Gene Simmons-Gene Simmons-Review

        Depending on who you ask, Gene's first solo album is usually regarded as either the second-worst or second-best 1978 KISS solo album. I happen to agree with the latter. Let's jump in, shall we and take a look at the "Demon's" solo album.

    Lead single "Radioactive" is a great song, and one of Gene's best songs. I love the bass (not by Gene, but by Neil Jason), great backing vocals (by Katey "Peg Bundy" Sagal!), a very fun and catchy song. Next up is "Burnin' Up With Fever". A typically sleazy Gene ode to women, the lyrics are certainly shallow, but most of Gene's song are pretty superficial anyways. The song has a pretty good groove, and some nice guitars (Gene actually plays guitar on the album instead of bass). Repetitive, but fun enough, a good song, despite being way too long.

   "See You Tonite" is another slice of musical pie from this increasingly poppy album. Critics of Gene often talk about his vocal limitations, but I think he delivered some very capable vocals on this album, and this track is a vocal standout. Very influenced by Gene's love of the Beatles, it even features members of the Beatles tribute act "Beatlemania" on backing vocals. A little slow and boring, and certainly not very heavy compared to many Gene songs, it nonetheless is a sweet and sappy tribute to the fab four, surprisingly "cuddly" given the menacing persona of Gene.  "Tunnel of Love" is a somewhat disco-tinged rocker. I hate the repetitive and irritating chorus, but I enjoy the verses quite a bit, probably the heaviest song on this album, and the most KISS like. Not terrible, but not a Gene classic. Aerosmith "toxic twin" does deliver a very smokin solo however, and almost saves the mediocre song from complete obscurity, an interesting KISS fact, given the intense rivalry of the two biggest American rock bands of the 1970s.

    "True Confessions" sounds like a demo Gene had lying around, and it really fails to do anything for me. The lyrics are quite bad, even for Gene, and the over-saturation of backing vocals starts to annoy at this point (I blame Sean Delaney, as Peter's album suffered from the same sound, and he played a significant part in the production of both albums). The over the top choir at the end shows that this is certainly a bloated album, very over-produced. "Living In Sin" is a pretty cool song, very sleazy. Gene tells tales of encounters with groupies at the "Holiday Inn". I like the fake phone message in the song, it shows that the man certainly doesn't take himself as seriously as people believe. One of the best songs on the album. "Always Near You/Nowhere To Hide" is another Beatles-influenced song. Gene even adopts a fake English accent. Members of Beatlemania again take on backing vocals. The bass-line and guitars are very influenced by the fab four, and the song is basically a take on the classic Beatles sound, but with a unique Gene "filter". The strings and backing vocals at the end bloat the song, but musically speaking, I quite like it. Gene again delivers a solid vocal, and hits notes I have never heard from him at the end of the song, but clearly stretching himself vocally.

     "Man of 1,000 Faces" is again influenced by the four lads from Liverpool. Very McCartney-esque, it instantly reminds of what George Martin did on "Abbey Road", saturated in strings , horns, and swirling backing vocals. Gene certainly did set his sights high on this album, a very rich production job. As a song, not a huge fan of the song, an ill-fit with the character and sound that Gene developed in KISS, almost too genuine and soft for a man who sang songs like "Parasite" and "Cold Gin". It seems like Gene (like Peter) is indulging himself too much on this album, failing to give the fans songs they might actually enjoy. "Mr. Make Believe" is another acoustic Beatles-like song. I like the McCartney-like rolling bass, and solid drumming. The strings actually work well here, instead of bloating the song. A pretty good facsimile of the Beatles, it shows how wide their influence of popular music was, with even Gene "The Demon" Simmons paying homage to Lennon and co.  "See You In Your Dreams" picks up the pace a bit. A classic rocker, it even features Cheap Trick's Rick Nielsen on guitar, very cool to hear Gene and Rick perform together. A nice close to a very decent album.But wait! There is one more!

   No other KISS recording has caused as much controversy as "When You Wish upon a Star". Apparently the song had significant meaning for Gene as a child, but I can't really find a use for the song personally, very lame and totally out of touch with the KISS fans.

 "Gene Simmons" is a decent album. Anyone expecting heavy metal rockers, you need to look elsewhere. But there are a few gems, and the production is actually quite good (especially compared to Peter Criss'). Not as good as Ace and Paul's, but certainly not as bad as many say. Check it out if you are a KISS fan, otherwise stick with the KISS studio albums.

Rating-6/10
  
   

Peter Criss-Peter Criss-Review

  
  Released in 1978 with the other three KISS solo albums, Peter's solo album in generally regarded as the worst of the KISS solo albums, and a terrible album. What do I think of the "Catman's" first solo effort, read on my fellow KISS fans (I'm guessing that you are?).

      The album opens with "I'm Gonna Love You", a fairly upbeat and generic rock and roll song. One of the better songs on the album, I like the Rod Stewart like character of Peter's voice. Also, the horns add a nice touch, very Stones-like. Very different sounding from KISS, but certainly not a bad track at all. "You Matter To Me" is very disco-ish. The synthesizer leads, the rollicking electric pianos, and cheesy backing vocals are all disco hallmarks and sound very dated today, but you can't hold it against Peter for going in a more pop direction. Not a terrible song, but not rock and roll, and something that would have never seen the light of day on a KISS record.

      "Tossin and Turnin" is a cover of the Bobby Lewis original. It shows where Criss' roots really lie, and him trying to "get back where he came from", musically speaking. While it's nice to see Criss exploring the music he is passionate about, this is a pretty boring cover. Nothing especially terrible about it, just not my cup of tea. "Don't You Let Me Down" is a musical refugee from Criss' pre-KISS band, Lips (most of the songs were already recorded in some form during the early 1970s). I really don't like this snoozer, the piano is very annoying, too high and dominant in the mix. The acoustic guitar is barely audible, and Criss sounds like he is asleep, both on vocals and the drums. Skip it.

   "That's The Kind Of Sugar Papa Likes" is a horrible song. The guitar solo is neutered and poorly played, the female backing vocals start to grate your nerves, and in general, it suffers from very bad production, sounding very tinny. Hands down the worst song on the album, and one of the worst songs of Criss' career. "Easy Thing" takes us into Rod Stewart territory again. A ballad about losing love, the lyrics are very cliche. Not really any worst than a lot of 1970s schlock, it just is something that KISS fans would never want to hear, almost like their parents music (in 1978). I appreciate that Criss had the guts to write songs that he wanted, but I can't imagine many KISS fans stomaching this very lame song. "Rock Me, Baby" is another Rod Stewart-like rocker. The female backing vocals really start to seem like a joke at this point, as almost every track contains the same goofy-sounding backing vocals , very annoying. Very repetitive, I can't say that I like this track, and by this point, I really want this album to end.

    "Kiss The Girl Goodbye" sounds like something written by Mr. Van Driessen from Beavis and Butthead. A sappy and soggy soup of misguided pop, it's in the same vein as "Beth", but without any impact. Criss sounds rough on this track, encountering vocal limitations. A really bad song by any definition, there are no redeeming qualities to this lame-duck.  "Hooked On Rock "n" Roll" is not terrible (for this album anyways), and does seem genuine and earnest. Criss sounds quite good here, delivering the famous "whiskey" tone in his voice that he is famous for.  Easily the best song on the album, it's the most KISS-like on the album, and a decent rocker. "I Can't Stop the Rain" is another Sean Delaney (he wrote several KISS songs) turd of a song. Another ballad, most KISS fans cringe upon hearing this song, easily the sappiest song on the album. It honestly makes Beth seem hard, this is music for your grandmother, totally devoid of rock and roll, just a swirling mess of strings and a few guitar plucks here and there, terrible.

   "Peter Criss" is awful, even compared to Gene Simmons' (I will review this one next) fairly awful solo album. While I certainly like his drumming and some of this contributions to KISS, most of his solo work has been fairly sub-par, and this stinker is easily his worst solo album. Stay far away from this one folks, as bad as people say.

Rating-2/10
   

Black Sabbath-13-Review

   Sabbath return with their first album with Ozzy since 1978's near-classic "Never Say Die". With this long in the making, the hype for this album is enormous. Can Ozzy, Geezer, and Tony live up to their 1970s legacy and create a metal masterpiece for the 21st century....well let me tell you.

   First up is "End of the Beginning". It begins with a very heavy, classic-sounding riff from Iommi. Almost reminiscent of the song "Black Sabbath" from their 1970 debut, the song is very sinister. A deluge of metallic guitars, thunderous drum fills, and distorted bass from Geezer, it sounds just as sick and twisted as anything from the band's early days. However, the sound of the album immediately lacks the rawness of early Sabbath, sounding more like an Ozzy solo album: production wise. This is certainly not a bad thing, just a very different sound from the 1970s classic albums. The lyrics are classic Butler, very apocalyptic, seeped in the doom and decay of the modern world. I like the track, a bit too clear and modern sounding, and a tad too long at over 8 minutes, but enjoyable.  Next is lead-single, "God Is Dead?". Opinion of the song has been divided, with many calling it dreary and an earful at over 8 minutes long. I don't really care what people think, and I happen to like the song quite a bit. Geezer's bass slithers through the mix, accompanying the guitar with the very punchy, high gain sound he perfected on Heaven and Hell's 2009 album, The Devil You Know. Tony delivers a crushing riff during the chorus, as heavy, if not heavier than anything he has ever come up with. The lyrics seem very agnostic in nature, but a conclusion about faith is certainly reached if you listen to the song carefully. A great song, classic Sabbath. I especially like the breakdown at the end of the song, very heavy and angry, Ozzy sounds great, somewhat diminished vocally speaking in his older years, but still full of fire and brimstone.

    "Loner" continues the all-out riff barrage. I don't know how Tony has anymore riffs left to think of, but the man certainly has not run out of the proverbial "juice".  A very Dio-esque riff, it reminds of 1980s Sabbath. But of course, Ozzy brings it back to an earlier time. Brad Wilk sounds pretty good on the sticks here, having pretty big shoes to fill in the absence of mastermind Bill Ward. The song is a bit convoluted in terms of having so many different sections and riffs, but each one has its own character and charm, with a slightly "Rage-like" riff appearing near the end of the song. But I find the song hard to follow, it is quite all over the place. The true highlight of the track is the very nice bass work from Geezer, still at the top of his game, a four-string god. Not a bad song at all, just one of the weaker tracks on the album, a grower for sure. "Zeitgeist" is the spiritual successor to "Planet Caravan". Featuring lonely acoustics and percussion, I really like the future-apocalyptic blues/jazz vibe of this song, like Planet Caravan and Revelation (Mother Earth) had a mutated baby, musically speaking.  Geezer is just as jazzy as "Caravan", beautiful bass work. Wilk sounds nice on the track, very minimal, a perfect accompaniment to Ozzy's desolate and fragile vocal. Iommi's solo is mind-blowing, sparse, but powerful at the same time. A great song, my favorite on the album.

    "Age of Reason" brings back the riffage. Tony delivers a very nasty riff, like a thick cloud of metallic smoke, metaphorically speaking. Somewhat reminiscent of "Children of the Grave", it's very doom-laden, telling of the futility of supposed human reasoning and enlightenment. Brutally frank, it shatters our belief-systems like "Children" did so many years ago. It's nice to see Geezer as anti-establishment as ever, having kept his excellent ability to write socially-reflective lyrics that consistently challenge our social norms and systems, while you bang your f@#$ing head, of course. A great song, very strong lyrically, and certainly more than adequate musically speaking, I especially like the Mellotron like strings and solo at the end, very atmospheric.  "Live Forever"administers a very fast-paced riff from Tony.Ozzy sounds great on the track, stubborn as hell, stating that he is certainly not done living. Basically the song is band confronting the reality of coming old-age. Certainly not the "feel good hit of the summer", but c'mon, this is Black Sabbath. If you came to feel good, you have the wrong band. Iommi is as equally as obstinate as Ozzy, throwing down a huge riff and great leads. Good stuff.
  
      "Damaged Soul" is the bluesiest song on the album, delivering the "satanic blues" that Ozzy promised during the production of the album. The rawest song on the album, I like Rick Rubin's production a lot on this track, just letting the music do the talking. The subject-matter is equally as stark, basically the tale of a man beyond redemption, facing a life in hell. Iommi's solo is fractured and broken on purpose, perhaps reflecting the damaged psyche of the killer that Ozzy is playing the part of, a nice touch. I really like the track, something very different for the band, and a return to the sound of their early days as the blues band "Earth". Wilk seems a bit uncomfortable with the blues during the song at times, but he does a more than decent job. Last up is "Dear Father". A tale of abuse (likely by a priest), it is very disturbing, even for Sabbath. But what I love about the band is their lack of fear in terms of subject-matter. "Dear Father" is Sabbath at their most pissed off, a scathing critique of those who protect pedophiles and who commit the sick and twisted act themselves, very refreshing. A great closing track to a very good album.

   "13" is very good, at times excellent. It fits nicely into a long and rich discography of stellar albums. The godfathers of metal certainly still have the charm, heaviness, and musical insight that made them reach pinnacle of success so many moons ago. While a few songs may be too long, and the production is somewhat too modern, the songs retain the essential character of Sabbath enough to more than rock your house down, so shut up and listen. Long live the kings! 

Rating-8.5/10
   

    

Black Star Riders-All Hells Breaks Loose-Review

    

   From the ashes of the last incarnation of Thin Lizzy, Black Star Riders take up the throne of Phil Lynott and create something altogether new, but somehow familiar. Is their debut any good? Read on...

     First up is the titular "All Hell Breaks Loose". A great rock song, it has all of the danger and outlaw-charm of Lynott's Lizzy. Singer Ricky Warwick echoes Lynott, but has his own style and charm, it never feels like an imitation, more like a tribute. Scott Gorham sounds just a ferocious on this track as he did during his days with Lizzy in the 1970s and 1980s, great guitar work. Easily my favorite song on the album, it definitely begins with a bang.  Next is "Bound For Glory". The most Lizzy-esque track on the album, there is no mistaking the influence of Lynott on this song. But when someone's influence is Phil Lynott, that can only be a good thing. The song also marks the return of the classic Lizzy "twin leads" on guitar, a very familiar sound, almost like the rock and roll equivalent of comfort food. I really liked the song, very uplifting, catchy, and a perfect tribute to the legacy of Lizzy.

    The Irish roots of the band are kept alive with "Kingdom Of The Lost".  I really like the celtic-rock riff, as heavy as "Emerald" or "Black Rose", both classic Lizzy tracks. Almost like the "Dropkick Murphys", it has a definite celtic-punk feel to it. A great track, Scott Gorham's solo is mind-blowing, one of the best he has ever written.  "Bloodshot" is not one of my favorite tracks on the album. While I really like the guitar-sound and Celtic-tinged riff, the chorus feels somewhat anti-climatic, failing to repeat the catchy quality of the first three tracks. Not bad, just fairly average. "Kissin' The Ground" features a pretty tasty riff, very heavy. But, then the song heads into a very poppy chorus. I find the contrast a bit awkward, very disjointed. Warwick's singing is great, but the lyrics are fairly cliche and somewhat lame. Gorham and guitarist Damon Johnson deliver some very nice twin leads, but it's not enough to save this one for me. Not terrible, just fairly run of the mill hard rock.

    "Hey Judas" could have easily been written by Phil Lynott. I could do without the tacky acoustic guitar on the track, but the riff and leads really are on fire, very heavy and muscular, like Lizzy was. The lyrics are the best on the album, not as poetic as Lynott (impossible!), but very well-written and innocent and sweet like many of Lynott's compositions. A great classic rocker, a respectable tribute to Lynott and his legacy, while at the same time forging something more modern and aggressive. "Hoodoo Voodoo" failed to catch my attention, again lacking any real chorus, an essential element of  Lizzy/BSR song, it's all about the build-up, and not much build-up here. Also the backing vocals sound fairly ridiculous, saying "Hoodoo Voodoo" in a ZZ-Top-like voice over and over again, very distracting. "Vally Of The Stones" kicks up a storm with a very heavy and fast riff. Like later period Thin Lizzy, it's very heavy metal. I really like the track, a great riff, fantastic bass from Marco Mendoza, and great lyrics, very reminiscent of something Lynott would write.  One of the best songs on the album, great stuff.

   "Someday Salvation" shows the influence of fellow Northern Irish rocker (Warwick is Northern Irish) Van Morrison (an influence on Lynott, of course). Pretty poppy, it's not really my cup of tea. Certainly not bad, but I find it lacks the "bite" of so many of the songs on this album. While it's nice to slow it down it bit, it feels a bit of sorts on this album of heavy rockers. "Before The War" brings Clash-like staccato guitar jabs. I really like the break-down riff, a great solo,  and solid drumming. A decent song about the bonds created in military settings. "Blues Ain't So Bad" is a pretty standard blues-influenced rocker. I find the song a bit too modern, heading somewhat into "Nickelback" territory, with fairly generic lyrics, and a very modern guitar sound. One of the weaker songs on the album, fairly boiler-plate.

    "All Hell Breaks Loose" has moments of brilliance. We will never be able to hear what Phil Lynott might have done musically had he lived into his old age. I can imagine it would not be too far off from this collection of songs, but who really knows. In any case, "All Hell Breaks Loose" is a fitting tribute the legacy and Thin Lizzy, despite containing a few average tracks. I would recommend this album to fans of Lizzy, and of hard rock in general.

Rating-7.5/10
   

Kiss-Dynasty-Review

   Released in 1979, KISS' seventh album divides critical opinion and opinion within the "KISS Army itself. Many considered the album to be "disco", poppy, and generally wimpy. Many say that it is the beginning of a long artistic decline, that would not be broken until 1982's "Creatures of the Night". Others say it is a decent album, not a classic, but a good listen. What do I think? Read on.....

    The album begins with "I Was Made For Lovin' You". A huge hit for the band, they nonetheless attracted a lot of negative reactions for this song, often being labelled as "disco". While it certainly does contain elements of disco, I would not necessarily call it a disco song. I like the song, Paul Stanley's falsetto is great, so is his funky bass (yes, Gene did not play bass on the track), and so is Anton Fig's drumming (Peter Criss has no contribution to the album except "Dirty Livin"). While I don't usually like covers on albums, Ace Frehley's cover of the Rolling Stones' "2000 Man" is quite good. I love Frehley's vocal, not even trying to hit any recognizable notes, very nonchalant. The guitars are pretty hot too, very bright and crunchy, a nice take on the classic original.

   Paul Stanley continues his contribution to the album with "Sure Know Something". Sounding like a reject from his 1978 solo album (most of the songs were solo album rejects), it also has hints of disco, showing the direction the band would take on 1980's "Unmasked". I love Gene's bass on this track, one of his best lines, proving that he is a very underrated player. A great KISS song, poppy as it may be. Stanley's lead guitar is also more than adequate, not Ace, but pretty good. "Dirty Livin" is kind of a throwaway song. A refugee from Criss' terrible solo album, I don't really care for this song, not horrible, but average at best. Gene's bass is quite tasty, and the guitars kick, but Criss seems out of sorts, lacking the passion and fire he had earlier in the band.

    "Charisma" is the first Gene song on the album. A reflection of fame, it's nice to see Gene thinking about why he is so famous and why so many women would want to have sex with quote "an ugly bastard like me". I like the song, despite having pretty lame backing vocals from Stanley and company, very cheesy and covered in effects. Not a Gene classic, but not a stinker (I'm looking at you "Burn Bitch, Burn). "Magic Touch" is the best song on the album, based on a great riff from Stanley. Sadly, the song is largely ignored by KISS and rarely played. I love Stanley's bass, passionate and longing vocals, and the very nice backing vocals, a great song, but very poppy for KISS. Ace then kicks in with "Hard Times". One of my favorite Ace songs, it's about life before fame, and how fame and fortune can change an individual. Basically an autobiography of his rise to fame and lost youth, it is very honest and sincere, and shows Ace growing as a songwriter, very confident after his smash 1978 solo album. A great song.

  Gene contributes a second song(he was too busy to make more) with "X-Ray Eyes". Kind of a shitty song, it shows Gene continuing the poppy sound that he explored on his solo album. Not awful, but a very weak Gene song, lacking the edge and aggression of a lot of his earlier songs, his "fat Elvis" period was for sure coming into effect. A snoozer.  Ace closes the album with his third song (more than Gene!). "Save Your Love" is a fast-paced rocker, and would not sound out of place on his 1978 solo album. Great guitar-work, and great backing vocals, it's a very good song. KISS' last truly great song for a good while.

     "Dynasty" is a good album. It is certainly not KISS' best, but it closes their first decade with some strong songwriting, despite feeling very fragmented as a result of the band's solo sojourns.

Rating-8/10

    

Black Sabbath-Vol.4-Review

  Released in 1972, Vol.4 is easily one of the best metal and even rock albums of all time. An early metal masterpiece. Let's take a look at what makes Vol.4 so special.

    The album begins with "Wheels of Confusion". Tony Iommi creates a very drug-induced, hazy riff.  Very sharp in its attack, it hits like a ton of bricks, very in your face. Geezer sounds amazing, loads of bass fills back up the very staccato riff. A great start to a fantastic album. I particularly enjoy the end of the song. Labelled "The Straightener"on some albums, it's an instrumental track.Very psychedelic, the influence of drugs really starts to permeate the band at this point. I love Iommi's lead on The Straightener, some of his best. Bill Ward's drumming is phenomenal as well, at the top of his game on this song and this album in general. "Tomorrow's Dream" kicks the shit out of your eardrums next, at least metaphorically speaking. A great Iommi riff, it is my second favorite song on the album, and one of my favorite by the band. I love the "ascending" quality of the song, like a rocket-ship blasting towards the heavens, very uplifting amid the sometimes very-down album.

   "Changes" is a controversial song among Sabbath fans. Some people call it "pansy". I like the Beatles-influenced song, very introspective, but a tad depressing. I especially like the sad "Mellotron" strings, and Ozzy's fragile vocals. Avoid the Kelly Osbourne/Ozzy duet, but the original is quite good, and a nice change from the pounding riffs of the first two songs. "FX" is a fairly pointless exercise in sound effect experimentation. Not really a song at all, it's just a couple minutes of Iommi noodling with guitars, ZZzz. "Supernaut" is a massive song, many people's favorite not only on this album, but by the band in general. I do not share the same penchant for the song, but it's quite stellar nonetheless. The riff is amazing, a similar feel to "Tomorrow's Dream", very forward-moving and energetic, rather than a lot of Tony's plodding metallic creations. But the drumming is the absolute highlight of the song, very jazzy and technical, Bill Ward is a monster behind the kit, easily one of the best rock drummers of all time. A great song, but not my favorite.

    "Snowblind" is my favorite track on the album, and a concert staple for the band today. An "ode" of sorts to cocaine, it was originally going to be the title of this sort of "concept album". The riff is classic, very percussive-like. I love the balance between the very aggressive verses and fragile-sounding "chorus", a musical reflection of the ups and downs caused by the "white stuff". Finally, the solo just smokes, Iommi is on fire. The album takes a downward turn with "Cornucopia". The song is insanely heavy, especially given the time that it was written, very "down-tuned". I like the song, but find it a bit too much of a racket. While of course I love loud music, Ward's drumming is solid, but a tad over the top, he sounds like "Animal" from the Muppet's show here, bashing the hell out of the kit. It's almost as if Iommi and Ozzy are trying to match his volume as well, a very loud and somewhat distorted song, not great sounding. "Laguna Sunrise" is a "360" from the last track. A very soft and sweet instrumental, it's loading with gentle acoustics and strings. A tad slow for me, it sounds like something off a move soundtrack, and at least proves that Iommi could have been a soundtrack composer. Not bad, just somewhat useless.

   "St. Vitus Dance" is a strange song, an odd combination of a very doomy, sludgy riff, and a almost "honky tonk" second riff. Also, the song basically is just two verses put together, there is not really a true chorus in the song, at least traditionally speaking for Sabbath. Not a bad song, but not a Sabbath classic for me, one of my least favorite songs by the band. "Under The Sun" is crushing, so heavy it will shake your houses and break your windows, at least if you play it at high volumes. A rejection of organized religion (Christian, Satanic, all of them), it's a very nihilistic song, rejecting belief systems and basically telling people just to be good and believe in themselves and humanity. A great song, I love the bold riff and lyrics, very controversial at the time. Also, I love the outro, a great NIB-like riff.

  "Vol. 4" is fantastic, a certified classic. Easily one of Sabbath's best albums, I could listen to listen album every day of my life and still find something to like. Great playing, singing, and fantastic lyrics, it has everything a metal fan could want. Get it now!

Rating-10/10

Alice In Chains-Dirt-Review

  Released in 1992, AIC's second album is their most critically revered and most successful commercially speaking. The album is generally seen as a "metal" (they are not grunge, well not really) masterpiece.Let me tell you if I agree with these sentiments.

   First up is the massive radio staple "Them Bones". One of the band's most well-known songs,it's instantly recognizable with a very heavy riff and the dual vocals from the sadly late Layne Staley, and from Jerry Cantrell. A great song, it's a bit overplayed, but it endures. Very thick, it sounds like an engine firing, very aggressive. What else can I say about it? Next is "Dam That River". I can see that grunge vibe being applied to this song, but there is something different about AIC, more brutal and raw, their feet are firmly planted in the foundations laid by Priest and Hendrix, rather than a lot of the indie bands that influenced other Seattle grunge bands. Staley was a great vocalist, able to shift on the fly from guttural brutality to sweet sentimentality, vocally and lyrically speaking. In any case, a great song, very heavy riff-wise, and a great vocal from Staley, one of his heaviest. "Rain When I Die" perhaps shows us that Staley was possibly keenly aware of untimely death. A classic AIC song, and one of my favorites. Featuring the late Mike Starr on bass, he proves why he was one of the best rock bassists of his time, very deep and growling bass tone. Cantrell shows off his manipulation of guitar effects to create a very dark vibe, sonically speaking. Lyrically dense, it is not for those who want a poppy listen, like all of the band's material, it can be challenging. But, a great song.

    Down In A Hole is one of my favorite songs by the band. Although I prefer the acoustic version from "MTV Unplugged", the studio track is certainly no slouch.Also quite acoustic, it contains my favorite harmonies by Staley and Cantrell, very haunting. My problem with the studio track is that one you have heard the very raw and heart-wrenching acoustic version from MTV Unplugged, that is is the definitive version of the song for most people.But, a great song. Next is "Sickman". A fan favorite, it has never really done too much for me. It's the band's most metal song, traditionally speaking. The chorus just doesn't excite me. Also, the song is pretty dark and disturbing, even for AIC, hopelessly dark and dismal. While I don't hold this against the band, it just doesn't click for me, a little too depressing and dreary. "Rooster" is probably the song that the band are most remembered for. A tale of PTSD, it was written about Cantrell's father, who served in the U.S. Army during the Vietnam War. A great song, I love the guitar work by Cantrell, very vocal, mimicking Staley's vocals by slightly trailing behind. The march-like drums by drummer Sean Kinney also add a great element of militaristic panic. Overplayed for sure, it nonetheless is a very good song, so who cares if the radio plays it 1000 times a day.
 
   "Junkhead" continues to tell the tale of Staley's addiction to drugs and the suppliers who provided him with his materials. Very heavy and dark (as everything on this album is), it is a fan favorite and easily one of the best songs every released by the band. Somehow catchy,like a drug itself, it's pretty hard to get out of your mind. I like the originality of Cantrell's solo, very unique and almost robotic sounding amid the raw emotion of the vocal performance, an interesting contrast. Excellent, AIC at their best. "Dirt", the title track comes next. Trippy, it features an eastern-style riff from Cantrell, somewhat reminiscent of Jane's Addiction. Very slow and plodding, it's a nice break from some of the faster material on the first half of the album. Also, the lyrics take a nice break away from the topic of substance abuse, at least somewhat. "God Smack" comes in next. Staley adopts a sick, twisted warble during the verse, very creepy. The verse is a bit more traditional sounding for Chains. The song goes back to the central theme of the album, heroin abuse. Not an easy listening experience, God Smack takes us further down Staley's metaphorical "rabbit hole", giving us a glimpse into the depths of his addiction, a very chilling song, but a greatest artistic and musical statement. "Hate To Feel" takes us even further down the hole, very self-loathing, Staley curses himself for being a junkie. A fractured solo reflects Staley's damaged psyche, very chilling. A great song.

   "Angry Chair" is a masterpiece, probably my favorite song written by the band. I love the verse riff, the acoustic riff works perfectly to set the feeling of loneliness and desolation. Composed by Staley himself, it shows that could certainly write music himself, increasingly by this point. Last up is the famous "Would?". I love this track, it has a great buildup between the quiet verses sung by Cantrell, and the heavy chorus sung by Staley. Fantastic,

      Dirt is a great album. Easily one of the best rock/metal albums of the 1990s, everyone who likes hard music needs to have heard this album, absolutely essential and easily AIC's magnum opus.


Rating-9.5/10