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
  
  
  

   
  

Rush: Rush

   Being a resident of the Greater Toronto Area and a proud Canadian, I do love Rush. Released in 1974, their first album is regarded as their most rock and roll and their most straightforward. Let's take a look.

   First up is the Zeppelin-like "Finding My Way". A massive sound from a trio, Geddy Lee sounds fantastic here on bass and vox. Surely attempting to sound somewhat like Robert Plant, but with great results. Alex Lifeson produces a great riff and a killer solo, and its amazing that the band were so young and so talented. A great track, an early Rush classic. I love the sound of Geddy's love bass notes hitting at the same time as the drums hits of the sadly-departed John Rutsey, a great racket. "Need Some Love" is a classic boogie-like rocker. Also quite influenced by Zeppelin, it nonetheless has a unique quality due to Geddy's high voice, intricate bass playing, and Lifeson's unconventional playing. Lifeson somehow skirts the notes that you expect him to play. A great tune.

  "Take A Friend" steers away from Zeppelin and sounds more like label-mates "Max Webster". A very "Can-rock" song, its one of the weaker songs on the album. Not really bad, but kind of boring and typical for a band that constantly makes new ground. Rush would move away from such a conventional sound after this album, but it's interesting hearing them trying to be contemporary on this album. A progressive-like riff does come in at the end of the song, adding a unique touch to the album. "Here Again" slows down the action. Jazzy in nature, it's a great chill-out song. Rutsey seems a little more uncomfortable with jazzy drumming, and perhaps he was a little limited in terms of flexibility when compared to the mighty Neil Peart. I dig the song, similar to the sound that the band would take for my favorite Rush album, "Caress of Steel".

   Side 2 opens with "What You're Doing". The song reminds me of Deep Purple, with a great sway and funk to the main riff. A great Lifeson riff and solo, the only issue I have with the song is Geddy's vocals. Far too many effects cover his voice. Rutsey's manic drumming is always a highlight, the band were literally a power-keg ready to explode at this point, a very high-intensity song and album. "In The Mood" is one of the most well-known tracks on the album. The style of the song is pretty typical for the early 1970s. The sexually-charged, almost "cock-rock" lyrics seem comical coming from Lee, but the song is great in its innocence. A very catchy Rush staple, I enjoy the song despite being pretty standard-sounding.

    "Before and After" shows the early signs of the band's progressive tendencies. The first half of the song is a dreamy instrumental. I love the bass playing during this section, proving that Geddy is a force on the four-string. The song kicks into one of band's most raw and garage-sounding songs. Very Zeppelin-esque, it reminds of Moby Dick by said band. Geddy hits some pretty high notes here, and its amazing how high his voice actually was during the early days of the band. I like the song, but not among the album's best. The album closes with the song that many consider to be the crown jewel of the album. "Working Man" is a masterpiece of rock music, and is one of the best Canadian songs ever written. A massive riff accompanies Geddy's love letter to the working classes. The song helped break the band, and it is a staple of classic rock radio. If you haven't heard it, what's wrong with you? Hear it now!

    "Rush" is a great album for a first effort. It's not perfect, and like many first albums, suffers from production issues. It is however, their most straightforward rock album, lacking most of the complex progressive experiments of later albums.

Rating-8.5/10
 

Twisted Sister-Stay Hungry

   Released in 1984, "Stay Hungry" is the most remembered and well-known album by Long Island's own Twisted Sister. Infamous for the sight of singer Dee Snider(and the other boys) in make-up on MTV on a near-constant basis, I feel the time has come to look beyond the theatrics at take a look at the music. Let's dive in....

   The album opens with the near speed-metal title track. "Stay Hungry" is a great, fast-paced rocker. Drummer A.J. Pero keeps a solid beat, and Dee sounds great here. The twin leads during the solo are also a nice touch, as Jay Jay French and Eddie Ojeda trade guitar licks. A metal classic, easily the best song on the album. The band is known by the general public for "We're Not Gonna Take It". The Slade-like party anthem ages decently, but after to 10,000th listen, I don't know how much more I can take of it (pun intended). You've heard it before likely, so it is what it is, a decent 80's metal-lite tune.

   "Burn In Hell" shows the band's earlier edge, before they adopted a poppier sound with cartoon aesthetics. The heaviest song on the album, it is the most traditional metal song on the album. A heavy riff dominates the song, with Dee singing some occult and creepy lyrics that would later get the band in trouble with Tipper Gore's PRMC. Dee's speech at the PRMC meetings is the stuff of metal legend, but the song remains a decent tune, fairly complex musically with some great lyrics. "Horror-Teria" is divided into two parts, "Captain Howdy" and "Street Justice". "Captain Howdy" capitalizes on the boom in horror movies during the early 1980s, and seems to tell the tale of a psycho killer named Captain Howdy. The main riff is heavy and the drumming from Pero is excellent, but it is a fairly lame song, despite some high nostalgia points.  "Street Justice" seems to continue to story of Captain Howdy, telling of his capture, getting off on a technicality, and then being brought to justice by an angry mob. The most punk-like song on the album, fairly basic and bare-bones really, with Dee's vocals low in the mix and Mark Mendoza's bass barely audible. Not a bad tune, but the production is a little on the weak side.

   Side 2 opens with the 80's classic "I Wanna Rock". Another Slade-influenced tune, the song takes a distinctive American turn compared to Slade. A great party anthem, but nothing complex musically and lyrically speaking. Then again, people don't usually listen to Twisted Sister for philosophical insights, and that's fine. A very good song, with some killer drumming (I can't explain how solid Pero's drumming is, fantastic). "The Price" is an attempt at a power ballad (every 80's album had one).Not the band's strong suit, but not a horrible song. The problem is that Dee's voice is much better suited to in-your-face rock anthems as opposed to slower songs. A decent song.

  "Don't Let Me Down" is another almost speed-metal song. Very fast and raw-sounding, it reminds me of earlier albums such as the underrated "Under The Blade" from 1982. A great song, it shows the band before they became a little too commercial-sounding for many rock fans. An interesting note about the song is the twin solos (also on Burn In Hell), with Jay Jay and Eddie trading off solos (the speakers that you will hear each guitarist's solos are even listed in the linear notes).  "The Beast" is a pretty heavy song, seemingly about another monster or killer named the beast. Dee sounds devilish on the track, I actually like his voice a lot on these heavier songs, very gritty and dark. A good song, one of the heavier songs recorded by the band. S.M.F. is a love letter to heavy metal and its place on the outskirts of society. A great anthem, it basically gives the finger to society's judgement of metal, in a musically statement. A great closer.

   "Stay Hungry" is a great album. If you look beyond "We're Not Gonna Take It", you can find a lot to like here. Twisted Sister has always been a band of scrappy misfits, a true underdog of a band. They may not play like Rush, sing like Judas Priest, or solo like Van Halen, but they have a lot of spunk and spirit, and that's what rock and roll should really be about.

Rating-9/10
  

King Diamond:Voodoo

   Released in 1998, "Voodoo" is King Diamond's eighth studio album. Pretty much overlooked by the North American public and press upon release, the album has nonetheless been gaining important recognition in recent years. Let's take a look at what may be a lost metal classic.

   The album is a concept album. Concerning the lives of a Louisiana family during the 1930s and their exploits with voodoo. The album opens with the appropriately titled "Louisiana Darkness". Basically synthesizers and some creepy child-like singing from King Diamond, there's not much to write home about for this track, a creepy intro though. "LOA House" brings on the metal assault. A huge riff and blast beats dominate the song while creepy lyrics set the stage for the concept of the album. King Diamond's trademark falsetto is in full effect on this album, so people that are turned off by it will not be changed by this album. The song is classic King Diamond, but I could have used a little more crisp and clear production, the vocals are a tad muffled on this track and most of the album.

   "Life After Death" is a spooky song. A chugging metal riff is accompanied by the King's organ, a very nocturnal sound, something which I quite enjoy on his albums.  The drumming is somewhat off in terms of timing, and overall, the production and tightness of the band was not great on this album. A decent song, but it sounds muddy at times, especially King's voice, which should be the centerpiece of the song. Title track "Voodoo" is an interesting song. It opens with some tribal drums atop a big riff. Production is very 1990s on the track, and far too many layers of seemingly digital effects make the album suffer it terms of fidelity. A decent solo from the late Dimebag Darrell (RIP) breathes some life into the song, but it's not a King Diamond classic for me.

   "A Secret" is classic King Diamond. A nice classical-influenced riff rides along with Diamond's macabre lyrics about all things that go bump in the night. The drumming is much tighter on this track, and King's vocals are much easier to hear. One of the best tracks on the album, definitely a step back in the right direction, with some killer lead guitar to boot. "Salem" continues the story of the album. Fans of King Diamond's storytelling will delight in the complexity of the story, but I for one am not usually a big fan of heavy metal concept albums. But upon further reading, I can appreciate how King has tried something different in the metal world, and the stories usually make for an interesting read. In any case, the song is about a house servant named Salem who practices voodoo with a devilish doctor. Ummmmm, in any case the song has some cool moments. I like the operatic chorus, and the main riff is quite heavy and infectious. A decent track, with a great solo from the underrated guitarist Andy LaRocque.

   "One Down Two to Go" starts off with an acoustic, almost folk-like introduction.Of course that turns into a blast of metal to melt your face (metaphorically). The song reminds me of Mercyful Fate, a very speedy track, with some great guitar aerobics. Easily the best song on the album, don't judge it by the fairly lame acoustic sections, they just provide tension to amp up the song even more when it really kicks in. "Sending of Dead" is a weird song. The first part of the song features some jazzy drummer and circus-like organ playing, before of course picking up with a heavy riff and blast-beat drumming. Not bad, but not one of my favorites by the King.

   "Sarah's Night" opens with a harpsichord introduction. Orchestral strings back up King Diamond as he sings about the tale of Sarah (the daughter of the family in the story) as she is possessed by a voodoo spirit. A creepy song and some very disturbing vocals from the King, but not a great song musically speaking. The harpsichord sounds cheap and dated even for the time, as do the strings. "The Exorcist" is almost a great tune, but King Diamond's vocals are muffled and have a weird reverse effect applied to them. I love the white-hot guitars, and some great drumming from John Luke Hebert. The bell sound in the song is truly haunting, as are the double-tracked guitar leads, a great sound. A good song.

   The very long album continues with "Unclean Spirits". Not really a song in the strictest definition, it is just some creepy organ with what appears to be an exorcist try to remove a demon from someone's body. An interesting and creepy interlude, but nothing special. "Cross of Baron Samedi" is a decent song. Telling the story of a magical ancient cross belonging to an undead spirit, the song's subject matter is somewhat over-the-top, but most of King Diamond's albums are, so again, if you enjoy his brand of storytelling, you will likely find plenty to like here. The song is slow in many sections, with operatic vocals telling the saga of the cross. The song picks up with a thunderous riff, telling the story of how the cross was used on Sarah. Not bad at all, and at this point the story is actually becoming kind of interesting. "If They Only Knew" is a short interlude with the character of Salem speaking about the origins of the house that the family lives in and why it is haunted. "Aftermath" closes the album with Salem divulging more about the what happened to Sarah and how her baby is speaking in tongues. Creepy.

   "Voodoo" is a good album. Casual fans of King Diamond might want to explore the more accessible "Them" and Abigail" first. But, for fans of him and the band, there is a lot to like here. Somewhat too long, with some spotty production, the album is not a masterpiece. But the storytelling is as dark and foreboding as usual, with some great music to go along with the story.

Rating-7/10

  

 

Ghost: Opus Eponymous

 

   Released in 2010, Opus Eponymous garnered rave reviews from the rock press and landed on many critics' top albums lists of that year. I somehow avoided the hype until recently, but I have decided that I can no longer do this as this band and its albums have entered the pantheon of modern metal. So, let's see if the hype surrounding this album is warranted.

    First we have the spooky introduction "Deus Culpa". Just a simple organ-based tune, it nonetheless sets a creepy tone for the album. "Con Clavi Con Dio" opens with a nice distorted bass riff, before being joined by some heavy guitars. Original vocalist Papa Emeritus sounds great on the track, like King Diamond without his trademark falsetto. The satanic subject-matter of the music will certainly bother some, but with Ghost it feels more theatrical than genuine.  The chanting in the background enforces the creepiness of the song, a great opener. "Ritual" is my favorite track on the album. I love the main riff, which is contains elements of doom metal and groove metal at the same time. Emeritus sounds great on the track, and its hard to believe that these fairly smooth and pop-like vocals are coming from a man dressed like a demon pope. As the musicians in Ghost remain nameless (they call themselves Ghouls), I cannot directly comment on their work. However, the guitar solo is great, as is some solid bass playing throughout the album.

   "Elizabeth" is another song about the murderous Elizabeth Bathory. The subject-matter has been discussed in metal ad nauseum, but remains an interesting subject. The song is quite simply awesome, retaining a very catchy and almost poppy feel despite being about the worst female serial killer in history. I love the organ playing on the track, it adds a unique feel and separates Ghost from many other bands. "Stand By Him" is another ode to Satan (they all are, really). The song instantly reminded me of Alice Cooper, with its roots firmly planted in the sound of the 1970s. After some nice guitar aerobics, we are treated to some spooky organ and even more chanting. But then that chorus comes back in, a wonderful piece of songwriting that will stick in your brain for long after you have stopped listening to this album. A stellar solo closes out the song, and at this point I realize what all the fuss is about.

  "Satan Prayer" is one of the weaker songs on the album in my opinion. The lyrics are starting to blend together. Like King Diamond, the satanic theme gets to be a bit much. Much more modern sounding, the song has some pretty heavy riffs. The bass work is excellent on the track however, as it the bone-chilling solo. "Death Knell" opens with a cool bass riff again. Crunchy guitars drive the song along, peppered with that omnipresent organ. The organ will certainly turn off some hardcore metal listeners, but it makes the music even creepier in my opinion. Despite the over-the-top lyrics, the song is quite good. Black Sabbath would be the reference point for this tune, very doomy and sludge-like. Emeritus can sing like an angel, despite the ghoulish appearance, a great voice in rock and its nice to hear a metal band actually singing nowadays, as opposed to grunting in a extremely low voice.

   "Prime Mover" is another doomy and sludgy song. A lead bass riff drives along the song. Bass forms an integral component of the band's sound, and the bass playing is great on the album.  The demonic organ and chant-like vocals really creep you out, not the heaviest sound in terms of distortion, but heavy on so many other levels. Latin is thrown into the song, obviously drawing parallels to the Catholic mass. Sacrilegious? Obviously....a good song? Yes. "Genesis" closes the album. A classical-tinged clav riff opens the track, showing that Ghost are not afraid to try something different. A heavy riff accompanies the clav, and it actually sounds great. Lonely and sombre guitar leads play over the bass and clav, and the sound in wonderfully desolate and dark. Piano comes in, adding a further element of isolation. A great instrumental, it really shows that the band have chops, despite all the smoke and mirrors.

  If you are offended by spooky and satanic lyrics, stay away from Ghost and Opus Eponymous. However, if you are able to separate the message from the music, you will find something to like here. Seamlessly combining 1970's hard rock and modern metal, the band is a great fusion of old and new.

Rating-8.5/10
  

London:Non-stop Rock

  Famous for being Nikki Sixx's first major band, London never really hit the big-time. However, they did release a few decent albums during their short recorded lifespan (they are back together, but have not produced any new material). Let's take a look at their first album.

  Released in 1985, this version of London was actually a reformed incarnation that arose after the disbanding of the original band during the early 1980s. Featuring a new line-up, founder and guitarist Lizzie Grey sought to capitalize on the glam scene that London had certainly helped create. First up is "Dirty City". The first thing that you will notice is the incredible racket that the band made. Very much in the same vein as Motley Crue and W.A.S.P., the band is in the heavier spectrum of glam metal. I love the thunderous drums, electrifying solos, and great vocals from Nadir D'Priest. L.A. metal at its finest, the songs sordid tales of the underbelly of L.A. are a perfect fit for the nasty-sounding riffs. Next up is the title track. "Non-Stop Rock" reminds me of "Knock Em' Dead Kid" by Motley. D'Priest sounds a lot like Vince Neil, but with even more aggression and growl in his voice. A great anthem, the song is about having a good time and rocking and rolling. Grey is a great guitarist, and it was a shame that he is more of a local figure than a superstar. A great tune, everything that Vinnie Vincent Invasion could have and should have been, fast-paced metal with blistering solos.

   "Werewolves In London" bears no similarity to the Warren Zevon hit. The song's lyrics are somewhat ridiculous, but have a certain 1980's charm with its horror-movie kitsch and cheap keyboards. Not the greatest song on the album, but cheesy in all the right ways, especially the constant grunting of "wild in the streets" over and over again. The guitar playing is especially top-notch, some great lead guitar is featured on the track. "It's Rock & Roll" is a pretty fast number with a cool classic rockin riff. The song is an homage is rock and roll and its history. The musical structure of the song is odd, with some weird structural changes, but it's fun enough. Drummer Bobby Marks hits the sticks pretty hard and fast, but definitely had some timing issues on this track. Not a bad tune, but far from a classic.

    "Stand Back" sounds very much like peers W.A.S.P. However the song is not nearly as proficient or catchy as anything released by that band. The song is weird in that the chorus reminds of poppy bands such as Poison, but has a very confrontational message warning the listener to "stand back". Not a great song at all, its structure and out of place lyrics hold it back from greatness. "No Tell Motel" is a sleazy tale of after-hours escapades in various hotel rooms. I like the song, despite the somewhat stupid and cliche main riff and lyrics. Very Crue-like, fans of early Motley will certainly enjoy London and this song in particular.

   "Party In Hollywood" is classic L.A. metal. Bashing drums are accompanied by what basically equates to cat calls from London. Poison took everything they did from this song, and you can clearly hit the blue-print for Poison within the DNA for this party anthem. A fun song, a lost nugget from the era of big hair and ridiculous clothes. London were certainly a fun band, and one only needs to watch "The Decline of Western Civilization II" to see the band in action during the peak of the hair metal era. "Masters of the Airwaves" is a pretty aggressive song. Another metal anthem, the song basically tells of the band not giving a shit about people telling them what to do. I love Lizzie's solo, one of his best. The bass work of Brian West is also particularly solid on this track. Very raw and unpolished, London captured the sound of hair metal before it was put through the commercial record-making machine of the major labels. A great sound, if a little too raw at times. Last up we have "Radio Stars". An American interpretation of 1970's English rock, the song is innocent enough and sounds very similar to early Crue tracks. A catchy song, but somewhat corny.

  "Non-Stop Rock" is an essential listen for fans of hair/glam metal. For casual fans of the genre, this album would be good to explore if you are feeling bored with the usually Crue/Poison/Cinderella albums. You could do better than London, but you could certainly do a lot worse.

Rating-7/10

 

  

Tommy Lee: Tommyland: The Ride

 The history of Motley Crue solo projects is a sordid and torrid history. From Vince Neil's horrible "Exposed" to Nikki Sixx's utterly average "Sixx: AM", were not exactly dealing with great music here. So, you would think Tommy would strike out as well? Tommy's full of surprises...so let's take a look.

   Opener "Good Times" sounds like a late 1990's pop-rock song. Like Vertical Horizon, Everclear, and blah blah whoever, the song would sound totally in the right place rolling during the credits of some teen movie from the late VHS era. Dated even for the time of the album's release, it is nonetheless a decent slice of pop that is not as bad as it seems, a fun and simple song. "Hello, Again" is in much the same vein as Good Times. A sugary and sappy pop song, it sounds like a song written and recorded by a group of teenagers rather than a 40-plus(at the time) heavy metal drummer. I love the bass playing and sound, a true highlight of the album. A decent song, and totally unexpected from Lee given his exploration of drum and bass, hip-hop, and heavy metal over the years. Not terrible, pretty catchy in fact.

   "Tryin to Be Me" brings guest star and supreme douche-bag Chad Kroeger. Sounding like a Nickelback song (hate that band so much), I don't really like the song at all. Lee's drumming is excellent as always, but the laughable lyrics and Chad grunting instantly turn me off. Skip this one, unless for some reason you really enjoy the works of Mr. Lavigne. "Sister Mary" is an odd song. Very inspired by Paul McCartney and the Beatles, the insanely heavy drums do not match the very English feel of the song. The gentle and flowery guitars and signing are nearly ruined by Lee's racket, which sounds good for metal, but is far too heavy-handed for this slice of pop. The lyrics are actually quite good, and tell the story of a woman who has taken a few wrong turns in her life and has turned out to be what seems to be an exotic dancer. "The Butler" takes a cue from hip-hop albums. A short "skit", it is a recording of Lee's purported butler. A strange idea for a rock album, but it's kind of funny.

   "Tired" is Lee's attempt at a pop-punk tune. His faux-English sneer will make you cringe. A high-pitched synthesizer squeal runs through the song, an awful sound. To make matters worse, Joel Madden from the horrible Good Charlotte sings on the song. The song is a train-wreck from start to finish, one of the worst songs I have ever heard in my life. "I Need You" shows off Lee's exploration of electronic music. Featuring Andrew McMahon of Jack's Mannequin, the song is actually one of the better on the album. Lee doesn't sing on the track (probably a good thing on this track) and it's a decent and catchy pop ballad. "Make Believe" also bears the hallmarks of Chad Kroeger, and he was certainly involved in the production and writing of this song. Again, I cannot recommend anything connected to Chad, and this song does not sway my opinion. Skip it, unless your wildest fantasies involve Tommy Lee singing a Nickelback song.

   "Makin Me Crazy" is Tommy attempting country-pop. Featuring British songstress Dirty Harry, the song is not really any better or worse than most of the crap I hear on country radio. Not a terrible song, but not really within my stylistic preferences and pretty repetitive. At this point, the album is really all over the map musically speaking, with countless genres and writers represented. "Watch You Lose" is the most straight-up rock song on the album. Still sounding like Nickelback, the whinny lyrics and emo-feel don't really do it for me, but the guitars are heavy and the drums kick ass, one of the better songs on the album.

   "Say Goodbye" brings us back into pop territory. Pretty 90's sounding, the song reminds me of the Goo-goo Dolls and other similar bands. Again, not horrible, but not something you would expect from a man that rides a drum kit strapped to roller coaster while swigging Jack Daniels, very soft and mellow. "Hello, Again (acoustic)" is just what the title says, an acoustic version of track 2. The acoustic version is actually better, and is still not a bad song, but not a classic.

  "Tommyland: The Ride" is not horrible. There are some great pop moments. But the album's long list of genres and guest stars cause a lack of consistency. While I appreciate Lee's efforts to branch out musically, the Chad Kroeger songs and Joel Madden song nearly derail the album. Lee is certainly best at metal drumming, but it's nice to see him try something new. Although the results may be varied, his songs are often tender and certainly always from the heart. Don't expect Shout At The Devil, but for those with an open mind, you might find a few things to like about Tommyland.

Rating-6.5/10

  
 
   

  

Deep Purple: Slaves and Masters

   Lucky for album number 13? Not according to many. Deep Purple try their luck with Rainbow vocalist Joe Lynn Turner. The results are........find out below.

   Firstly we have "King of Dreams". A very digital-sounding track, the instruments sound like the processing chip from a 16-bit game system like the Sega Genesis. Turner's vocals are decent enough, but the production is so weak and thin-sounding, I cannot recommend the song as is. "The Cut Runs Deep" is a step back in the right direction. Ritchie Blackmore delivers an almost classic riff, and the recently and sadly departed Jon Lord sounds great on the keys. Turner did a pretty good job on the vocals, but I keep imagining the songs as if sung by Ian Gillan. But alas, Blackmore's solo smokes, and the song is actually quite good in terms of production, despite a very digital and Def-Leppard-like metal drum sound.

   "Fire in the Basement" is a boogie number that brings to mind the band's heyday. Turner sounds very good here, channeling Ian Gillan and at times more controlled and refined than the Purple main-man. Lord's organ playing is the stuff of legends, and it is no exception here. The classic trading off of organ and guitar solos happens here, and will instantly please fans of the band, proving that Lord was truly a master on the keys. A silly title and lyrics (likely a play on Smoke on the Water), but a great song. "Truth Hurts" reminds me of a Turner-era Rainbow song, very slow and somewhat mystical. But the song has pop ambitions, and is more of a ballad than anything. A decent song (especially Blackmore's solo), but very typical of late 80's rock ballads in terms of sound and feel. Not a bad song, but not up to caliber enough to carry the mighty Deep Purple name.

   "Breakfast in Bed" opens with some cool sounding, but very dated digital synths. Like many late 1980's ballads, it takes a page from the Bon Jovi book of songwriting by adopting a western/cowboy influence and sound. It feels pretty unnatural for Purple, far too American for them(perhaps the Turner influence) and forced.  I could do without this track, one of the weakest by the band. The highlight of the song for me is bassist Roger Glover's bass-lines, some great work by a very underrated bassist. "Love Conquers All" is another ballad. I love the string introduction and the delicate and soft riff by Blackmore over sombre organ from Lord. A pretty decent ballad, the song could certainly have been a big hit if it had gotten more radio play. Turner's voice really shines here, a very clear and smooth rock voice. I like the track, and Blackmore's solo is one of his most haunting and beautiful.

   "Fortuneteller" is very AOR, despite retaining vestiges of the band's glory days. The song reminds me of Rainbow, but speed down to a much slower speed with a healthy amount of digital production that actually hampers the song.  Also, the mighty vocals of Ronnie James Dio are immediately what I think of upon hearing this song, it would have sounded great with him on vocals. Not a bad song, but it could have been so much more with better production and a less pop-focused sound. "Too Much Is Not Enough" brings back the speed and metal. A chugging riff drives along the song, and Ian Paice delivers some solid drumming. However, a horrible digital brass sound nearly kills the song. It seriously sounds like a Mario game from the era. The keyboards on the album are very brittle and cheap sounding, a low-point for Slaves and Masters. Not a great tune, skip this turd. "Wicked Ways" closes off this album. A fast-paced number, the song gets an A for effort. Not bad at all, I like the steamroller classic Purple sound, very manic and fast.

   "Slaves and Masters" has some enjoyable moments, but they are few compared to the average moments. Better than 1987's absolute disaster "The House of Blue Light", but a far cry from the band's 1970's glory days. If you are a Purple fan, this album will certainly be an interesting side-note in their long discography. For casual fans, I would not recommend this as an essential listen.

Rating-6/10
    

   
   

Death-Leprosy

 
   Released in 1988, Leprosy is a brutal album full of some of the sickest sounds that you have ever heard. The album in considered a landmark death metal album, and many see it as the best example of genre so far. While death metal is certainly not my favorite sub-genre of metal, Leprosy is quite the album. Let's take a look.

   Opener "Leprosy" is about the said disease. The first thing that you will notice about Death is their sheer virtuosity. Timing changes, complicated progressions, and various guitar techniques produce an all-out assault on the senses. Late singer/guitarist Chuck Schuldiner delivers some truly revolting vocals (a good thing if you like death metal), that are still somehow reminiscent of  melody. The song's lyrics are basically about the effects of leprosy, and the decay it causes to the body. This album is not for the faint of heart, as it only gets more grotesque from here. A great track.  "Born Dead" sounds almost like thrash metal at times, a very fast and heavy song. Lyrically, the song is absolutely dreary and depressing. But that's why people listen to death metal isn't it? In any case, the song has some great guitar work, I particularly like the dive-bombing and tapping that happens throughout the song. The intensity of drummer Bill Andrews really becomes apparent during this track, an absolute beast on the sticks.

     "Forgotten Past" is a more traditional metal song. A Metallica-like riff drives along Chuck's sick and tormented groaning. The song seems to concern zombies and the undead, a consistent theme throughout Death's short discography. I find the drums to be a bit mechanical on the track, but the guitar solo is absolutely astounding, one of the best from the band.  A great song for fans of this particular brand of metal. "Left to Die" shows off the band's use of middle-eastern scales in their riffs. An absolutely horrific song, the lyrics are the bleakest of the bleak, all atop a grinding series of riffs and machine-gun drumming. About as far from pop music as you can imagine, this is outsider music at its best. The screams that Chuck let out are truly disturbing, sick stuff. A great song, but certainly not for everybody.

  "Pull the Plug" is my pick for the best song on the album. The insanely heavy riff will infect your brain, easily one of the best death metal riffs of all time. A huge influence on modern metal, I cannot underestimate the importance of this track. I love the progressive feel of the track as well, with certain sections exploring some complex musical structures. A killer song by any means. "Open Casket" has some great "blast beats" from Andrews. The song fits the more traditional definition of death metal, as its break-neck speeds and inaudible vocals are characteristic of death metal. Not one of my favorites, a tad too brutal even for my tastes. Certainly a good death metal song, but I like to be able to hear the vocals and groans, the song sounds rushed and jumbled to me.

   "Primitive Ways" continues the insane speed of the previous track. Chuck's groans are tormented and disturbing, but again, that is a complement for the death metal genre. The bass is hard to hear during the previous track and this track, a sad fact considering that bassist Terry Butler (not Geezer) is quite good. Not one of my favorite Death tracks either. Last up is the amazing "Choke On It". The bass-work is great here, and can be clearly heard. After an amazingly melodic introduction, the oppressive wall of guitars and blast beats hits again, like a punch to the face. But, in the middle of the song, a progressive and fairly clean-sounding section provides a refuge from the insanity. A great song, with some killer leads from Chuck.

   "Leprosy" is a disturbing and brutal album, but will certainly please fans of heavier variants of metal. For those who fell that Iron Maiden is a heavy band, perhaps this music is not for you. But for those who like death metal, I cannot think of a better album. A shinning example of the golden age of death metal, that would sadly end with Chuck's untimely death in 2001. 

Rating-9/10
 

Quiet Riot-II

   Released only in Japan, the album has never seen a proper physical release in most of the world. Best known for being the band's second and final album with the sadly-departed Randy Rhoads, it remains a curiosity explored by few. Let's take a look at this rare (and expensive) Japanese-only album.

   The album opens with an earlier version of "Slick Back Cadillac". I actually prefer this version, it is much more raw, and lacks the bloated production found on "Metal Health". Randy's guitars are as enjoyable as ever, a wonderful sound full of trick and artistry. Next up is "You Drive Me Crazy". Despite Randy's excellent guitar aerobics, the song is actually quite lame, sounding like a deflated version of QR vocalist Kevin DuBrow's heroes, the mighty Slade. A turd of a song.

  "Afterglow (of Your Love)" is a cover of the Small Faces original. Totally unnecessary, but not horrible by any means. Not much to say about the track, but a great solo from Randy is the shinning moment of the otherwise tepid song. "Eye for an Eye" sounds like Ozzy-lite. A pop song wrapped in metal clothing, it really disappoints. Tame lyrics, neutered guitars, and a lack of convincing vocals make the song a lame duck, save for the excellent solo. Ughh, I am beginning to see why this album was only released in Japan.

   "Trouble" picks up the action a bit. A very heavy riff drives the song along, with some great vocals from DuBrow. Drummer Drew Forsyth struggles to keep up with Rhoads and bassist Kelly Garni. Both men would be out of the band by the time of their 1983 breakout album "Metal Health". I believe that those personnel changes certainly helped the band, despite the loss of Rhoads after this album. A solid tune, and the first signs of the sound that Randy would hone with Ozzy during the next few years. "Killer Girls" starts will a pretty cool bass-line from Garni. Randy kicks in with some killer riffs. The first signs of the band rockin the sleazy sound that would propel them to success during the glam/hair metal era. The song is interesting as it changes time in the chorus. Randy was never scared to change time signatures, another sign of his virtuosity and sheer musical talent. Easily the best song on the album, it's a great indication of the things to come from both Rhoads and QR themselves.

   "Face to Face" reminds instantly of the New York Dolls and other glam artists. Coming at the tail end of the 1970s, it certainly sounds dated in the face of the then burgeoning punk movement, but who cares, a great song. The album is starting to redeem itself at this point, sounding like a mix of Slade, the Dolls, and Ozzy, a great combination if there ever was one. Another great song, I love the outro as Randy delivers some great leads. "Inside You" is obviously about one thing and one thing only. Somehow, the song is actually sweet and tender. Very Slade-like, I like the slow-burning almost disco-like feel of the tune. A great song, it wouldn't have sounded out of place on a Sweet or Slade album at all, a lost late 70's classic.

   The album closes with "We've Got the Magic". A terrible closer, I really don't like the tune. The lyrics are cringe-worthy, and the song is a poppy mishmash of 1970's sounds. Randy does include some cool guitar flourishes throughout the track, but not enough to save it from being sloppy, irritating, and half-baked.

   "Quiet Riot II" is a very mixed album. There are some gems, but overall it is a somewhat mediocre effort. If you love the guitar playing of Randy Rhoads, it is certainly a must listen. However, casual fans would do better with the band's 1980's output. Additionally, the high cost of obtaining the full album can turn people off, if you can even find it for purchase.

Rating-6/10

Anthrax-Pesistence of Time

 Persistence of Time is Anthrax's fifth studio album. The album closes the first era of singer Joey Belladonna, as it would be the last album recorded with him until 2011's "Worship Music". The album is overlooked by many in favor of earlier albums, but I really enjoyed this album. Let's examine it in further detail.

   The album opens with "Time". A chugging,  thrashy riff drives the song at break-neck speeds. Belladonna sounds great, and is definitely my pick for best Anthrax singer. The song is about the omnipresence of the passage of time, much like the rest of the album. Dan Spitz delivers a great solo on the track, and drummer Charlie Benante sounds great pounding on the sticks, an underrated drummer. A great opening song.  "Blood" is up next. One of my favorite songs by the band, I love the twin leads of the main riff. Benante pounds away with muscular precision, and bassist Frank Bello delivers some wonderful bass-lines. The song showcases Anthrax's fusing of rap into metal, and Belladonna does rap a bit in the song, but not in a Fred Durst kind of way, Anthrax's fusing of rap and metal actually works most of the time. A great song that receives a fair amount of radio play even now.

   "Keep It in the Family" slows down the action. A plodding and chugging slab of metal, the song is as heavy than anything done by Pantera, who were greatly influenced by the band. A decent song, but there definitely are a few issues with tempo and mixing, occasionally, the band seems out of time with each other.  Recording for this album was apparently troublesome, and I am not surprised considering the fairly mediocre knob-job. The song seems to be about a screwed-up family, something that many of us can relate to. Not one of my favs, but Belladonna and Benante both sound great here. "In My World" is a pretty loud racket of a song, very modern sounding given the time of the recording. Belladonna's vocals are buried in effects here, again showing some problems with production, far too much echo for such a naturally powerful voice. Despite the hokey production, the song has a pretty heavy main riff, and some killer drumming from Benante. The f-the world lyrics are commonplace for thrash, but will certainly please many. An alright tune.

  "Gridlock" has a terrible drum sound (but not bad drumming). The drums sound wooden and thin. Despite this, I like the song. I love how Belladonna mimics the main guitar riff vocally, following almost every bend and note that is played on the guitar with a vocal line. The main riff is the band heading into more progressive thrash territory. Despite the cringe-worthy snare sound, Benante delivers some awesome drums, and the guitar solo smokes. So, an example of a great song with bad production. "Intro to Reality" is an interesting instrumental. A strange fusion of jazz, country, and metal, the song did stand out as quite unique. The song gets pretty heavy in the middle, with one guitar playing a clean riff while the other plays a monstrously heavy riff, an interesting combo. The song picks up and Bello and Benante come in, in the middle. A decent curiosity, but not an Anthrax classic.

   "Belly of the Beast" concerns monsters and horror movie-like subject-matter. The song was a fairly big hit, and is still played regularly on modern rock radio.  The closest Anthrax got to popular music, some metal-heads saw the song as an attempt at being commercial for the band. I would disagree, but the song is more slickly-produced and polished than many other tracks on the album. A decent song that survives in the modern Anthrax set-list. "Got the Time" is a Joe Jackson cover that has been given a metal makeover. The song shows the band's punk tendencies. Not a fan of the tune, it seems tacked on to an otherwise very original and progressive album. Not terrible, it could have been a b-side. What I do enjoy about the song is Frank Bello's bass solo, a very unsung player.

  "H8 Red" is a very common topic of thrash, anger and hatred. The lyrics are utterly banal and laughable, but I like the heavy main riff and speed of the song. But, the album seems to be running out of gas somewhat at this point, not a great song. However, you are awakened from your slumber with a great solo. It almost saves the song. "One Man Stands" is an interesting song. The military-like drumming from Benante builds tension, as do the guitar aerobics by Spitz. The song reaches Metallica-like speeds, and certainly the song is the most Metallica-sounding on the album. The song will certainly appeal of those with a mind for combat, and it seems to be basically an anthem for men and women in service fighting for "freedom". A decent tune. The album closes with "Discharge". The most heavy and aggressive song on the album, I didn't like how Belladonna's vocals lied buried again under the massive guitar sound.  Not a bad song, but it could have been left off the album, it screams filler in my opinion.

   "Persistence of Time" is a decent album. Not as good as "Spreading the Disease" or even "Fistful of Metal", it will nonetheless please fans of the band's work. The production is a mixed bag, often very modern and clear sounding, and at times wooden and hollow. You could do worse than buy this album, but explore after listening to the albums that broke the band earlier in their career.

Rating-7/10

Moxy-Moxy II

   Toronto rock near-legends released their second album in 1976. A modest success at home and abroad, the band nonetheless never really reached the levels of stardom that many peers did. Let's take a look at this possible Can-rock classic.

   The album opens with "Cause There's Another". A song full of machismo and bravado, it basically pronounces that women are interchangeable. Outdated? Maybe, but a pretty cool rock song and certainly a relic of times long gone. A fun song. "Take it or Leave it" is a fairly typical song of its vintage. A slinky riff drives the song along. Fairly funky, the song reminds instantly of Bad Company, Foghat, and the hundreds of other 1970's "cock rock" bands that made the scene during this era. Not a bad song, but very similar lyrically to the first track. Nothing really stands out about the song.

   "Through the Storm" is a much more metal-sounding song. Sadly-departed vocalist Buzz Shearman sounds great here, and the lead guitars are quite good, some killer lead work is to be found within Moxy II. A good song, if only for eerie wail that Shearman lets out during the track. "One More Heartbreak" is a fairly bluesy track. Shearman lets out a bluesy growl here, while drummer Bill Wade does some pretty decent drumming, certainly very influenced by John Bonham, but who wasn't at this point?. A fairly standard-sounding track, somewhat reminiscent of Humble Pie.

   "Slippin' Out" is a bluesy jam. Guitar players will certainly appreciate the lead guitar, but a tad boring for the rest of us. The song feels half-baked, as if the vocals are simply missing or were not completed in time. Despite this, drummer Bill Wade sounds great doing some jazzy drumming here. "Midnight Flight" reminded me of fellow Toronto rockers "Goddo". Like Goddo, the vocals are often too high in the mix on this album, and this song is certainly no exception. It is hard to clearly hear the bass, and even the rhythm guitars at times. Structural, a fairly basic 70's rocker. A nice rockin' riff with lyrics about hitting the road, its certainly enjoyable enough, if fairly cliche and standard.

  "Change in my Life" is a ballad. The song is pretty lame, a luvvy-duvvy tune about the changes that happen to us through life. The lyrics are very cliche and the guitars induce sleep, I honestly did not like this song at all, like a terrible imitation of Bad Company. "Tryin' Just for You" is a step back in the right direction. Great leads, a catchy riff, and great vocals propel the song along. Fans of 70's rock will certainly enjoy the song, the best song on the album by far. The strangely-titled "Wet Suit" closes the album. The song is clumsy and the band sounds horribly out of time with each other, a pretty bad knob-job. It's a shame, because I like the bluesy vocals and the garage-rock riff.

   "Moxy II" won't change your world. It is actually a fairly mediocre album. The self-titled "Moxy" album is certainly a better pick, as it features the legendary Tommy Bolin on lead guitar. If you find Moxy II for cheap, it warrants a listen, but don't spend more than a couple of dollars of your hard-earned dough for this one.

Rating-5/10

Budgie-Budgie Review

  In the annals of hard rock and heavy metal, there are bands that are underrated. Bands like UFO and Diamond Head have never gotten the respect from the mainstream that they most certainly deserve. But even more than these bands, the saga of Budgie represents one of the most severe cases of a complete lack of acknowledgement from the musical mainstream. However, the band is beloved by a small cadre of metal maniacs, and is known for its huge influence on the NWOBHM movement as well as 1980s thrash bands such as Metallica. Let's take a look at their 1971 debut and see if this cult band deserves any special attention.

   The album opens with the superb "Guts". Pretty chunky and heavy, it's hard to fathom that this song was recorded so long ago. A perfect slab of molten metal, some have called the song a precursor to the "doom metal" genre that would emerge in the wake of Sabbath's break-up in the early 1980s. Very simple musically speaking, but an immensely heavy sound from the power trio. Singer/Bassist Burke Shelley sounds equally comfortable singing soulful blues or high-pitched screams, all the while playing some killer bass-lines. A great start to an incredibly heavy album. Next up is "Everything In My Heart". A very short and mellow acoustic trip, the song really is somewhat reminiscent of T-Rex song, very hippie-like and totally spaced-out. Not a bad song, but it screams filler.

  "The Author" comes next.The verses are gentle and jazzy, while the choruses produce some of the heaviest guitars sounds recorded up until that point of musical history. A very interesting contrast, not totally different from the godfathers of metal (do I need to tell you who that is? I hope not). The song picks up the tempo, playing a jazzy racket of jarring guitars and swing/jazz drums. The song also shows why Shelley has garnered comparisons to Rush singer bassist Geddy Lee. Both men share high-pitched vocals, killer bass skills, and a somewhat similar look. In any case, a great track. Moving on, Budgie unleashes the oddly titled "Nude Disintegrating Parachute Woman". The song is fantastically raw, sounding almost like a demo. I particularly like Shelley's bass, he was never content to play simple lines, very complex and busy. A pretty long song, it evolves at the midway point into rapid-firing cauldron of metal magic. A good song, one of the more "jam-like" songs on the very raw album.

    "Rape Of The Locks" is another curiously titled song. It seems to concern dealing with criticism for having long hair, at least that is what I get from it. Anyways, a decent track. Shelley sounds great here, like a cross between the high-pitched squawk of Geddy Lee and the soulful voice of  former Trapeze/BCC front-man Glenn Hughes. I love the ending of the song, pounding drums are accompanied by some great, heavy riffage.A decent song about living how you want to, a great addition to a pretty solid album so far. "All Night Petrol" could certainly be seen as an influential song of many 1990s grunge bands (although few would like admit it). The bass dominates the song, as with most of the album. Like the love-child of Sabbath and Rush, the song will certainly please fans of early metal. About finding loving in the middle of the night, the song reeks of desperation and it has a pretty seedy character. I really dug the song, certainly not as musically progressive as Rush, but certainly heavier in many respects than Toronto's darlings.

   "You And I" brings us back to acoustic rock territory. A very psychedelic-sounding tune, it sounds like a refugee from the band's late 1960's formation. Not bad at all, but Budgie is definitely better at higher volumes and with heavier tones.  Lastly, we have the coolest sounding song title on the album, "Homicidal Suicidal". Certainly a landmark in metal, the song's main riff is insanely heavy for the times. The song's lyrics are dark and introspective, garnering obvious comparisons at the time to the "downer rock" genre that was applied to Black Sabbath. A great track, and an essential listen for historians of metal and hard rock.

  "Budgie" is a fairly good album. The famous Brian Eno quotation about the Velvet Underground could certainly be applied to Budgie. Certainly a high percentage of those who bought Budgie records in the 1970s started bands themselves. From Van Halen, Metallica, to later bands such as Soundgarden, countless hard rock and metal bands have expressed their love for the band through covers and interviews. A band's band, Budgie will never be mainstream, but they are an important act in the long history of heavy metal. "Budgie" is them at their most untamed and raw, and is easily one of their best albums. Give Budgie a spin, you'll be pleasantly supplied.

Rating-8/10
 
  
 

Rainbow-Ritchie Blackmore's Rainbow

   Released in 1975, "Ritchie Blackmore's Rainbow" was the first album by the new band. Of the three Ronnie James Dio-fronted Rainbow albums, this one is usually held in the lowest regard. However, the believe that the album has a lot to offer listeners. Let's take a look.

  "Man on the Silver Mountain" gets the album off to a great start. Funky keys from Mickey Lee Soule provide the backbone of a great toe-stomper of a song. Dio speaks of a god-like figure during the track, someone filling people with hope and promises. A great song, and a pick for best song on the album for many. "Self Portrait" is a more bluesy track. Dio sings out the despair of his soul, a pretty dark and depressing song. I can see why Dio and Blackmore would switch out most of the band for the next album, bassist Craig Gruber and Drummer Gary Driscoll seem a little behind Blackmore at times, slightly out of sync with the guitar wizard that is Blackmore. A decent song, but nothing terribly exciting.

    "Black Sheep of the Family" is the most boring song on the album. Written by Steve Hammond, the song is very out of character for the band. A pretty typical 1970's rocker, the song concerns being ostracized and excluded. Musically, the song is reminiscent of Humble Pie and other early 1970's Brit rockers, nothing terribly exciting going on here. "Catch the Rainbow" is the highlight of the album for me. A slow burner, the song lifts Hendrix-like guitar swathes. A very gentle and delicate tune, it is a perfect chill-out tune. Dio's vocals sound top-notch as usual, and this song is one of his most gorgeous vocals. Check out the live version on "On Stage" to hear what I believe to be the definitive version of the track. The string keyboards sound great, adding a cheesy, but somehow majestic warmth to the song. A classic.

    "Snake Charmer" is very 1970s. Like disco with a dose of wizardry and evil, the song is quite odd. Not far off from the sound forged by Blackmore during his last years in Deep Purple, think Deep Purple's "Stormbringer" album meets Heaven and Hell. Dio sounds positively evil on the track, unleashing some deep and dark groans, very gravelly. Blackmore's solos are great, and he is no doubt one of the best guitarists of all time, dare I say underrated? A great track. "Temple of the King" shows Blackmore's and Dio's love of sorcery and fantasy. Clavinets and lute-like sounds make for a very medieval-sounding tune. Very pastoral and gentle, I like the vibe of the song. Fans of Dio and Blackmore will love the combination of his fantastical lyrics coupled with the very classical influenced guitars of Blackmore, a perfect match.

    "If You Don't Like Rock 'n' Roll" moves away from the fantastical elements of the album. Close to Dio's previous band Elf (most of the members of the first version of Rainbow were members of Elf), the song is a basic and short tribute to rock music. A nice groove, but the song screams filler. "Sixteenth Century Greensleeves" takes us back to a land with dragons and magic. Close to the musical direction that Dio would take during his solo career, the song is wonderful. Killer solos/leads, amazing vocals from the dearly departed Dio, and some nice rubbery bass fills from Craig Gruber, an underrated songwriter and bassist. The drums fail to impress, but are decent enough.

   The album closes with "Still I'm Sad". Written by Paul Samwell-Smith and Jim McCarty. After an extended guitar intro, Dio and the band kick in with a fairly heavy chugging riff and thundering drums. Rainbow's wonderfully loud keys round of the song. Medieval scales are played at high volume while Dio runs his vocals all over the track. An exercise in musical virtuosity, it really shows off the amazing talent of the band while it lasted.

   "Ritchie Blackmore's Rainbow" is a good album. Although Rising is certainly better, I actually prefer this album to "Long Live Rock "n" Roll". There are a couple of filler tracks, but most of the album is very high-grade hard rock. Fans of Dio will certainly love the album, as will Purple/Blackmore fans.

Rating-8/10

Stryper-No More Hell To Pay Review

  The kings of Christian metal return for their 11th studio album. Already getting a lot of buzz, let's take a look to see if the boys in yellow and black still got it.

   First up is "Revelation". Modern sounding without being overly processed, I like the beefy sound of the tune. Guitarist Oz Fox provides the same quality of lead guitar that he has been belting out for years, a very underrated player in the metal realm. Tim Gaines is another unsung player in the band, providing some nice bass fills that are finally a little higher in the mix. Singer Michael Sweet is as amazing as ever, a great rock voice. Lyrically the song is fairly standard for the band, and if the religious element of the band pisses you off, this album certainly is not a step towards secular songwriting. A good start to the album. Lead single "No More Hell To Pay" comes in next. Quite a slow song, but heavy in terms of riffage. A very familiar sound for the band, the best part is that Michael Sweet can still belt out those high notes. Just a solid Stryper tune all around that fans of the band will surely love. A bit slow for me, but a decent song.

     "Saved by Love" picks up the pace quite a bit. Lightning fast drumming is provided by the solid Robert Sweet. Oz Fox runs through some guitar aerobics during the song, giving Eddie at least a partial run for his money. The speed of the song is a bit ambitious for gentlemen of their vintage, but they still sound quite fast and heavy. I like the track, a decent addition to the album. "Jesus Is Just Alright" is another cover of the famous 1960's gospel original. The song has been covered multiple times by other artists, but Stryper adds their own take on the track. I felt like it could have been a bonus track, but a nice metallic take on the original.

   "The One" brings us back to the brooding ballads that made Stryper the darlings of Christian metal during the 1980s. Nothing has changed, and it feels like the song could have easily been recorded during the band's heyday. Great lead and backing vocals and a killer solo make the song more than enjoyable. Fans of the band will be in heaven (pun intended), a return to form after many attempts to branch out to a more modern metal audience with the previous post-reunion Stryper albums. "Legacy" sounds like a wholesome version of Judas Priest in a way. Sweet is decent at grunting during the verses, but the song takes flight during the chorus when he soars vocally. At this point I can't believe how well his voice has aged, truly sounding very youthful and powerful. A great vocal showcase for Sweet, and a decent rocker, but fairly standard sounding for the band.

   "Marching Into Battle" is another battle hymn for God's soldiers. One of the heavier riffs the band has produced, I like the Queen-like progressive rock nature of the song. I was instantly reminded of "Ogre Battle" from Queen II. The operatic backing vocals in the song add an element of mystery, and I think the song is one of the most ambitious recorded by the band to date. Some great tapping is released by Oz Fox, who smokes (metaphorically) all over this album. A little too long in my opinion, but a pretty cool track. "Te Amo" speeds up the tempo again. A classic uplifting Stryper song of the power of love, the song is pretty over the top, but everything about this band always was. From the yellow and black spandex to the giant neon cross on stage, Stryper have always been larger than life, and this album is no exception. Great drumming, vocals, and stellar leads round out a very impressive track, my favorite tune on the album.

   "Sticks & Stones" is one of the more mundane tracks on the album. The children's proverb has been made into a song about loving and respecting each other. While one can certainly appreciate the message, the song fails to excite. The leads are more tame, the vocals are adequate, but don't really soar. The lyrics don't stand out either, I prefer Stryper singing about the fire and brimstone stuff that gets them all fired up. Not bad, but not a standout track for me. "Water Into Wine" brings back the heavy riffs. A nice slow-burner, the song builds to its climax in classic hair/glam metal fashion. Group backing vocals, plodding bass and drums, and a fist-pumping chorus makes the song really feel like 1985, a great throwback to classic Stryper.

   "Sympathy" continues the fairly long album. More of a filler tune, the main highlight of the song is the hard-rocking drumming of Robert Sweet. The chorus is fairly catchy, but the verses are a little too typical sounding for the band, feeling like I've heard this all before. Not bad at all, but not one of the highlights for me. "Renewed" closes the album. The main riff is quite intricate and interesting, showing the band heading towards more progressive metal territory. The chorus is quite hummable, and Stryper unleash yet another slice of metal magic, certainly one of the catchiest songs about being born again that I have ever heard.

  "No More Hell To Pay" is a Stryper fan's dream album. A true return to form, the album contains all of the hallmarks that have made the band as successful as they are today. For those with a distaste for the band, this album will certainly not change your mind. But those of us who appreciate their unique take on metal, listen away, you might even find more enjoyable than the music.

Rating-8.5/10
 
  
  

T-Rex-Tanx Review

    T-Rex released their eighth album in  1973. While not as revered and commercially successful as 1971's "Electric Warrior" and 1972's "The Slider", the album is certainly held in high esteem among many fans of the band and of early 70s glam rock. Let's see if Tanx holds up to those earlier masterpieces.

   Opener "Tenement Lady" appears to be about a lady friend of T-Rex main-man Marc Bolan. Given the title of the song and the cheeky lyrics, it seems to be about a woman living in less than ideal conditions, but still has the ability to entertain and please various callers. Musically, the song is fairly interesting. Like many T-Rex songs, it features a healthy dose of what appears to be Mellotron (or a similar instrument). Bolan sounds great on the track, both in terms of his muscular voice and great guitar work. The closing section of the song is a sad, piano-ballad that uses many of the same lyrics from the first sections of the song. A cool song. Second is "Rapids". Very rootsy, the song instantly reminds of "Proud Mary" and other CCR tunes, with an obvious element of glam and flair.

    "Mister Mister" is one of the poppier songs on the album. A very English-sounding piano tune that instantly reminds of the Fab Four. A little candy-coated for me, but by no means a bad song. "Broken Hearted Blues" is very reminiscent of Bolan's peer/rival, David Bowie. The production touches of famed Bowie producer Tony Visconti are especially apparent on this track. Mellotrons, a copious amount of horns, and gentle acoustics could also be found on countless Bowie albums. Pretty soft, but fans of Bowie might certainly find something to like here, just a youthful tale of heart-break and lost love.

    "Shock Rock" seems to be written as some sort of homage to Alice Cooper and his then burgeoning movement. I like the main riff, very crunchy and bluesy. Vocally, Bolan even appears to imitate shock rocker Alice Cooper's trademark groan at one point. Far too short, but a great tune. "Country Honey" is an almost Zeppelin-esque folk rocker. Mellotrons swirl amidst a cacophony of guitars and groaning from Bolan, a wonderful noise. He sings of being swept away to far off locales by a woman, something I am sure that he did a lot of in his far too brief life.

   The curiously titled "Electric Slim and the Factory Hen" is not as bizarre as it sounds. A nod to the band's psychedelic past, the song is very dreamy and trippy.The lyrics are pretty interpretive, and like many of the Bolan's songs, you might have multiple guesses about what the song could really be about. I love the bass work of the late Steve Currie. A good track, especially if you like the band's pre-1970 material."Mad Donna" is a great toe-tapper. The song is about changing a woman named Donna, into what is not clear. The song is pretty heavy, although a little repetitive in terms of the chorus being repeated ad nauseam. I like the backing vocals, one of T-Rex's characteristic touches.

   "Born to Boogie" is another 1950's-style rocker. A groovy rockabilly feel permeates the song. A fairly traditional rock song, but certainly enjoyable enough. "Life is Strange" slows down the pace of the album. A fairly mellow acoustic rocker, it features nature samples and jangling guitars. A fairly hippie song, another nod to the band's late 1960's albums. "The Street and Babe Shadow" is an odd tune. Featuring warped Mellotron strings accompanied by crunchy guitars, the song has a weird vibe, even for T-Rex.

   "Highway Knees" sounds very similar to the previous track. Wobbly Mellotron accompanies Bolan's vocals, lonely and desolate, begging for a woman to take him back. Most of the album starts to blend together at this point, very similar sounding to many other tracks on the album. The album closes with the doo-wop-like "Left Hand Luke and the Beggar Boys". A swirling slap of pop/glam, the song is very very Visconti. I like the over-the-top production, and fans of Tony Visconti's work will find plenty to like here.

   "Tanx" is not a great album, but is it a decent addition to T-Rex's long discography. Fans of glam rock will surely find plenty to like here, but it does lack many heavy and hard rockin tunes compared to Electric Warrior and some later albums by the band.

Rating-7/10
 

Slade-Slayed? Review

    Released in 1972, Slayed? is the band's most well-known and beloved album for many. A bona-fide classic according to most rock journalists, the album has certainly endured the test of time. Let's jump in our time machine (proverbially) to the bright lights of 1972.

  First up is "How D'you Ride". The titles of Slade songs reflect British slang, a very interesting and unique characteristic of the band. The song is loud and in your face, showing the great racket the band made. The song is a decent introduction to the band, but fairly short and lyrically limited, not a stand-out for me. Next is "The Whole World's Goin Crazee". A great boogie, the song is very characteristic of the glam era, but with much more balls and power. Slade took glam rock and turned everything up to 11. Singer Noddy Holder sounds great on the album, but the power of his voice is really apparent on this track. Holder sounds like a more ragged version of his peer Brian Connolly from Sweet. A great rock voice, but definitely a bit too gravelly at times. In any case, a good track, it picks up the album into full-on rock mode.

  "Look At Last Nite" slows down the action. Very bass-heavy, the song seems to be about someone looking for a bit too much attention in the wrong ways. The bass-lines are very good, with bassist/keyboard player Jim Lea providing some very hypnotic bass work. A decent track, but much slower and more introspective than the party songs that Slade is most famous for. "I Won't Let It 'Appen Agen" is a fairly cryptic song about what seems to be being mistreated by rock's archetypical evil woman. Very short like most songs on the album, but a interesting grove and dark lyrics make for an interesting song. "Move Over" closes the album, and it is a true gem. Very loud and over-driven, the raw, almost punk-like song has a great bluesy vocal from Holder. That was the great thing about Slade, they really did have one foot in the past, and one in the present. Their songs drew on early rock and roll, but also helped inspire punk and metal by turning up the tempo and distortion, a highly influential sound. "Move Over" is a great track, one of my favorite on the album.

   Side 2(you gotta listen to Slade on vinyl, c'mon) begins with "Gudbuy T'Jane". A T-Rex style romper, the song represents Slade perfectly. An upbeat guitar riff and tinkling piano atop a solid, chugging rhythm section is the perfect mix for Holder's vocals. Very catchy, the song was a fairly big hit for the immensely successful band. A classic early 1970's tune. "Gudbuy Gudbuy" is a pretty heavy song. A heavy-metal riff drives along the song, with Holder basically telling a woman to get lost. Very pissed off, I especially enjoy drummer Don Powell's kit bashing, a bloody good romp on the skins. "Mama Weer All Crazee Now" was famously covered by Quiet Riot in the 1980s. The original has more analog warmth and kick, but I do like both versions. A smashing tune, the song is pure rock and roll in its most unadulterated form.

    "I Don' Mind" slows down the album a bit. A nice groove of a riff provides a funkier side of Slade. Like Pink Floyd through a Marshall stack, the song is incredibly loud, causing my speakers to crack and hiss. Holder sounds great on the track, imitated by many, but there is no substitute. A great rock voice. The album closes with "Let The Good Times Roll". A party anthem, the song is enjoyable enough, but not exactly an amazing songwriting feat, a fairly basic rocker.

  "Slayed?" is a great album. A tad overrated in my opinion, but it is chock full of rock classics. Any fan of classic rock owes it to themselves to listen to this album in any capacity.

Rating-8.5/10