler tune.

    "Hollywood(Down On Your Luck)" is a fairly classic Lizzy rocker. Comparing the hard life people in many cities live to Hollywood, it's an interesting Lynott tale of desperation. The song lacks the rawness and oomph of earlier Lizzy albums, and certainly the fairly bland Snowy White and the band's growing drug problems were part of the reason for this.  Still, the song is catchy and endearing, a great rocker. "No One Told Him" is a ballad of sorts, telling the tale of a man dumped by a heartless woman. White's solo just doesn't work, far too weak for such a ballsy band. Otherwise, a pretty good song.

  "Fats" is one of my least favorite Lizzy song. The song is very out of character for the band, and Lynott's voice sounds totally shot. The lyrics are totally sub-par for Lynott in my opinion, not one of his finer moments. Skip this one. "Mexican Blood" meets the definition of a deep album cut. Despite being heavy on synths, I like the nylon-string guitars, solid drumming, and a great story from Lynott. My favorite song on the album, a very underrated song by the band. The album closes with "It's Getting Dangerous", a slow burner of a song. The song is not one of my favorites. Not bad, but a little too long, and very heavy on the synths.

   "Renegade" is not a great album. But, fans of the band will find some tunes to like here. Easily one of the weakest Lizzy albums, check out the earlier albums or excellent "Thunder and Lighting" if you are just getting into the band.

Rating-7/10
   

Waysted: Vices

   Released in 1983, Waysted was the first album by former UFO bassist Pete Way and his then new band. A sort of lost classic, I feel that the album has never really gotten the recognition it deserves. Let's take a look...

   Single "Love Loaded" is not that far off from the sound that Way forged with UFO during the 1970s and early 1980s. Singer Fin Muir even sounds a little like UFO front-man Phil Mogg, albeit not nearly as vocally powerful. I like the song, a pretty solid rocker with some great over-the-top sleazy lyrics and lead guitar. Pete's bass playing is solid as ever, but I have always found former Def Leppard drummer Frank Noon to be a little heavy handed, and this album is no exception. "Women In Chains" is a sinister-sounding song. Creepy synthesizers are provided by UFO keyboardist/guitarist Paul Raymond to great effect. Muir lets out some sick sounding vocals on the track, a great vocal that is very distressing and unsettling at times. A creepy song to say the least.

   "Sleazy" is a perfect title for a song on this album.The song reminds of UFO, especially their early 1980s output. I like the lead guitar work of Ronnie Kayfield, an underrated guitarist. Muir's vocals are quite unique and powerful, with a deep resonance and growl to them. "Night of the Wolf" is a song written by Way. The slow and creepy song takes in classical elements, especially in the guitar work. After an atmospheric introduction, the song kicks into an Iron Maiden-like gallop. Muir is capable of some truly horrific sounds, and his lends perfectly to this macabre song.

   "Toy with the Passion" opens with some thunderous Keith Moon-esque drumming from Noon. The song again sounds very much in the vein of UFO, and that is certainly not a bad thing. Muir sounds great here, his raspy voice provided the oomph needed to really drive the song along. Rock-solid drumming and killer bass from Way round out my favorite track on the album. "Right from the Start" is the power ballad of the album. I liked the song, the main highlight being some great lead guitar from Kayfield as well as the stellar Waysted rhythm section of Way and Noon.

    "Hot Love" is a classic rocker of a song. I like the tinkling pianos and lustful lyrics. The song's a little on the slow side, but not a bad little tune at all. "All Belongs To You" reminds of UFO's classic 70's sound as well as a hint of Aerosmith. A great rock and roller, the song was written by Paul Raymond. One of the best songs by the band, with a great solo and vocals. "Somebody To Love" is a metal cover of the Jefferson Airplane original. Not really bad at all, but nothing particularly mind-blowing.

   "Vices" is a good album. Fans of hard rock and certainly UFO will find a lot to like here. The album can be found for pretty cheap, so pick up a copy. The band never reached the heights of super-stardom, but certainly were a great act that remain a pretty underrated force in rock and roll.

Rating-8/10

  
  
  

Creed: My Own Prison

   Released in 1997, My Own Prison sold millions of album and propelled Tallahassee's own Creed to super-stardom. Almost universally loathed by critics, the band has nonetheless garnered a large and stable following in the years since their ascent, break-up, and reunion. I managed to avoid the album back in the 1990s, so I thought that I would finally take a listen to one of the biggest selling albums of the late 1990s.

   The album opens with "Torn". A fairly generic Pearl Jam rip, the song is neither offensive nor all that appealing. I like the pretty heavy riff by underrated guitarist Mark Tremonti.Solid drumming, bass work, and decent vocals from sex-tape superstar Scott Stapp round out a decent song. I was surprised that I actually somewhat enjoyed the song, not as bad as people would have you believe. "Ode" shows the band's progressive rock tendencies. I like the rapid-fire guitar work. The song reminds of Alice In Chains(not nearly as good), very dark and introspective. Totally unoriginal, but a decent, if typical 90s alternative song. Drummer Scott Phillips is one of the album's highlights, a very solid and capable drummer. Again, "Ode" is actually not a bad song at all.

    Anyone who was into music in the late 90s remembers the smash hit "My Own Prison". I hated the song back in the day, and I can still say that it is not for me. The down-tuned, jangly guitars plod and annoy. Stapp's grunting and barely audible lyrics annoy at lower speeds. Despite this, the guitars are pretty heavy in the chorus, and the drumming and bass are still par excellence. You've likely heard this song a thousand times before, so there's not much more to say really. The band's Christian standpoint really comes into play here, and some people might be certainly turned off by that, but I try not to let religion affect my opinion of an artist's music. A mediocre song at best, one of the album's weakest. "Pity for a Dime" has an interesting Hendrix-lite main riff. The song induced sleep for me, it was very dull and boring, with the bass barely audible as the laughable lyrics seemed to get worse and worse. A heavy riff comes in halfway, but it's too late to save the mess of a song that drags on seemingly forever, repeating the chorus again and again. 

    "In America" brings in some more jazzy guitars and drumming. The pseudo socially-conscious lyrics are a comment on depravity and morals. A cheap organ comes in, as do echo effects on Stapp's voice. The song is terrible, easily one of the worst songs I've ever heard. The organ sounds terrible mashed with the digital-sounding guitars. The drums are far too aggressive and loud, a mess of a song. The only saving grace is the decent bass work from Brian Marshall. "Illusion" opens with an almost "free jazz" bass riff. A chugging metallic riff soon kicks in to join the bass. Stapp's vocals sound cardboard on the track, very thin and digital. The lead guitars are decent, and I didn't mind the solo at all. An average track.

   "Unforgiven" is a pretty heavy tune. The most metal-like song on the album, it's actually not that bad at all. I like the progressive metal elements of the song, especially the very solid bass and drum work. Easily the best song on the album, it shows that Creed were not totally devoid of decent songs. "Sister" is "nu-metal" meets grunge, which really summarizes Creed's sound quite well. Stapp's Pearl Jam on steroids vocals will never be for me, but fans of this style of singing can certainly appreciate what he has to offer. The song is not bad, but quite repetitive as the chorus repeats ad nauseum. Average.

   "What's This Life For" was another massive hit for the band. Pearl Jam would again be the reference point for the song, but somehow lacking what makes that band appealing to some. The song bores the crap out of me, and I cannot really find anything to like about it besides the decent drumming. Again, I'm sure that you've heard it tons of times before. Another big single "One" closes the album. A decent message to the tune, but another boring single from Creed.  Their non-singles seem to be the only real songs that have appeal to me, a band that has a few decent deep album cuts but lackluster singles.

  "My Own Prison" is bad, but not as bad as some have proclaimed. The band are very good musicians, but the songs lack heart and soul, feeling somehow forced and plastic-like. Fans of 1990s alternative will certainly find something to like here, but I'd rather never revisit Creed again, some things are better left in the past.

Rating-5/10
  

  

Guns and Roses:Chinese Democracy

  
   In the long annals of rock history, there are albums that are delayed. Then, there is Chinese Democracy. After millions of dollars and more than a decade wait, "Guns and Roses" finally released the album in 2008. I must admit, I was shocked that album actually came out at all, after years of rumors, hype, sackings, and all-around chaos around the band. Five years on, I feel like it's finally time to take an honest look at the album.

    The album opens with the title track. A pretty heavy song, I have never minded the song. Axl Rose warbles about the Falun Gong and the Chinese regime, but even if you don't care at all about those things, the song is a decent rocker. A good introduction. "Shackler's Revenge" shows the album's exploration of electronic music. The seems like a strange pastiche of musical styles, but NIN might be the closest reference point. The song itself isn't all that bad, but the production sounds very dated, even by 2008 standards. Decent, but certainly not a classic."Better" comes next. One of the more accessible songs on the album, it is my pick for the second-best song on album. The song is quite poppy and catchy at heart, despite some very heavy riffs. Axl proves his voice still has some millage left on it, as he delivers a great vocal on the track.

   "Street Of Dreams" is perhaps the most traditional Guns and Roses song on the album. A piano-based ballad of sorts, I have always like the track despite the somewhat laughable lyrics. The song reminds of the band's glory days, but sadly the classic line-up is absent, and Slash and company are obviously missed despite the more than adequate players on the album. A great solo rounds out the song, a strong number to say the least. "If the World" is an odd song. Featuring synth-bass atop some Middle-Eastern strings, the song is a bold experiment for the band. Luckily it pays off. With great vocals, growling guitars, and some electronic wizardry, the song feels like the musical equivalent of a Hollywood blockbuster.  Very large in size and scale, but a pretty good song. "There Was a Time" rolls the album along. Another large-scale song, it features electronic beats with layers of string sounds accompanying Axl. The chorus is more rock-like, with some crunchy guitars and Axl approaching the limits of his current voice, straining somewhat. Not a bad song at all, but the song feels disjointed because of the vast sonic differences between the verses and choruses.

   "Catcher in the Rye" continues this very long album. Honestly, the song could have easily been cut from this album. From a production standpoint, it's a mess. Layers of guitars sound metallic and jagged, and Axl's voice is hard to hear clearly at times coming up against the terrible sounding rhythm guitars. Structural, the song is boring and far too long. A stinker for sure. Skip it. "Scraped" opens with some Queen-like vocals layering. A very modern and nasty sounding riff runs through the song, as Axl's voice sounds ragged and far too pushed. The irritating backing vocals continue to play, and the song really annoys and grates one's nerves. Easily the worst song on the album, it could also have been cut in this author's opinion.

   "Riad N' The Bedouins" is a fast-paced rocker that at times reminds of the band's heyday, very gritty at points. I like the track, despite a little too much vocal processing on Axl's voice and some pointless and annoying digital guitar effects. "Sorry" is one of the better songs on the album. A dark and slow song, it has a great atmosphere to it. The digital wash of guitar effects actually works to the song's benefit, adding to depth of the song. Axl sounds great on the track, one of the best vocals on the album. A highlight for sure. "I.R.S." is another song that screams filler. The song sounds like a demo, as if it wasn't quite finished. Axl sounds breathless at times, almost gasping for air, and the guitars sound hollow and empty. Another stinker for me, not a highlight at all.

   "Madagascar" continues the orchestral sound-scape of the album. Beautiful and sombre horns dominate the track, along with Axl haggard and whiskey-like voice. My only complaint would be the digital-sounding drums, but a great song otherwise, a spiritual successor to staple November Rain. "This I Love" is the album's equivalent to "Don't Cry". A slow piano ballad, Axl delivers what might be the best vocal since Appetite For Destruction. Despite all of the antics, the ego, the bullshit, Axl is a great talent, and that cannot be denied. The song is woefully gorgeous, and easily the best track on the album, and one of the best by the band in general. It sends shivers down the spine, it raises the hairs on your back. The real strings add an element of authenticity to the track, very warm and emotive. I feel the album should have closed with "This I Love", but wait, there's one more. "Prostitute" is not a great track, but certainly not bad. At this point, I am out of words, check it out for yourself. A decent tune.

   "Chinese Democracy" is a very bloated and long album. Fans of simple and raw music will hate this album. However, people that like over-the-top musical statements will likely find much to like. Despite bearing the names Guns and Roses, the songs assembled here bear little resemblance to the original band. Gone are the spunky band of misfits from L.A., now we have Axl at the controls of a rag-tag group of studio wizards, willing to bring to life his endless sonic demands. The results are mixed. Like a big-budget Hollywood movie, there are plenty of effects and tricks to dazzle you. But at the end of the day, a lot of the album's songs are mediocre and average at best. If Axl had cut down the track-listing to maybe 8-10 songs, the album would have certainly been met with more acclaim and regard. I think any rock fan should try to go through the album at least once, you may find some diamonds in the rough.

Rating-7/10