Reviews

By album number twelve, it is clear Novembers Doom has chosen it's forever style of gothic doom metal and won't be changing anytime soon. Having said that though, the band is still looking for new ways to sound fresh within the boundaries it has set itself. The vocals here in particular are more varied than ever, with them soaring in places rather than always languishing in the dark corners. The music is also rather majestic at times, offering a little touch of light to shine through in places the band has never allowed it before. The album opens with the short and simple piano ballad 'June', and the almost whispered vocals create atmosphere and build anticipation. The album's title track is next, and although it opens in fairly predictable minor key, it soon opens into a quite uplifting chorus. Vocalist Paul Kuhr somehow invokes the spirit of both Devin Townsend and Burton C. Bell all at once, yet still sounds like himself. 'Ravenous' smashes out the speakers, and is a brutal show of force, showing no subtlety. It is a great ultra-heavy moment on the album, clawing the listener back into the darkness. 'Mercy' brings things back to more typical song by the band, with shorts acoustic passages interspersed within moments of crushing doom. 'The Dance' is similar, but moves faster, and really jerks your attention back after the dark dreams they were drifting into. At this point it is obvious the album is possibly the band's most diverse to date, and isn't all the usual slow chugging doom. 'The Fool' is another great example of one of the faster tracks. It doesn't sound like traditional death metal, as it still has that gothic flair Novembers Doom do so well - but it is certainly closer to a traditional sound than the band normally goes. 'Bleed Static' slows the pace again, and is a slow build to a gothic-rock style track. The chorus is big, but the pay-off doesn't really match it, and it is one of the lesser songs on the album - especially when dragging on for 8 minutes. Having said that though, it does manage an epic solo that deserves attention. 'Chatter ' and 'Dusking Day' are both good, but general nest nicely into band's usual song style. 'XXII' is the closer, and it has a great feeling of anticipation in the music. It feels like it is building to a crescendo, but not in a forced way - and then it ends with a bang, leaving only silence. It's a great way to wrap it up. Overall, this is an album that shows that a band, even 30+ years into their career, can still find new ways to invigorate the listener, without veering from what they are known for. It also worth noting that the legendary Dan Swano mixed the album, giving it a wonderfully organic feel, perfectly capturing the emotion of the songs.

As The Beatles crumbled before the mourning eyes of their millions of fans, the four men scattered after the recording of Abbey Road. Paul McCartney used his home studio to deal with the break up, and the result was the most lo-fi album of his career. Wife Linda lends her voice to the occasional backing vocals, but beside that this is 100% Paul, on his own for the first time in his life, trying to find his musical voice solo. Having recorded the whole thing in secret, relations with his previous bandmates were further strained when the release date was scheduled for only a few weeks prior to The Beatles final album Let It Be. (It is worth noting that Ringo Starr's debut solo album was also released the same month, but his sales were never seen as a concern.) The resulting album, the first 'proper' solo album from any of the Fab Four, is actually mostly an underwhelming set of simple ditties, with only a couple of tracks even coming close to what would be expected of McCartney. In comparison, the solo debuts of both John Lennon and George Harrison later the same year often vie for the position of the best solo album from any of the four, ever. Today it is often said that the album's unfinished feel was due to it being rushed to cash-in on the buzz around The Beatles break-up and to be the first member to release anything solo. Half a century later it all seems a bit petty to think that may have been the motivations, but it is probably likely. Opening with the simplistic 'The Lovey Linda', the acoustic strummed ditty is a strange opener, but does a good job of preparing the listener for what is ahead. 'That Would Be Something' sounds like an unfinished demo, sung into a tape recorder to capture a song that would be further realised - even to the point of McCartney verbally singing 'tish' where a cymbal hit would work. This song is a perfect example of everything both good and bad about the album. It shows a song that has real promise, and has some hallmarks of classic McCartney, but feels so unfinished it is barely worth a second listen. 'Valentine Day' is instrumental and isn't particularly memorable, but at 'Every Night' the album begins to show what is below if Macca had just taken a little bit longer to really scratch and see what was under the surface. It is a stand-out of the album, and great song. Apart from a drum beat the version of 'Junk' is almost identical to the Kinfauns demo recorded back in May 1968, but doesn't quite have the charm of that earlier version. 'Man We Was Lonely' is simple, but by adding just a few finishing touches it emerges as a keeper. "Momma Miss America' is another instrumental, but it has a real smooth groove to it that is hard to describe. Just nod your head and enjoy it. 'Teddy Boy' is another Beatles cast off, this time from the January 1969 Let It Be sessions, and a bit of effort has been put into it. Unfortunately no shine can replace how lacklustre the vocal performance is. 'Singalong Junk' is a pointless instrumental reprise to fill time, but by song number 12 the fans that had hung around long enough were finally rewarded. 'Maybe I'm Amazed' is not only the best song on the album by a long stretch, but it is also one of the greatest McCartney composition of all time. It's piano intro and 60s style guitar fuzz calls straight back to Abbey Road, and this could easily be confused as being a lost Beatles track. The album closes with over four minutes of what can only described as a bad drum solo with the occasional guitar, and no one ever needed to hear it a second time. There are moments of occasional greatness here, even amongst the less realised tracks, but the brilliance of McCartney only really shines very occasionally. It is easy to dismiss it all as a rush job, but who knows what his mental state was when recording this? Losing three brothers no doubt left him with a feeling of heightened isolation (something John Lennon sang about on his own debut), so maybe these songs reflect the incompleteness of his surroundings. We have all heard the term 'art imitating life' after all.

Over 50 years since their first recordings you would question 'do we still need music recorded by a bunch of men in their 80s'? The answer to that is to let the music speak for itself, and this in an album that proves the answer is YES in capitals. It's hard with a band with so much history to not compare current music to previous works, but what The Rolling Stones have managed to do is insert enough call-backs to their earlier work that they actually welcome the comparisons. This is done whilst still also sounding fresh and vital at the same time. The nostalgia is here, but the sound now is also very modern, and there are touches of every style they band has been known for. 'Rough And Twisted' snakes from the speakers like a blues infused groove machine, and although it isn't the most expected track as an opener, it works brilliantly. There are shades of the band's early roots mixed into a modern day shuffle style that make its irresistible. Even the lyrics drip with references to their history. As the slide guitar brings it to a close, you are left waiting for the next burst of blues - but instead you get The Stones circa 2026, not 1963. 'In The Stars', the albums lead single, has a distinct Stones style whilst carrying a chorus that is built for radio play. It is a totally different song to the first on the album, in both style and substance. Even in their 80s, these men aren't willing to stand still. It is certainly a stand out track, if for no other reason than how easy it is to sing along to. 'Jealous Lover' shifts gears again, and now we are in the late 1970's with vocalist Mick Jagger singing in his falsetto. It is almost to the point of cheesy, until the chorus breaks the tension. It's a slower song, but not to slow as to kill the album's momentum too early. 'Mr Charm' is pure rock and roll, and is a great pumping tune. It is however one of the few that starts to wear out its welcome, lacking much variation and having a repetitive chorus. 'Divine Intervention' is a better track, and is evidence these guys can still rock, regardless of age. 'Ringing Hollow' is slower, and wears the country influences of the band on its sleeve. It's adequate, but nothing amazing. 'Never Wanna Lose You' is another modern sounding song, with a punch that almost heads toward a disco beat. 'Hit Me In The Head' is the rowdiest song on the album, and has a great harp-line. It even features the late Charlie Watts on drums. 'You Know I'm No Good' is an Amy Winehouse cover, and has a smooth slink to it, and Paul McCartney pops in with his bass guitar in hand for the moody 'Covered In You'. It all comes to a close with a rough and wonderful acoustic blues cover of Chuck Berry's 'Beautiful Deliah'. It's a perfect close to the album, and who knows, but potentially the recording career of the band? The chances are of course slim that the band will still have some future recordings in them, but if this were to be their final offering - it is certainly a worthy one.

Emerging in 1991 these guys immediately drew the attention of Aussie Rock fans with their tasty debut offering All For One. Released in 1991, it packs a punch through each song, and I can't think of a rock band that emerged with such a killer release, particularly in a period where grunge was emerging. They just demanded attention. They followed this up with an equally strong Tear Of Thought (1992) that in some ways sees the band acknowledging the success of their first release, building on that, and offering a wider view of the talent the band has. It showed them experimenting with a different styles to the full-on, balls out rock approach - and it paid off. This review focuses on the next release, self-titled but affectionately known as the 'gorilla' album (due to the cover picture). I listened to it recently, after some time, and it reminded me of the outpouring of talent these guys provided to the listener. It was like they could do no wrong. The album starts off with the customary straight up rock song., and it has a great melody to it. Dave Gleeson's vocal style is different to, say, Jimmy Barnes or Jon Stevens. It is much more on a higher-pitch sound, which while being different, draws the listener in to discover how this matches well with the classic rock music the band pumps out. Track 3, 'Sad Song', is their opus for the band at this point. Still 30 years later, this song is on high repeat on radio. A perfect ballad that I'm sure the topic resonates with a number of fans. Don't get too comfy though as 'High As A Kite' commences a tribute to the drugs part of SDRnR. It has a very catchy chorus. 'Impossible' is a catchy acoustic track, again different to the norm for them. Finally, 'A Friend Of Mine' is a great ballad calling out on the importance of friends, no matter what. This is just another example of more thoughtful lyrics, highlighting the maturity of the band, just 4 years on from their first release. The album did divide fans somewhat at the time, however, is now often acknowledged as their best release. I find it an easy listen. That's not to dismiss the effort these guys have put into their craft. Moreso that you can be assured throwing this release on while cooking up a BBQ with your mates.

Love it or hate The Beatles' 'Sgt. Pepper's Lonely Hearts Band' is widely regarded as one of the most important albums in popular music. Upon its release in May 1967 popular music shifted slightly, and every band raced to release their own swinging 60s masterpiece. The Rolling Stones were no different, and anticipation was high for the oddly (and controversially titled) Their Satanic Majesties Request album upon release in December that year. Instead of being overwhelmed with the riches within, most fans felt the complete opposite - and for good reason. This wasn't an album that could even come close to competing with The Beatles, or even The Stones themselves for that matter. 'Sing This all Together' is an odd sing-along ditty opener that feels like a writing-in-progress jam. Just as it wakes up, it seems to lethargically crawl back to bed without generating much excitement. 'Citadel' is a big improvement, but feels rather dated - as though it had escaped from a tape recorded a couple of years earlier. 'In Another Land', Bill Wyman's sole vocal performance for the band, is an odd psychedelic track that feel more at home amongst the early Syd Barrett Pink Floyd recordings than The Rolling Stones. It is an interesting song, but still far from being worthy of being released as the first single from the album (as it was in the U.S.). '2000 Man' is the closest this album comes to 'classic' Stones, and it is certainly a stand out track. The chorus is horribly overproduced, but it still was of enough interest to the world that KISS later covered it on their Dynasty album. The reprise of 'Sing This All Together' is totally pointless, and the limited charm the first version had is totally missing here. This is filler, pure and simple - and over 8 minutes of it. Side two opens with the diamond in the rough, the only real jewel in the album's crown. 'She's A Rainbow' bursts to life, and although it does reek of 60s styling, it's a timeless song all the same. This is evidence that behind the experimentation of the album (and the clear rush to get something on the shelves before Christmas), the songs had some potential. 'The Lantern' is lacking any punch, and although it is actually one of the better tracks on the album - still feels like it is not fully realised. It again adds to the felling that this is all a bit rushed. 'Gomper' is a 5 minute 'freak-out' mess, and is potentially the worst song the band ever put their name to. It was seen as cool and progressive to introduce Indian instruments into you songs during that era, even if they had no real reason being there. This is a great example of that, feeling more like the song was built around the sounds of the instruments than anything harmonic or melodious. Anyone not on acid at the time of their first listen must have been wondering exactly what they were listening to here. If this wasn't psychedelic enough for you, here comes '2000 Light Years From Home', easily the most 1967 of the songs here. The Hammond organ could be from no other time period. It is actually an endearing track though, and is certainly more listenable than the preceding 5 minutes. 'On With The Show' ends the album, and would actually be a fun ending if the rest of it was better quality. Sounding like a drunken cabaret announcer, Mick Jagger urges the listener to enjoy themselves as the band will now play through some old standards, and if by chance you are too drunk - they'll send you on your merry way in a cab. How many people in December 1967, after laying down their hard earnt money to buy this album, must have wondered if the band themselves should have probably taken that cab ride home rather than record any of this? Whether we like it or not, as fans we have to sometimes accept that good bands are capable of making bad albums. When this is the case though, usually you will hear cries of 'if any other band has made this it would be held in higher regard!', and that is often true. When it comes to this album though, it is just plain bad regardless of who made it. This is the sound of a band chasing a trend instead of staying true to themselves, and the simple fact that when the band re-emerged 6 months later they released the back-to-basics 'Jumpin' Jack Flash' shows that even they realised that.

Thankful that with TheBigBlackMachine HQ and our yearly Top10 challenge I encountered BLS for the first time with The Blessed Hellride (2023). To this day it still gets a run. A classic album in their catalogue. For the next 3 or 4 years they were relentless in releasing a new album every year (2003 to 2006) - All an enjoyable listen. Things slowed down since then and with 5 releases in the past 20 years, it appears to me 'ol Zakky boy is mellowing in his old age, which brings us to Engines Of Demolition. Forming again my single listen then review challenge - time for a deep breath before I continue with this review. Straight up, this is an ordinary album from Mr. Wylde. To coin a phrase from one Lars Ulrich during the making of St. Anger - 'It's stock' - but it may even be a stretch to call it that. To be clear it is a good collection of songs, that for which there is no reason to hate. The opening track 'Name In Blood' tells you who you are listening to. It's decent song. As with most songs from Zakk, we are all looking for the earth shattering solo, and he absolutely delivers in spades. It's his meal ticket and as long as he continues to put it together in years to come, he will be fed well. The rest of the song, hmmm. Let's build on this. 'Gatherer Of Souls' is the next track and is punchier than the first track, leaving me to believe were heading toward some classic BLS style songs. 'The Hands Of Tomorrows Grave' is track 3, and we are back to mid-paced temp with nothing really to write home about. Apparently track 4 is the time to add in a slow placed plodder after all the excitement and relentlessness of the first 3 songs. He's put together some beautiful slow tracks, often with a piano involved, but this is not anywhere near that level. I hadn't intended this to be a track for track review. Its interest for me wanes when you get to track 5 or 6 in the 13 tracks on this release, leaving me not much to write about. Here is where I make my call of it being stock, if even that for BLS. That's likely being generous. I will make comment on the last track devoted to Ozzy who as we know has been a big art of Zakk's life both professionally and personally. As expected, it is a personal piano tribute by Zakk. You can't but not listen to the lyrics and realise you are witnessing a man whose major influence in his a career for over 30 years is no longer with us. As beautiful as that track is, it doesn't excuse the remainder of the album as just a collection of songs that don't present to us anything to get excited about or necessarily provide the want to go back and have another listen.

The fifth month of 1967 was a complex and vibrant time musically. All eyes were on The Beatles, and the psychedelia of Sgt. Pepper would see the light of day in just under a month. The times were a-changin', and many albums over the next year would change the rock landscape forever. One of those was the arrival of Are You Experienced by The Jimi Hendrix Experience. Fronted by American born Jimi Hendrix, a guitar virtuoso like no one had ever seen before - or ever would again, the power trio was the talk of the London underground at the time of their debut album's release. Recorded in dribs and drabs over a 6 month period as the songs appeared and the money accrued, it was at the forefront of the musical change brewing. Although it sounds dated at times today, it still holds its place as an essential album. It is amazing to think that upon its release in the U.K. it was only available in mono, and stereo mix did not appear until 1970! Although the album does suffer somewhat from the one dimensional sound mono produces, the album still manages to build excitement. The album opens with a burst of feedback and 'Foxy Lady' rumbles out the speakers. These days the song is a staple of classic rock, but in 1967 this rough and ready song must have sounded like it was coming from outer space. The bassline weaves in and out of the guitar riff and the whole track drips with a slinking sexiness. 'Manic Depression' really kicks the album into gear, and the song is more proto-heavy metal than anything Deep Purple or Led Zeppelin ever produced. Its rhythm drags you along for the ride, and Hendrix now really starts to showcase his chops with a shredding solo like nothing else in its time. The blues of 'Red House' are an even better case for the skills of the guitarist, but it could be said that blues licks like these were everywhere in London at that time, with Eric Clapton and Jimmy Page both showing this type of skill in many a club on any Saturday night. The charm of the song really lies in the delivery, with Hendrix pining for his lost love, only to then casually mention her sister will probably be interested anyway. It is great window into his cheeky personality. 'Can You See Me' is another great rock song, bristling with energy. 'Love Or Confusion' slows the pace a little, and shows that the band aren't one trick ponies. The song has more depth, both musically and lyrically. It is also one on Jimi's best vocal performances on the album. 'I Don't Live Today' jolts you back into the chaos, and closes side A with a great track that really showcases the psychedelic side of the band. Even the solo is uncontrolled and free, and is probably the least technical of any solo on the album, showing that even though anything was possible Hendrix still believed in restraint. It all ends in a burst of controlled feedback - or a 'freak out' if you had heard it on release. The gentle 'May This Be Love' opens side B, and is an amazingly crafted ballad. The melody bounces as if on streams of air, and the guitar tone never approaches anything too jagged, instead keeping a perfectly balanced sound throughout. The solo is flowing and tasteful in a way that only a master could construct it, and weaves itself into being part of the composition. 'Fire' is another well-known classic, but here it is a welcome return to the band's heavier side after such a beautiful sonnet. It has been placed here deliberately so its effect can hit with full force, and it does. The lengthy '3rd Stone From The Sun' is instrumental (if you ignore the warped and distorted 'alien' voices and spoken passages that were dubbed in later). It all starts a little drab, but lifts once it finds its groove. As one of the earliest compositions attempted at the album's sessions it was obviously near and dear to Hendrix's heart (he was an avid fan of science fiction), and his electric soloing carries it from being average. It is often noted as potentially the only filler on the album, but it does feature certain compositional moments that are worth paying attention to, such as the double-speed middle section. 'Remember' leads the album toward its conclusion and is a somewhat throw-away blues number. The U.S. version of the album (that featured a very different track list) chose to emit this track, and probably for good reason. The album's title track brings it all home, with a its weird tone (created using backward tape loops). This is psychedelic Hendrix at his best, both lyrically and musically. The guitar solo is even played backwards, but still fits compositionally, something only the brain of Jimi Hendrix could possibly devise. Restrained by both the studio limitations of the era and the mono mix these songs feel like there is more potential here than is realised. Add to this the buzz around Hendrix in London at the time (he had already outplayed Clapton while guesting with Cream) and the guitar work must have sounded somewhat muted. Make no mistake though, as it was obviously devised that way. The stage was where The Experience would really make a name for themselves, especially in those early days of destroying guitars and playing with teeth, but Hendrix knew that an album would last forever, and he had no intention of making it a showcase of gimmicks. Although not every track here is gold standard, it shows a man (who less than six months earlier had never written a song) finding his place and his muse. The future would see more ambitious compositions, but like every debut album by any artist, this album alone holds a certainly charm Hendrix never again achieved on tape. Move over Rover, let Jimi take over.

Continuing my One Listen Slingshot review exercise, I've chosen to apply this latest release from Armored Saint. It seems a little ironic that I have grown to take an interest in this band post lead singer John Bush being involved in the greatest betrayal in heavy metal history - replacing the metal voice legend, and Anthrax soul in Joey back in the 90's. Turns out John Bush is an O.K. bloke, although I'll never listen to his Anthrax releases. Right, now that is over let's move onto the album. I'm a casual follower of the band, although I now realised, from reading what they have been up to, it might be less casual. La Raza from 2010 was the last release I really loved through multiple, multiple listens. I do need to reacquaint myself to activity between then and now but let's focus on now. EMF is a 11 song 47-minute effort which is very much to my liking. The first track 'Close To The Bone', starts with a heavy fast paced tempo, along with the easily recognisable Bush vocal. Pete Sandoval continues to be a beast on those solos. So far, a great start for me and now I want to learn more. The following track keeps the pace up somewhat but don't seem to be as catchy as the opening track. Having said that it is far away from saying the tracks are throwaway material. Far from it. I've always liked the middle, where a band has its thrash heritage but links it with what you could call hard rock sound. It's nothing that has a direct line of it being easy to notice which side of the line a band might live on. The blend of the two is something I really enjoy. Particularly when we talk of such a legendary band which has members well respected for their chops. It is also worth pointing out they are one of the few bands that had a revolving door of ins and outs of the band. Current lineup consists of a band that all played together in the late 80's and have been back together for almost the past 20 years. Impressive stuff. If I am to call out a song as being sub-par, It's a 'Buzzkill' is not all that inspiring and doesn't offer anything to the listener apart from considering it a fill-in track. Moving on, by now you get the hint that while you had early hope maybe, it isn't their best work. However, as I said I don't mind a band like Armored Saint still putting out hard, punchy tracks. Seems though they were a few tracks short of having a memorable album allowing the fillers to bring the quality of the release down.

The second album by the newly reformed (and reconfigured) Black Crowes doesn't stay far from the sound fans would expect from the band. Their tenth album overall, it feels somewhat 'safe' in comparison to the 2024 comeback album Happiness Bastards, but it is still brimming with the swagger and charm that brought the band to limelight in the 90s. 'Profound Prophecy', the opener, rips out the speakers with Rich Robinson's signature slide guitar taking the front of the stage. The song powers along nicely, and will be a favourite of fans for years to come. 'Cruel Streak' slows down to a mid-tempo, and although it stars out a little bland, the chorus saves it - a trademark of many a great Crowes track. A short solo from Rich feels like it could have been extended, but otherwise the song morphs into an essential track by its close. 'Pharmacy Chronicles' give the listener the first ballad of the album, and it is great, but nothing new really cuts through here. It's an auto-pilot softie, and slows the album too early. 'Do The Parasite!' slaps you awake, and some southern-style blues rock reminds you why this band was once the bees knees. The organ swells throughout and Rich's licks dominate until that divine chorus hits. 'It's Like that' is almost so paint-by-numbers it is annoying, but it doesn't matter - because it is so damn good, with that exquisite slide guitar again getting a workout. You can't hear the chorus without imagining Chris Robinson doing his Mick Jagger inspired strut, mike stand in hand, pouting a plenty. 'Blood Red Regrets' is a new sound for the band, and sounds like a sermon from the mount, with Chris preaching his lyrics over the most Led Zeppelin sounding riffs you will hear in 2026. It works beautifully, and is a great song to keep the album lifted in the second half where many others slump. 'You Call This A Good Time?' is The Black Crowes circa 1990, but could be an outtake from any of the early albums. It's a great throwback to the band's beginnings. 'Eros Blues' is probably the least interesting song on the album, both in tempo and style, and is the closest any song comes to filler. It does get a bit of punch towards the end, but is still the album's low point. It all finishes up with the dirge-like 'Doomsday Doggerel', a song that feels out of place, but works perfectly as an album closer. Chris snarls the chorus with venom, and this is the furthest the band has ever sounded from their beginnings. It is moody and at times even sparse, and ends the album with a quiet fade rather than the expected explosion. It's a welcome ending and keeps things fresh. It has to be said that it isn't quite as good as the previous album, but it certainly still stands on its own. Some of it has the feeling of being rehashed, but only enough that the songs sound familiar. It isn't a bad thing, as it helps the album sink in fast, and once it does that feeling certainly disappears. Rich's solos seem somewhat restrained throughout, and in many songs it feels like he is just about to break free - but then doesn't. Often when bands 'reform' they burst out the gate with that one good album then fade away quickly as the excitement dissipates. The great thing about album number 2 from The Black Crowes 2.0 certainly gives hope that these guys will still be around for a long time to come.

There are those that believe Metal Blade Records is a company that reissues albums to preserve the early history of metal, and others that believe they are always looking for a quick way to grab more cash from their early catalogue. Regardless of their motivations, fans are better for it, as this reissue proves. Actually released 41 years after the original album (but remastered back in February 2025), the triple album set contains the Hell Awaits album remastered packaged with a previously unavailable concert recorded Germany in June 1985. The original album was mastered by legendary engineer Bernie Grundman, but it was never going to be listed as one of his greatest efforts. It lacked punch and was totally lifeless. Over the years many have defended the sound, calling it dark and ominous, but it was lacklustre at best. This new mastering breathes life into the album and gives it a unexpected boost that remastering usually doesn't. The drums (always the weakest part of the original) have more clarity and actual power, rather than the tiny sound on the original, and the bass guitar is a lot more audible. Often the difference between the original and a remaster is so minuscule that there is little value in comparison, but this isn't the case here. The new mastering is without a doubt the best sounding version of the album ever made available. Regardless, a remix still would have been an even better option, but after 40 years it is likely the original tapes are long lost. As good as the remastering is though, the full concert recorded a couple of months after the release of the original album, is the jewel in the crown of the collection. This is far from a perfect listing experience, sounding more like an 'official bootleg', but it is priceless as a document of the era. Listening through headphones is a brutal experience, with the drums thundering over everything else, turning the guitars into a muddy mess of noise. Tom Araya's vocals are loud and bright and cut through with such volume they are jarring. Using speakers to listen is a better option, and although the sound is still rough, it hides many of the inconsistencies of the recording. Thankfully, the sound quality does get better as the concert progresses. By a few songs in the mix improves noticeably, likely as a result of the mixing desk adjusting the levels on the night. Regardless, it is still a low quality affair - but in some ways that is better than a polished recording anyway, as what this shows is band that is full of piss and vinegar, ready to take on the world one venue at a time. Tonally the guitars occupy a similar space, so the faster parts tend to blur as the two guitarists try to keep a similar tempo. The slower parts, like the break down mid-way through 'At Dawn They Sleep' cut through clearer, and the guitar tone screams classic thrash when it is clear. Jeff Hanneman tends to stick closer to his recorded solos (usually with subtle melody), whereas Kerry King's frantic chaotic style tends to be mostly consumed by the white noise. The vocals are ragged in places, most notably when Araya tries to put in a big scream like the ending of 'Fight Till Death', and his between song banter is often so cringe inducing it is actually embarrassing (his introduction to 'Necrophiliac' being a perfect example), but for the most part his voice holds up well. He doesn't so much sing as 'bark' many of the lyrics, but that has always been a trademark of his style. With the drums of Dave Lomardo coming through louder than anything else, it is easy to hear his playing clearly, and he proves (even this early into his career) that he is worthy of every accolade he receives. His drum work is tight and smooth, and he is the star of the recording in many ways. The song selection is superb, with a concert of decent length allowing the band to play the two full-length albums almost in entirety and still have room to slip in rarities like 'Aggressive Perfector'. The only faux par was closing with 'Praise Of Death' instead of placing 'Chemical Warfare' in the encore final spot. Otherwise, any fan would agree it is a perfect setlist for Slayer in the mid-80s. The recording isn't going to win the band any awards for sound quality, but that isn't the point. This is the closest anyone will ever come to boarding a time machine and heading back to 1985 to see the emerging thrash scene in full flight.

This review will take a different tact to other reviews I write. C'mon, we are talking Megadeth here. One of the huge pioneers of the thrash metal scene. They were the landscape of my youth and I will always forever thank them for such classic sounding, drum roles, bass lines and shredding guitar solos that cannot be beaten and deserve the upmost respect. This review will not delve into the history of the band. The ups and downs and challenges they met along the way. The fact that they have influenced metalheads for 40 plus years is something worth acknowledging. So this review will be a break-down of each song on their self-titled finale. O.K., strap yourself in and enjoy the ride. The opening track 'Tipping Point' I find a brilliant rendition of their classic sound. Dave with his angry voice and equally angry riffs. To this day he has never lost the ability to put a solo together. The breakdown toward the end is epic and the pick up to close the opener is simply awesome. It sets the pathway for a classic album to proceed. It is in the mould of their 'modern sound' which is Countdown To Extinction onwards in my view, and that's not necessarily a bad thing really. 'I Don't Care' reminds me of the 'Sweating Bullets' song. It's a very simple but catchy song. 'Hey God' - it's confessional time in the house of Mustaine. Is this a 360 from 'The Conjuring' days? Interesting topic, but again all the standard elements of a modern day Megadeth are there. Just nothing outstanding. 'Let There Be Shred' starts off fast paced it doesn't stop. The song name can be considered a little corny, but looking into it, this is what Dave has been all about, and this is a great example of his best work. It's the first time I notice his voice is on point and the aging doesn't show, so settle in for the best of Dave, with the band supporting him perfectly. 'Puppet Parade' shows again the highlight here is Mustaine's angry spoken vocal. He is putting in his best effort, however, the song itself fails to really ignite any excitement in a snapping of necks kinda way. 'Another Bad Day' has me saying not much on this one. I'd be repeating myself. Not anything to remember. 'Made To Kill' opens with a nice drum solo for nothing different, before Mustaine takes over with his magic. A pretty straight forward in and out from this point onwards which doesn't anything different to what we have already heard. 'Obey The Call' provides a great example of it becoming a little too obvious by now that we are hearing a similar but different song, with none of it being something you'd return to for years to come. The music is tight as always, and again the riffs can't be faulted, but now it has become predictable which is unfortunate. 'I Am War' is a mid-tempo song which is the last thing you want to hear. as the second-to-last original song they will ever release. We should be at fireworks point right now, pulling out the best you ever can Dave to an ultimate crescendo to the final song, but alas. 'The Last Note' should be an explosion of reflection of their best work, both early and modern. Giving this a close listen, you only need to get past the 5 or 10 seconds of spoken word before disappointment sets in. Even the 'I came, I ruled, now I disappear' really doesn't pull at the heart strings. Dude, Mustaine, is this what the band have come to after this 40+ year legacy? It is embarrassing to be honest. I dunno - I really was hoping for a return to their best. Not note for note, but an acknowledgement of what they have written over the years. It is sad for me to say that this album will struggle to make my Top 10 releases of all time for them. It shouldn't be that way. I'll give them a favourable review in respect of the magnificent legacy they have provided to the fans, bit this is really a sad ending to a man who is bigger that he really knows I think in the legacy of thrash metal altogether. Otherwise he would have written a for the fans record, rather than a self-reflection of his own importance. I think that is what it comes down to for me.

Six Feet Under frontman Chris Barnes has a long history in the death metal scene, and no one can take away the fact that he was the original vocalist of Cannibal Corpse, potentially the most well know death metal band of all time. All that aside though, if you continue to play the game, you have to keep scoring goals - and any musician's legacy can be eroded if they keep making bad or mediocre music long enough. Barnes is proof of this, with each Six Feet Under album sounding just a little less engaging than the last, to where we are today with Next To Die. 'Approach Your Grave' starts the album out fine. It is slow, but suits Barnes' garbled vocal style well. It doesn't show much variation, and almost sounds like an early Obituary outtake. It isn't a particularly exciting song, and when the opener of most albums showcases what is to come, it isn't an inspiring portent. Track 2, the speedy 'Destroyed Remains' immediately proves itself to be a better song, but there is still nothing mind-blowing to be heard. 'Mister Blood And Guts' is next, and is the lyrics are so childish it sounds like it was written by a child, with the song title repeated over and over throughout. 'Mutilated Corpse In The Woods' is one of the best songs here, but is let down by Barnes' mumbled vocals. In fact, that can be said of the entire album. Although the music isn't breaking any new ground, it is competent old school death metal - but the vocals are just dull and uninspired, and anything unique about Barnes' vocal style back in his glory days is now long gone. There is a feeling here that he sees himself as a death metal 'elder statesman' that has the ability to lay down incredible vocals with little effort, but this album is evidence that the truth is far from it. He mumbles and grunts his way from song to song with little passion, and seemingly little interest. By 'Mind Hell' this is all starting to sound the same, but 'Naked And Dismembered' does a good job of trying to salvage something appealing from the uninspired mess it is part of. 'Grasped From Beyond' sounds the closest to early Six Feet Under the album has, and it is one of the better tracks, but like the rest of the album the muddy guitar tone sucks the life from the recording. The title track leads nicely into the final track, 'Ill Wishes' which although not heavy throughout, is easily the best track on the album. With clean moments it helps to snap the listener back to attention, something the other songs seldom do. It is actually a song begging itself worthy of a relisten, something the rest of the album doesn't tend to do. Even the whispered vocals is welcome break from the constant low growls that are throughout ever other song. If a single word could be used to describe the album, it would be 'dull'. There is nothing particularly bad or even incompetent here, but the whole thing feels like a band fulfilling a contractual obligation, like no one is enjoying themselves and they are doing this because they have to. The difference for the listener is, they aren't obligated to listen, so probably won't.

Following up on Reign In Blood (1986), one of the most diabolical and ferocious albums ever recorded, was not going to be easy for Slayer. Usually a band not known for doing things different, they this time realised they had to. When you can't get any faster, the best thing to do to shock your audience is slow down. 'South Of Heaven' rumbles the album into life with a slow and haunting riff. This builds to a crescendo with Tom Araya's scream of "You must die!", but even at full pace the track is still a crawling snail in comparison to many tracks on the previous album. Slayer have brought in more here than just a slower speed - they have added weight. The music is heavy as hell and the production when the double bass kick drum bursts into life sucks the air from the listener. This is calculated and purposeful in its creation, to hook you in so far you forget that speed was what you desired. The subject matter is classic Slayer of course, with demons and devils and all things Satan circling around a spiralling vortex of evil - but the song is still perfect in execution. As it winds down to a whimper 'Silent Scream' smacks you in the face like a ton of concrete, with one of the faster songs the band had ever created. It is just here to remind you that this is still the same band, but now they are in control. Araya's usually shouted and tortured vocals are restrained here, as they are throughout the album, and his best vocal performance reveals itself across the ten tracks. He would never again 'sing' Slayer songs so well, and the band was made less for it. Dave Lomardo's kick drums are again the star here, and only an expert drummer such as he knows that restraint is what makes his playing so good. He accentuates the songs instead of dominating them. 'Live Undead' is a brooding track, but really showcases that much like the previous album, the tight and punchy production of Rick Rubin is a key part of the puzzle. The frantic guitar solos of Kerry King and Jeff Hanneman blend and weave with perfect clarity, but never sound out of place or overlayed - instead being a part of the overall composition. 'Behind The Crooked Cross' sees Araya take one step further into actually singing, and the song overall is a very different animal to any Slayer have attempted before - or since for that matter. In fact as the album unfurls like a snake it could be said that this is Slayer at their most experimental, trying different tempos and guitar styles. Nothing really fails, and mid-paced tracks like the magnificent 'Mandatory Suicide' or the more typical Slayer number 'Ghosts Of War' were always destined to become crowd favourites. They both have great sing-along choruses that are totally irresistible. 'Read Between The Lies' slows the pace and again, and doesn't really add anything new. It is arguably the least important track on the album, but is far from being a bad song. 'Cleanse The Soul' another speedy track that could easily have been at home on Reign In Blood is like a kick to the face, but does feel like a track that later Slayer could have written on auto-pilot. At this point in their career though, it did still sound fresh and the album is certainly better for it. The penultimate track on the album was no doubt added to pad the run-time, and is a cover of Judas Priest's 'Dissident Aggressor'. It must be said though that it is brilliantly performed, and dare it be uttered, better than the original - making the whole tune more dark and muscular than the falsetto vocals of Rob Halford ever did. The album wraps up one of the slowest but downright dark songs the band ever committed to tape. A ballad in all respects, well as much of a ballad as Slayer could ever conjure from the darkness of their minds, the song weaves and turns though a dark tale of a soul taking the hand of the devil and being granted all their darkest desires. It is a modern day version of Black Sabbath's 'N.I.B.', but the melody is so haunting it is almost unnerving. One has to wonder how dark Slayer could have made a simple ballad if it wasn't for their need to always introduce the heavy guitars. The album ends with one final punch to the gut and it is all over, leaving nothing but silence. At the time of its release the album did get mixed reviews, but mainly because reviewers didn't take the time to let it soak in before committing thoughts to pen and paper. In fact, even today it stands out as something of an anomaly in Slayer's catalogue, but not in a bad way. It shows incredible growth in the band's abilities to craft songs beyond nothing but speed, with flourishes and passages that take the album to levels other bands could only dream of. It is an album that requires time and many listens to really reveal everything it has on offer. Many of the new tricks the band used here were repeated on future albums, but never to this effect again - and 1990's Seasons In The Abyss mostly fell back on speed to carry it. Regardless of initial thoughts the album is certainly seen as classic today, both from the band and for heavy metal in general. They don't make them like this anymore.

Reissuing an album as beloved (and bestselling as Metallica (aka 'the black album') in deluxe form is not something to be taken lightly. Expectations were of course high, but as with the majority of things the band does, Metallica came through with the goods. Sporting a whopping 6 slabs of vinyl and 14 CDs (and even 4 DVDs for the visually inclined), the box contained a timeline of the creative process and creation of the album and on through the massive two year tour that supported it. The original album is remastered, but to be fair - the sound was reference quality to begin with, so a remastering is barely noticeable. The extras in the package are what really matter. As with previous packages a single is included, this one being the odd choice of the 'Sad But True' single, originally released in 1993 in the final stages of the tour. Although the included singles are more a 'collectable' than something important (as all tracks are available elsewhere in the box), surely 'Enter Sandman', the song often seen as their signature tune, would have been a better option? Thankfully a second extra is included, this being the 3 track 'Live At Wembley, April '92' collection recorded at the Freddie Mercury tribute concert. The tracks are nothing to write home about, and the later performance that featured James Hetfield performing 'Stone Cold Crazy' with Queen themselves isn't included, but it is a great addition to the box - as it was previously only available in the U.K. and Australia. Onto the real content, and the box opens with a five discs of demos, rehearsals, studio takes and rough mixes. Listening through the content in one sitting is hard work, especially when the first two discs are mostly low quality riff tapes and demos - but if you do persevere you heard the songs slowly shaped from a riff or two through demo form (with the obligatory 'nah nah nah-nah' vocals by James) to pre-production run-throughs, and eventually rough mixes of the recordings in their almost final state. It is a fascinating look at the construction of the album, and one that very few artists generally provide to fans. Four full live shows follow. Firstly, the famous performance at Tushino Airfield in Moscow where the western world was finally able to perform behind the iron curtain. The show, which also included The Black Crowes, Pantera, and head-liners AC/DC, was supposedly played to a crowd estimated at around a million people. Although only short in comparison to other Metallica shows at the time, it is a tight and energetic show, and potentially the highlight of the box. It easily takes its place as one of the all-time great Metallica live recordings. The second concert, recorded at Oakland's renowned 'Day On The Green' in 1991 is not bad, but not particularly essential. The performance is lacking punch (feeling like a warm-up show), and the sound quality is also lacking. The Sacramento show from January in 1992 is also hindered by average sound quality. It is very typical of a concert of the period, along with the rehearsed pre-song banter by Hetfield. It is somewhat sloppy though, and not a particularly well-performed show. It needs to be said that a possible better inclusion would have been a remix of the audio from the San Diego 1992 concert video released in the Live Shit, Binge & Purge boxed set back in 1993. The final show, recorded in Germany on the final leg of the tour, is a better show and performance, and is really only stopped from being a great recording by its lack of any crowd noise. The soundboard tapes used for these shows were no doubt recorded with no intention of any future release in mind, so the audience is clearly not miked at all - making it sound like the band is performing to an empty arena. It is an issue that plagues many of the shows released from the era (even those as part of the band's The Vault concert series). The varied quality of the live shows, especially considering how important the album is to fans, is one of the areas where the boxed set is let down. The other major downside was including two whole CDs of interviews. As with all the previous deluxe reissues, these are one-listen items, and take up space that could have been used to include another concert from the era. Being the album that took the band into the stratosphere, anticipation was high that all the content would be exceptional in quality, but it seems that at that point in the band's trajectory they were still very selective about which shows were recorded with eventual release in mind. Considering many of the band's earlier important highlights (such as Day On The Green in '85 or Donington in '87) were not recorded professionally, we should be thankful to have shows like the Moscow show in '91 captured in such amazing quality. The box isn't perfect, but if the content is the best that was available, it is still priceless as a document of the period. The only addendum to this is that if the Live Shit, Binge & Purge boxed set is not getting a deluxe reissue or remastering, the addition of it's content here would have increased the quality overall of the set.

Mindkiller HQ will focus at times on new releases and review with 1 or 2 listens under their wing. These will be known as 'One Listen Slingshot' reviews. Six Feet Under's latest is just 1 week old. We're a fan, so let's not muck around and just provide an initial review. Firstly, looking back, it has been approximately 30 years since lead vocalist Chris Barnes left Cannibal Corpse. Vocalist for so many of their earlier tracks' classic albums. That period (91-94) were brilliant records. I have been a casual fan of Six Feet Under and it has been a while since I have listened to them, so let's give their latest a review. Firstly, the opening track has a tone you expect to hear as the last track. It even includes fade out. Regardless it's good to hear that mellow death and roll sound slightly down tempo and Barnes vocals doing what they do so well. Track two sees the tempo increased, but there seems to be something missing. It's a very 'paint by numbers' track for a death metal song. Nothing really standing out. All members could easily fill their role in their sleep is the impression. There is a solo, or should I say solos, but made up nothing really. Listening to the remainder of the album it really does bring my review to a quick end. This release by the band is nothing and very 'stock' as Lars would say. I'd really like to know the reason the producers and the record company thinks that this is a record worth us investing in. That might sound harsh, but it is exactly what it is. Stock music. Stock vocals. We don't even get the tracks with Barnes adding his signature squeal in. A very sad start to the One Listen Slingshot set of reviews but at least I know there won't be further listens.

Album number 13 from Exodus, their first in 5 years, feels genuine and emotional. Goliath's biggest strength is variation - whilst most recent Exodus albums had a collection of songs at a similar tempo and style, the album opens itself up to some variations. It has some songs that reach back into earlier Exodus albums for inspiration, and some others that are a totally new direction for the band. It is more accessible than most of their recent output, and not due to the heaviness, but moreso due to a balanced production that does pit every instrument against the others in a battle of who can sound loudest. Production was handled by the band themselves, instead of the much over-used Andy 'wall of sound' Sneap. Make no mistake though, many of these tracks will still cause brain damage when listened to over long periods of time at high volume. It is also great to see that some of the songs were penned by second guitarist Lee Altus, instead of this being a 100% Gary Holt led album. It adds to the variation, and Altus has been involved with the band for long enough now to understand the Exodus DNA. Rob Dukes is back on vocals for the first time since 2014, and his voice hasn't changed much, although his vocals are a lot more restrained here - not using so much of the hardcore 'bark' he was known for, but instead attempting some variations to his vocals in a number of places. This also helps to expose the songs as individual entities that live in their own worlds, rather than blending into the album as a whole. '3111' is an odd opener, not for its subject matter (with 3,111 being the number of recorded Mexican drug cartel murders), but due to it not really having a chorus or hook. It builds slowly, and when it hits its stride it holds interest, but then trails off into a lengthy segue to the next song. It does work, but feels a little unfinished (or maybe 'unresolved' is a better word?). 'Hostis Humani Generis' feels like the first 'proper' song of the album, and with its crazy fast riffing it takes the prize for the most maniacal song on the album. The chorus has an old-school feel, but the rest of the track is a nod to the Shovel Headed Kill Machine era, with its reckless energy. 'The Changing Me' opens in a very un-Exodus way, and as the song unfurls it has a very euro-metal feel - even the chorus is very different to anything the band has done before and the breakdown prior to the solo almost sounds like In Flames or similar. Swedish death metal icon Peter Tagtgren adds a death metal growl to the chorus, which also revels something new in band's bag of tricks - a melody line behind the main riff that is very common with younger bands. Any old school fan will notice 'Promise You This' amongst the others within moments of it starting. The style is very much Exodus of the Fabulous Disaster era, with a great riff ratcheting away behind a chord line. Everything from the tempo to the style of solo drips a time in the past, and whether intentionally or not Holt has channeled a younger version of himself here. The solo in fact deserves a second mention, as it will raise many an air guitar from metal heads everywhere. The chorus is so catchy you will actually sing (growl?) along to it. Remember The Toxic Waltz? This is what it would sound like if written today. The title track is a lumbering monster, and Goliath is not only its name but also a great way to describe it. Moving at a doom metal pace, the chorus has a soaring guitar lead that sounds like Skwisgaar Skwigelf from Dethklok have been called in to assist. Buried in the mix (and probably too low) is violinist Katie Jacoby adding some flavour to the sound. 'Beyond The Event Horizon' is more of a typical modern sounding Exodus barnstormer, and is probably the track that would most easily fit onto any other recent Exodus album. Having said that though, it is still carried by a great lead riff that was often missing from other recent efforts. If any track on the album was to be called filler, it would be '2 Minutes Hate'. It isn't all forgettable though, with a solo that is excellent. 'Violence Works' is a slower grinder that starts off feeling a bit like a retread over older material, but although it never reaches close to some of the best songs on the album it does have some unexpected twists and turns. The chorus also allows Dukes a chance to sing in a higher register, and you realise that the vocal variations he makes throughout the album are as integral to its success as some of the changes Holt has made to his writing style. The album's longest song (and arguably unnecessarily so) is 'Summon Of The God Unknown', which is another slow chugger. It does somehow stay interesting though, moving through a number of riffs sooner rather than later. Just when the listener expects to be settling in for something predicable, it does keep you on your toes more than anticipated. About half way the song unexpectedly changes gears and almost turns into a different animal altogether, making this more like two songs than one. It has a massive closing chug that feels absolute at its resolve. Although it feels like a natural ending the album does have one more surprise in the wings. The riff-fest that is 'The Dirtiest Of The Dozen' closes, and this is an Exodus fan's wet dream. It is exactly the sort of track that has been missing from a lot of their recent work, giving not just endless riffing, but hooks that draw you in and have you hum along. The solos are sublime, and have a backing that has a groove that allows them to shine - so much so that we even get a bass solo from Jack Gibson. It's a great track to end the album with as it leaves you wanting more. At just under an hour, the album is just long enough that it doesn't outstay its welcome, and it has enough flavour that going back for another listen is actually quite enticing. The soloing is amazing and memorable, but that isn't surprising with the pedigree of the two men creating them. The best thing about the album is that it feels like a band that is 'now' - A band that is living in this very moment. The last couple of album felt like the band was trying to be something for its audience. This album feels like they are just making music because they enjoy doing it, and that is always where the best albums come from.

A classic example of a true Alt/Rock band living in the 90's, The Living End smacked everyone in the face with the first track off their debut album in 1998 titled 'Prisoner Of Society'. It was all over Rage and Triple J for a long time. Clearly offering a punch for fans of I dunno what to call it, modern Punk with a Rock edge to it. Following that the album produced many classic songs that set the benchmark for this band. Where to next? Well you needn't look too much further down the track. Roll On continues that classic rock anthem music we all love. And bear in mind now we are in the 2000's and these guys continue to push against the trend with their classic sound. No better example than the first track and title track 'Roll On'. It's your typical 'cockney' like call to arms. Puts a spring in your step and in a way gives you that reason to fight on. From there you have the second track 'Pictures In The Mirror' which got a lot of radio play also. It does seem to lean further into a typical rock sound structure, and you will see continues for most of the remainder of the album. You can certainly notice the maturity of the band, while still showing rebellious taint, they seem to be more directed in what they want their music to present to the listener. 14 tracks and 14 minutes is what you'd typically expect from a punk/rock band. While I don't listen to it all that often, when I do I love the reminiscing. I would say that the only criticism I have is the album goes hard at the beginning with some brilliant songs, but fades away in the second half for me. I kinda feel like I'm waiting for a pump up of some great tracks around track 7 or 8, but it never comes for me. I think that is the difference from it being a great album to being an OK one.

The oddly named King Animal, the first Soundgarden album in 18 years, is an amazing piece of work. At times it is a lumbering beast, and at others it is a charging animal, but it all sounds incredibly organic. It is the sort of album only years of experience can bring, and the cohesiveness of these four humans are at the core. The lyrics are mature and both cryptic and revealing at the same time. The production is crip, but unlike many modern albums it is never lifeless. Opening with 'Been Away Too Long' (with some clear nods lyrically to the return of the band), this the usual heavy opener that is expected. What is different though is Chris Cornell's voice. This isn't the smooth croon of the 90s, but instead a road worn grind, perfectly adding to the feeling of coming home after a long time away. The pre-chorus sounds straight out of Superunknown, and the song is a welcome return to the band once they hit the big chorus. It is an accessible track, and may lead the listener to believe this is an album built for mass consumption, but even during their most popular period in the mid-90s the band never shied away from keeping some odd quirks. The next two songs are a great example of this, immediately reestablishing the integrity of the band's originality and showing they still know how to be the band they gave life to. 'Non-State Actor' has a great repeating (almost droning riff) that hooks in, and by the chorus the songs opens into an epic anthem lyrically, reminding us of the power of the people. 'By Crooked Steps' takes the discordant syncopation even further, with an odd 5/4 time signature. The vocals float over the music, weaving in and out of time, and the whole song is on the edge of collapse throughout. Cornells' vocals are even more ragged here than other tracks, but it works with his obscure and dark lyrics. This is a band at its peak, even after such a long break, sure of itself in every way. Kim Thayil gets a chance to show off some intricate fret work on 'A Thousand Days Before', and 'Blood On The Valley Floor' slows the pace down to sludgy crawl. 'Bones Of Birds' is the first time we see an attempt at a big power-ballad, and although it is a great song, it isn't one for the ages like some of their earlier works. 'Attrition' punks things up, and much like earlier albums, the song shows this is a collection of everything in one package. No two songs sound alike in style or even tone, making the listen fresh throughout. 'Halfway There' takes us toward the finish (yes, it isn't halfway), and is the poppiest track on the album, before heading into 'Worse Dreams', a track that sounds like it was lifted straight from Down On The Upside. Pearl Jam's Mike McCready lends his magic fingers to a solo on the moody 'Eyelid's Mouth' before the album ends with the somber 'Rowing'. It's a song that could easily be passed off as boring on first listen - driven mostly by a repetitive winding bass line. Over time it slowly grows on you, talking not with lyrics, but with the music itself. It is song about sadness as well as hope. A song about leaving as much as it is about arriving. 'Rowing is living, and living is hard, but living beats losing all that we are.' Rock was never supposed to be so profound.

Melvins - Press play, and wait for the chaos to leave the speakers. One of the great things about being a Melvins fan is having no idea what turn each album will take. For the most part the band has stayed reasonably listenable for the last handful of albums, losing a lot of the 'grinding noise' tracks earlier albums had - and although some of the band's earlier works had a little extra charm for them being included, what we get now is a leaner and infinitely more focused vision of the band. It doesn't mean the epic sludge anthems are no longer there, as this very album reeks with them, but they feel like they are delivered with more purpose than 'Spread Eagle Beagle' or 'Boris' ever did. This leaves things sounding a little more mature. Melvins. Mature. Yes, it's an oxymoron. 'King Of Rome' kicks the album out it's a cage with a down-tuned dirty guitar tone. Unlike many past albums, this isn't a grinding plodder, but instead gallops at a pretty fast pace, with a great since of urgency. Clocking off at around 3 minutes, it hooks you in, and nails you down. 'Vomit Of Clarity' is a rather unnecessary soundscape of instrumental and digital noise. It is somewhat musical, but pointless just the same, sounding more like an intro to another track than being able to stand on its own merit. With only 2 minutes to sit through, it is tolerable, but it also reminds you this isn't a Top 40 rock band and never will be. Typically Melvins AND totally pointless. Those words can comfortably site side by side here. 'Short Hair With A Wig' is what the older fans have come for, an 11 minute sludgy dirge that is both repetitive and compelling in equal parts. It's intro is long and drawn out, but this isn't the band of the 90s playing the same phrase over and over. There are interesting guitar parts that hook, and when frontman Buzz Osbourne begins to sing the whole thing feel more dark and brooding than anything the band has done in a long time. Like most long Melvins tracks, it does begin to stay up too late past its bedtime toward the end, but not overly so. 'Victory Of The Pyramids' brings back a touch of speed after the tempo fatigue of the previous track, and is quite tuneful, with a main riff that is swirling and addictive. Another long one, and when the silence is finally broken by the vocals it is warmly welcomed. Osbourne wails with a 70s style swagger that isn't in his normal operating style. It is Melvins doing 70s stoner rock, and they do it well. Midway the song slows down to a crawl, and it is hard to see how the first half is even the same song as the second. There are sound effects and guitar feedbacks aplenty, and it stays somewhat interesting long after it should. 'Venus Blood' farewells the album with a slow chugger that is probably the most 'classic' Melvins sounding track on the album. Although the track has many ups and down, the double-tracked vocals cut through as the centrepiece, and it all ends very abruptly. Overall, it is an album only this band could make, with lots of slow chugs and low-end madness, but the band has learnt over the years the tricks needed to keep repetitive tracks from sounding stale quickly. You are never going to be singing along while driving the family cross-country on a trip to Wally World, but in a nice pair of headphones an album like this will transport you to its own holiday location - and at around 30 minutes (is this even an album?), it is perfectly balanced to never outstay it's welcome.

Michael Schenker has never been a guy short on music, and with Michael Shenker Group, his solo work, and all the other projects he devotes time to, he has proven the well is far from running dry. This album is another worthy addition to his legacy, but not one that will change it. It is a pretty standard 2020's Schenker product, and possibly suffers for exactly that reason - it is a little too standard, and ultimately predictable. The majority of the album's vocals are handed by Eric Gronwall, recently exited from Skid Row. There are also appearances from Robin McAuley and Michael Voss (who have both crossed paths with Schenker many times over the years), and the power metal vocals of Roberto Dimitri Liapakis even show up. All seasoned veterans as vocalists, and appearing on hundreds of albums - they were an easy choice to include. Mixing up the vocals is a nice touch, and are really the only moments of surprise on the album, as musically is doesn't have much that longtime fans haven't heard before. Opener 'Don't Sell Your Soul' grooves with an Iron Maiden style gallop, but is ultimately quite restrained musically and vocally for an opener. The understated but very smooth solo (really Schenker's signature style), catches interest, and helps the songs to be a repeat listen grower. 'Danger Zone' is similar, in that it doesn't jump out the speakers, instead rumbling low, like an idling engine. As always, the solo is perfectly placed, but overall it doesn't really pop as the second track on the album. Track 3, 'Eye Of The Storm' allows the album to start stretching it's legs, and is more in the usual Schenker style. It has a distinctly 80's neoclassical feel in places, and McAuley's vocals sound like it is 1985 again. Depending on what you are looking for, this feels more like the album fans are here to listen to. 'Janey The Fox' is a slower modern sounding song, that is again slick - and not very memorable. Every album needs breathing room, but it hadn't felt like it had really opened up enough yet to warrant it this early. 'I Can't Stand Waiting' is another mid-paced track, and doesn't feel like much of a stretch for any of the musicians here. A guitarist like Schenker surely could not be challenged by songs this simple? Much like 'Eye Of Storm' earlier, 'Sign Of The Times' has a distinctly 80s sound - and the album is so much better for it. At this point it is obvious that Schenker is looking to keep his sound fresh and modern, but the songs here that have more of a throwback style or riff are actually where the album shines the most. Modern doesn't have to mean simple, and artists like Wolfgang Van Halen have proven with his Mammoth WVH band that you can use throwbacks in modern songs and still keep things sounding fresh. The solo here is one of the best on the album, and is so distinctly Schenker that you hear the entire history of his discography revealed to your ears. He even puts in a second one just as sublime later in the track. The most successful of the modern sounding tracks is the speedy 'Flash And Bone', showing that by adding a hook, the song can be infinitely better. 'Surrender' drives the album to a close, and is one of the best tracks on display. Gronwall carries the vocals well, but doesn't really push himself hard, and the song could have used the pipes of someone like Jeff Scott Soto to really lift it. Overall, it is a pleasant listen, and although it won't break into any Top 5 Schenker albums lists anytime soon, it is still worth spending time with. It does beg the question though, is Michael Schenker, now in his 70s, looking to play it fairly safe from here on? He has earned the right to coast if he wants to, but there are hints throughout this album that by pushing himself slightly harder these songs could benefit from some sharper edges.

As much as we all love classic bands, they do need a break occasionally to recharge the batteries and (hopefully) come up with some new ideas. Kreator is great example of this. From 2001 to 2017 they released five great modern thrash albums, but by 2022's Hate Uber Alles it was all starting to sound a bit stale. The four years between that album and Krushers Of The World isn't a particularly long time by today's music standards - but it has obviously been a long enough break for the band to somewhat recharge it's batteries. Krushers Of The World is far from being a classic Kreator album, but it is grower, with some memorable moments along the way. The album opens with the riveting 'Seven Serpents', with a riff so heavy it will melt your brain. It is by far the best song on the album if a big thrash headbanger is what you are looking for. Next up, 'Satanic Anarchy', is a great representation of the rest of the album. Good, but never great. The issue with the track is that when hitting the chorus the band has chosen to break the heavy thrash and move into a melodic sing-along style. The majority of the album then follows the template - a huge thrash riff that peels the skin from your face, but then the moment is restrained by a melodic chorus. The title track slows things down to a heavy chug and is a great track. The melodic approach to the chorus works, as it fits the steady tone of the rest of the song. The solo is wonderful, and is quite intense even though the song isn't particularly fast. Death metal vocalist Britta Gortz guests on 'Tranenpalast', and it feels a bit flat and unnecessary, bringing nothing the song. The song is rather paint-by-numbers anyway, sounding like the sort of riff frontman Mille Petrozza could write in his sleep. 'Barbarian' puts the train back on the rails, with a verse riff that is very reminiscent of an 80s Kreator, until that melody again kicks in for the chorus. By this point it is so predictable that the choruses to all songs sound like the same music with different lyrics. 'Blood Of Our Blood' stands out as something different, and is a better track for it. It is still within the catchy-chorus formula, but stays fast and heavy throughout, giving it a an edge other tracks lack. As track after track plays through it is hard to find a truly memorable hook, as so many songs sound very similar at that special spot in the song where it should catch you. 'Psychotic Imperator' somehow escapes the melody chorus and is one of the best tracks on the album, regardless of being hidden away deep into the second half. 'Loyal To The Grave' closes the album with a mid-paced track, but it has very few teeth to bite with and is largely forgettable. It is hard to say a band like Kreator needs to try something new when they were a band that in the 1990s strayed so far away from their fanbase with innovation that they almost ceased to exist. Having said that though, they do need to slightly broaden the boundaries they have set for themselves on recent albums by trying not to use such a predicable template for their songwriting. The choruses are so similar it feels like you could copy / paste them between tracks and no one would even know. As already noted, the album isn't bad by any means, and most bands would be proud to produce something of this quality - bit it just doesn't leave a feeling of being excited by what you just heard. The musicianship, as always with Kreator, is world class. The guitarwork is faultless, and some of the solos are insanely good - but there are moments when it feels like an 'elder statemen' band like Kreator could push themselves just a little harder to create a genuinely unique and compelling album.

In what was obviously a major metal event Megadeth announced their retirement and released their final album. After 40 years and a large (and sometimes uneven) discography, the band left a legacy for fans that will be discussed and argued over for decades to come. This album will probably be one of the hot topics of debate. The two previous albums, Dystopia (2016) and The Sick, The Dying, And The Dead (2022) were both heralded by fans as some of the band's best work in years, so anticipation for the final self-titled album was obviously high. Opener (and first single) 'Tipping Point' feels like a rally to war, a portent to the music to come. It is fast and aggressive and undoubtably a signature product of no one but frontman Dave Mustaine. It opens the album perfectly, and the listener straps in tighter for the ride ahead. 'I Don't Care' is up next. It's a punky tune that is punchy, and a little bit dumb in its subject matter - but it sells easily that it doesn't want to be taken seriously. It gets the head nodding, but certainly doesn't nominate as a contender for Song Of The Year. The quality begins to take a dip at this point as 'Dead God?!' presents as the first very generic sounding track of the album. The lyrics are poignant, but nothing special, and even the short guitar solo is bland and average. 'Let There Be Shred' lifts the pace again, and although the lyrics are an ode to the guitar, they borderline on just too cheesy this time. Musically it is one of the fastest tracks, and as you would expect based on the title, has some of the best guitar work of the album. 'Puppet Parade' is mid-paced but not a bad track in comparison to some others. 'Another Bad Day' for example could have been called 'Another Bad Song'. The lyrics are childish and the song is about as bland as anything the band has ever released, not to mention how it drags on. 'Made To Kill' kicks off with a speedy riff, but before too long reveals itself to be another fairly average track. The pace is great, but tempo alone doesn't make a good song. 'Obey The Call' has one purpose - to compete with 'Another Bad Day' as the most uninteresting song on the album. The last minute actually ups the pace and saves the song from total mediocrity, but far too late for it to be particularly memorable. 'I Am War' is another paint-by-numbers sing-along plodder that is better left on the cutting room floor, than added to an album. 'The Last Note' has the honour of being the last official Megadeth album closer, and although it feels like it is building - it doesn't. Another mid paced song, it rolls along with not much to make it memorable beyond a line here or there that evokes slight emotion until it fades from the speakers. With even the guitarwork sounding average, the album - and with it the band's career - goes out with a disappointing whimper. It is worth mentioning most versions of the album contain the highly anticipated cover of Metallica's 'Ride The Lightning' as a bonus track. Not much can be said about this beyond it being a competent cover. It isn't bad, but certainly doesn't shine either. Even the soloing is note-for-note the original, leaving it feeling pretty pointless overall. That is in a nutshell what most of the album feels like - pretty pointless overall. It is all well recorded, with the entire thing feeling somewhat '90s' Megadeth for some reason - possibly due to the guitar tone - and many of the faster moments feel like they could have appeared on albums like Countdown To Extinction (1992) or Cryptic Writings (1997). It leans more toward a 'modern metal' album than the signature thrash the band is known for. To be fair - it has some good moments, and fans will certainly not be completely disappointed - but the high points are so much better than the low that the contrast jumps out. Even the guitar leads, which are sometimes exceptional, are also sometimes very dull. The lyrics are even lacking in the depth Mustaine is usually known for. Bands should never be afraid to try something new, and this was the band that even named an album Risk for that reason in 1999. This however doesn't feel like anything new, but in fact something old, and quite tired at that. No fan wanted to hear it was time to retire the band, but after hearing this it actually sounds like the right time to do so. Beyond a handful of riffs the album doesn't beg you to press play again the moment it finishes like a good album should.

In recent albums Robert Plant has found his groove. Although each has its own distinct feel, they all share similar themes of acoustic Americana, Midwest roots music, a sprinkle of country & western, and oddly - at times - a clear middle eastern vibe. Saving Grace, Robert Plant's twelfth solo album, introduces the vocals of Suzi Dian to his music, and their voices are a perfect match. Her ethereal, soft harmonies compliment his voice throughout, and although he is still the lead here, Suzi shines in places. Kansas Joe's 'Chevrolet' opens the album, and the listener immediately knows not only that this is a Robert Plant album, but even the era it is from. If the old dg has learnt any new tricks in recent times, he isn't revealing them here, and he croons his way through this folky roots track. The harmonies with Dian are immediately apparent and strong, and they carry the track wonderfully. The traditional 'As I Roved Out' has a great driving rhythm and guitar line, and it's clear that the vocal harmonies are going to be a big part of the personality of the album. They two voices weave around each other, and Plant (knowing his voice is not what it used to be) allows Dian to take the high register in places the song need them. Moby Grape's 'It's A Beautiful Day Today' is an amazing moment, and opens with some subtle Nashville-style lap steel guitar. Plant often covers traditional or obscure songs on his albums, but this collection is a complete covers album. In typical Plant style though, nothing here is well known - and even if you did happen to know a track, everything is completely reimagined from the original. Blind William Blake's 'Soul Of A Man' is great example of this. It is now a slow folksy-hoedown rather than a fingerpicked blues, and it works. In fact everything here works - and the album slowly creates a colourful tapestry of songs that weave together like one giant piece. 'Ticket Taker' is amazing in its understated beauty, and is a perfect example of Plant's recent style - modern, yet a hundred years ago. The lyrics take us to a time none of us now living knew, yet the immediacy and weight of the performance snap as back to this very moment. Dian gets a chance to take the front on Martha Scanlan's 'Higher Rock', but it is on 'Too Far From You', one of the punchier tracks on the album, that she shines. Plant provides very little beyond some harmonies and backing vocals here, and her voice is graceful and focused. She may be half his age, but the two voices intertwine magically. The song is still slow but builds to a big crescendo, and serves as a cathartic moment after so many lighter tracks. This serves as a segway into Low's 'Everybody's Song'. The loudest and most up-tempo track of the album, this could easily have been an album opener, and would find itself very much at home on either of Plant's prior albums Lullaby And The Ceaseless Road (2014) or Carry Fire (2017). The middle eastern themes again wind around the song, but played on western acoustic instruments it is hard to place what the influence is. The album closes softly with potentially the only familiar song, the ageless classic 'Gospel Plough' (sic). Performed by every bluesman and folkie since the early 1900s, this is a fairly faithful rendition, without too much embellishment, and its closes the album perfectly, with a feeling of wistful hopefulness. Fans of Robert Plant's recent music won't be disappointed here, but there is a small feeling of 'heard it all before'. For any other performer that probably wouldn't be the case, but Plant has been a chameleon over the years - changing colours with every album, so this feels like a shade very close to one he has worn before. It certainly doesn't make this a bad album, in fact it is better than 2021's Raise The Roof with Alison Krauss, but it does feel as though his days of experimentation have come to an end. He has settled into this style like an old man slipping on his favourite pair of slippers. They are warm and comfortable, and most importantly familiar. The man owes us nothing, and his contributions to music over the years are countless. For this reason we can forgive him for reusing an idea or two.

The original Anthology project, now 30 years ago, was a massive event for Beales fans. Six hours of unreleased music (not to mention the book and a multi-part documentary series) was received with much applause - and rightly so. Although the albums had some quirks, like a few mixes made by engineers in the 80s that had never even met the band, overall they were excellent. There were new surprises on every listen, and they were packaged to feel like they were the definitive collection of extras by The Beatles. For many years, until the 'super deluxe' reissues series started in 2017, they were. This new 30th anniversary repackaging contains the original three albums, plus a new fourth volume of outtakes. No one would disagree that the Anthology collection was long overdue for a remastering, and the sound has been greatly improved (and noticeably so) on some tracks. Tracks like The Quarrymen recordings from 1958 have been cleaned up wonderfully (with AI), with a clarity that is unbelievable. The music throughout the collection sounds clear and dynamic, and with minimal compression. The remastering itself is a masterclass in sound engineering. The issues with the albums are with the tracks that haven't been upgraded or changed. The small things fans have griped about for the 30 years, like a mono mix instead of a stereo (when one most certainly exists), or a speaking part overlapping a song intro - these are things that could easily have been fixed - and should have been. The reissue has been marketed as faithfully reproducing the original albums, hence the quirks still existing - but then other tracks have clearly had an upgrade. Perhaps these things will be fixed for the 60th anniversary reissues? The original volumes aside, the part of the collection most fans were really interested in was, of course, the new 'Anthology 4'. With 36 tracks, only 13 were unreleased, and the rest was previously available on 'super deluxe editions' of albums released in the last few years. No doubt into the future all the tracks presented here will also be covered in those releases, as there are still more to come. Overall the album is a good listen, and the sound quality is exceptional, but it is ultimately just a footnote on the Anthology era. Sure, these are new outtakes, but the original release was new and exciting, whereas Beatles outtakes are a dime a dozen now, so the charm just isn't there. Add to that the fact that these songs, out of sequence with the other three Anthology albums, just feel like a tacked on afterthought - which to fair, is what the new album is. I'm never one to say 'No more Beatles for me', but at the same time, the presentation of these materials is critical to how they are heard and understood. In this digital age, it is probably expected people will make their own playlists, and sequencing isn't important - but many fans are now back to collecting physical media like vinyl and CD - so it really does matter. The new volume opens with rowdy (but rough) early take of 'I Saw Her Standing There', and cycles through a number of early outtakes previously unheard. With so many outtakes previously released there are still some gems here, like the simpler version of George's 'I Need You' that hasn't had the swelling guitar pieces added yet or the brass-less (but very rocking) version of Paul's 'Got To Get You Into My Life'. The rest of the early takes though are rather unremarkable, more highlighting the Beatles studio process and banter than any takes of real value. It is fun to listen to, but there are rather few 'wow' moments. It should also have been peppered with some live tracks (maybe Shae Stadium from 1965 or the Japan tour of 1966) or even some left over 'live at the BBC' recordings. This would also give it more of the charm the original Anthologys had. The second half, heading into 1967 and beyond, has mostly been previously released. There are a handful of new tracks around the Magical Mystery Tour (1967) recordings, and these are probably the standouts of the new material. An early take of 'Baby, You're A Rich Man' before the song really found its identity is great, and the BBC recording of the rehearsal for the 'All You Need Is Love' satellite performance is a nice listen. Whether new material or previously released, one thing that stood out was how many songs are just instrumental backing tracks. Whilst these are interesting, it gets dull when there are too many in a row, and there are quite a few. The album also includes the three 'Threetles' singles - with 'Free As A Bird' and 'Real Love' newly remixed by Jeff Lynne. Using Peter Jackson's AI technology John's vocals have been isolated and tidied up, which is great - but the songs have also had major elements changed or removed - and that just doesn't sit well with some people. At least the originals are still available on Anthology 1 and Anthology 2. In some ways, adding the new Anthology Volume 4 was actually more problematic than applauded. Maybe the album isn't actually the problem? Maybe the real issue is the expectation of fans?

The sixth deluxe reissue by Metallica, the Load boxed set is possibly the best yet - with a range of content that is generally in excellent sound quality. When the original Load album was released in 1996 Metallica had built a following and reputation for themselves that was so large they were now a household name. The Metallica album (1991) had sold millions of copies, which afforded them the luxury of recording a lot shows and other material. The box features the best of this, and there are certainly some surprises. The original album is remastered, but to be fair - the production was so crisp on the original release that it is barely noticeable as any different. The 'Mama Said' single is packaged as a collectable on 7'' picture disc, but with only a single b-side it doesn't really hold much interest beyond the nostalgia value of those that were collecting singles at the time. There are five whole CDs of riffs, demos, and session outtakes (named 'Shadowcast') that are fascinating to listen to, allowing the listener to hear the songs coming together over a number of months leading up to their recording. Sometimes the songs are arranged differently, or feature a vastly different lyric or vocal style. It is interesting hearing the songs coming together and to hear how some of the choices made affect the final product, choices that generally always seem to be the correct ones. B-sides and rarities from the period are included in the box, and the addition of two more songs recorded during the rehearsal for Lemmy's 50th birthday are great to hear. 'The Outlaw Torn' is finally available in its complete form for the first time since 1996, and the only live version of 'Mama Said' ever played (on a U.K. TV special) is also here. There are four complete concerts included, and the sound quality of each is generally excellent. During the period many of the concerts featured a very similar setlist, so the four shows are spread across a range of dates that vary the shows as much as possible. The first show is from as far back as August 1995, on the Monsters Of Rock tour and features a very 'black album' heavy set list. It's a good show, but the band does feel a little on autopilot. This is a show they have played many times before, and apart from the couple of new sings snuck in we heard better shows in the Metallica boxed set (2021). There is a great club show at Slim's recorded during the warm-up for Lollapolooza 6. It is raw and fun, and the band are clearly not taking things too seriously, using it to try out a few new songs. A full Lollapolooza set is next, and the sound and performance are punchy as hell. It is a truncated 'festival' setlist, but is a really good representation of Metallica live circa 1996, perhaps the best in the box. Apart from a couple of new tracks, it is pretty much a 'greatest hits' performance, but the real gem here is the version of 'Overkill' as a finale that features Lemmy himself. Three months later we hear the band in Norway, and this is a full concert with a the best representation of a fairly standard setlist of the near year of touring the album. By Metallica standards it isn't the best made show ever played, but it is still a great listen that is well recorded and mixed. The final 'concert' included is actually a mixture of tracks (in various qualities) from a number of shows on the Poor Touring Me tour. It's a great way to capture a cross-section of standout performances, although the sound variations are a little jarring at times. Overall the box is loaded (no pun intended) with great content that begs repeat listens. The only real complaint stems from the lack of variety in the setlists themselves. Metallica have once again shown they are the gold standard in deluxe boxed sets, and will no doubt continue to do so for a few more reissues to come.

Making a comeback album is always going to be tough - but doing it 32 years after your last one adds extra layers of difficulty. Not only is the scrutiny intensified, but the 'classic era' of a band is even more revered the farther back in the past it is. In a time where reunion albums are turning up everywhere Coroner has shown that old dogs don't need to learn new tricks - they merely have to modernise their old ones. Starting with the moody instrumental intro 'Oxymoron', the track sounds like the band breathing new life into itself. 'Consequence' blasts into action, and the pristine production is immediately apparent. Every note is clean and clear, and the sound envelops. Within moments the bass drums are pummelling, and the vocals of Ron Broder cut through. It is still that same voice from the 80s, but it is older and weatherworn - like the years away have been hard. The chorus introduces unexpected electronic elements before heading into a lengthy subtle instrumental passage, and it is clear the band has not forgone the progressive elements they were always known for. It even leaves room for Tommy Vetterli to rip through a classic metal solo. Overall it is an amazing album opener that shows elements of everything they were once known for, and begs the question - Can the rest of the album match this level of perfection? Spoiler alert: 100%. 'Sacrificial Lamb' slows the album down, and instead of speeding along it lumbers. It is not without charm through, and before the vocals even start the perfect finessing skills of the band is on display. It has some great heavy moments and is perfectly placed. 'Crisium Bound' is pure Coroner, showcasing their odd timing and song structures, hallmarks they were always known for. The syncopation in the verses is particularly dazzling, and the song builds to a big finish. 'Symmetry', the album's centrepiece is beyond mere thrash metal. It is a masterclass in the metal riff, full of complex, but still hooky patterns. The second half of the album reveals itself a little slower than the first, as it is full of complexity that takes a few listens. The down-key changes in 'Transparent Eye' are unfathomable at first, sounding like a studio effect - but make no mistake, they are no tricks here. 'Renewal' is the fastest and heaviest song here, but Coroner have resisted the urge to creep into blast beats or similar, sticking to a distinctly vintage thrash style throughout. 'Prolonging' is the shortest track on the album, but closes it well - carefully placing an organ solo as the hero of the track. Yes, you did read that correctly. An organ solo. It is a perfect and unexpected end to an album where the songs are complex, but still somehow written in a way they makes them easy to digest and appreciate. Whilst repeat spins reveal more detail, you are hooked on Dissonance Theory from the first listen - in a way old school thrash once did. Coroner have not only captured the style perfectly, but also the spirit, and sometimes that is the most important part.

Not sure why, but this long-lost band for me popped into my head to review the other day, not having listened to it for a long time. In keeping with my Spotlight exercise on some so-called post-metal bands that I have really enjoyed listening to in the early 2000s. A period post thrash metal, grunge, nu-metal etc, it was refreshing to discover new bands and sounds. To date I have written reviews on ISIS, Neurosis and Pelican. Now we come to the final in the series - YOB, in particular focusing on 2005 effort The Unreal Never Lived. For me, out of the four bands, the one I have enjoyed the most, although ISIS is close for different reasons. Unreal ended up being their 4th release as a band in 4 years. Yes, the lads had lot of music in the bank. Unreal delivers the standard 50 plus minute release, via 4 songs, so does take some investment to let the songs grow on you. But give it time and you will see how smart the band is with a sound that is unique to them, yet is a little typical to the general at the time. The music is gritty, mid-paced anger, but in a strange way upbeat in parts, at times, particularly in later tracks leading into a drone of music that you either enjoy for what it is, or you allow it to disturb you. Hey, there are only 4 tracks, so I'll review each one. 'Quantum Mystic' starts with a burst of thunder sound, allowing that to drop into the background, before a swarm of sound begins, just waiting to be interrupted. And it sure is, via the gritty guitar interrupting a quiet tempo for a while before the guitar takes over. Not much vocal in this song, but it is not needed. Listening to the rhythm and tempo changes through the track feed the interest enough. 'Grasping Air' has a really cool rhythm to it. Slow paced complimented buy growling, desperate vocals. Very repetitive. However, similar in ways, they have a unique knack of changing things up without notice, which I really like. 'Kosmos' is track 3 and as expected you will simply delve into another flavour of music the band has to offer. All premised on a similar guitar sound, which take priority for the track, with some anguishing speckled in the track when necessary. I'll admit, this one is not as attractive as it does lack any change in tempo as they had invested time in for the previous tracks. Now for the 'The Mental Tyrant'. A 21 minute track which you do need to buckle yourself in for an uninterrupted listen. The track almost seems like it is trying to defeat you with the dirge sound, pummeling you into submission, giving the immersed listener little chance to come up for air. It really is a journey of bleak. Eventually you will awaken to a more aggressive track, essentially doing a 180, returning to their traditional sound delivered for most of the album. In summary, yes this release is not for everyone, however I continue to be attracted by the oddity of it. By that I mean not something you can't pigeon hole, rather something at the commencement drags you in, demands your attention, and commences the process of gaining your complete attention for the next 50 minutes.

In metal circles Testament need no introduction. They are thrash royalty, and since the 90s have even dabbed in more extreme genres on more than one occasion. Para Bellum, album number 14, has a mixture of different styles but never sounds too much like a rehash of old ideas. The album opens with 'For The Love Of Pain' and is an all-out borderline death metal assault very much in the style of the bands late 90s albums. Chuck Billy growls and belches and even screams with a focus and brutality that sounds genuine, and the song saves no space for any quieter moments. The chorus absolutely pummels with blast-beats like no Testament track ever has before, and this is potentially their heaviest song ever. A great album opener, but one that takes time to absorb. 'Infanticide A.I.', the album's lead single, also features some break-neck drummer and riffing - but once it gets moving it is unmistakeably a modern Testament track, following their usual style and sound template. This doesn't make it bad by any stretch, as it is easily one of the catchiest tracks on the album, incorporating aspects of many styles into its three and half minute run time. 'Shadow People' slows things down to a more manageable rhythm, and the songs subtler vocals allow the riffs to really breathe - but only until tempo changes take you by surprise. As always the twin leads of Alex Skolnick and mainstay Eric Peterson pepper the songs with amazing solos and flourishes that show virtuoso agility, but always in perfect harmony with the song being played. Whereas a thrash guitarist like Kerry King could cover these songs in chaotic solos that exhibit nothing but brute force and power (a hallmark of Slayer), these two men instead still produce solos of beauty in the environment the songs prove for them. 'Meant To Be' is the obligatory ballad, and is a fairly paint-by-numbers affair, but it is possibly one of the band's best ballads. It is great to hear that well into his 60's Billy can still sing with a soft voice to great effect. Orchestrated, it ends with some great twin guitar harmonies and a beat reminiscent of Metallica's 'Halo On Fire'. 'High Noon' and 'Witch Hunt' use a few more brutal metal influences again, but still have a thrash groove in places that allow the songs to find an identity of their own, and as always the vocal variations that Billy has become known for are evident throughout. 'Nature Of The Beast' has an old school 80's vibe to it, and is probably the closest to 'classic' Testament here. Even the production is a little more restrained as to not suffocate the listener. 'Room 117' follows suit, and the two songs actually sound a little out of place on first listen - but followed by the amazingly catchy 'Havana Syndrome', this trio start to become the champions of the album for long time listeners. The album may have benefitted from breaking these three tracks up and peppering them in amongst the earlier, heavier songs. The title track ends the album and contains a good range of styles seen on all the other tracks. It is a worthy song that doesn't stand out as anything particularly special to be a closer, but it does fade into a nice solo guitar line that closes the album with a wonderful gentle moment. When a band has as many albums as Testament does, some of which are regarded as classics of the genre, it is easy to dismiss new ones as just more to pour in an over-flowing bucket. It is also easy for the band to fire up 'auto-pilot' and produce what they know best with very little effort. This album proves it doesn't have to be that way, as Testament have added something worthy to their discography that won't just be an album with songs that pop up on random and are forgotten the moment they end. Some of these tracks are top tier, and the album as a whole stands up as one heir better in recent years. Listening to your favourite band, you want every moment to remind why it feels so good to be a fan, and various moments here do this with little to no effort.

You will see from my past two reviews I am channeling a music genre that I'm not quite sure I understand completely. However, the two bands I have reviewed up to now and these next two very much have similarities in their sound. Considered to be Post-Metal, they don't adopt a typical verse-chorus-verse approach to a song, nor involve vocals as the focal point for any track. It is very much a sound-scape of music with a lack of structure and what can be seen as experimental in some places. For Pelican, they are another band that does well putting this music together. First off the album name is one of the best. Love it. Before you take a listen you are going to need an appetite for long songs (close or over 10 minutes), which take you on a journey of various tempos, soundscapes and moods. The opening track is a prime example of this. Oh, and you also must be wary of the lack of lyrics. Not completely, but as they guys say they are better at making music, not so on the singling stuff, so if it works for them, I'm OK with it. 'Autumn Into Summer' commences with a very polite, mild-mannered tempo, until you get approx. halfway through the 10 minute track where it explodes into this ravaged guitar sound and upped tempo. 'March To The Sea' is an 11 minute epic taking the listener on a journey of the harder edge of the band, with blistering guitars that keep the listener gripped. 'Red Ran Amber' is very much similar. You can quickly pick up the patterns in the song structure and having a listen to earlier tracks by now, you know what to expect again, from an 11minute track. The album finishes off with some much shorter tracks which you can expect deliver what the longer tracks do but in a sped up time. My adjective vocabulary is spent. Overall, for me, it's more of a thinking man's music. With no distractions there is a lot to take out of this. Interesting, Aaron Turner, founder of ISIS put the artwork together for the album and owns Hyrda Head records who released this album. For an album with no vocals, I'm very surprised to hardly notice and love it.

Like many heavy metal sub-genres, doom metal treads a fine line sometimes between being weighty and fresh or instead just being a parody of itself and its forefathers. Album number one for Castle Rat, Into The Realm from 2024, almost felt a bit gimmicky - not so much based on its musical quality - but more so on its short 32 minute run time and overly shlock sword and sorcery visuals. There was also that fact the frontwoman The Rat Queen (Riley Pinkerton) reveals a lot more than just her vocal skills in the outfits she wears. Pulling off a worthy, or even better, second album was critical to the longevity of the band - mainly to prove they aren't just another tear drop in a sea of lost one-album wonders. The album opens with 'Phoenix I', a complete song, but also just an intro in function. If features some slick guitar harmonies and builds some anticipation and tension. Oddly, it fades out rather than ending abruptly, and all that building tension is broken by the white noise between it and next track 'Wolf I'. The first proper song on the album, it is slow and broody. It builds like a great oil painting, layering texture on texture until the entirety of the breadth of the album to come is on display. It's the type of song that on first listen doesn't sound like it should lead the album into battle, but by its close it shows why it is the most worthy warrior the album has. 'Wizard' is massive and beautiful and everything a good doom metal song should be. The riffs are big and fat, but never outstay their welcome. There is a chance the retro 70's thing could come off as a little on the nose, and at times it is a bit much - but for the most part it is done with such a driving urgency that it really works. Sure, there is some Black Sabbath worship here, but it is hard to play lumbering down-tuned riffs without that sound coming through at times. The ending solo is a perfect solo in every way, showing just how good new guitarist The Count is for the band. There are a few lumbering moments here, with 'Unicorn', the album's longest song being a good example. It isn't by any means a bad song on its own - but amongst twelve other songs with a similar style and tempo it does feel like it is on the verge of outstaying its welcome. It is hard to imagine listeners staying engaged at a live show, but that is probably why the rat-headed and scantily clad Rat Reaperess takes the stage to entertain, like some 1970s Hawkwind throwback. At the center of the album is 'Serpent', which is one of the more accessible songs, but the main reason for it deserving a mention is the Malmsteen-esque solo that ends the track. It is a true masterpiece, and is unfortunately faded out. There are quieter interlude moments like the short 'Path Of Moss' and 'Summoning Spell'. They are far from essential tracks, but they do break the momentum enough to allow the listener to come up for air. 'Sun Song' has a massive ending for the album, not just in isn't heaviness, but in the huge crescendo that it closes everything with. It is actually a shame that the final track, 'Phoenix II', is just another short and soft instrumental. Overall, although it is a well written and wonderfully executed set of performances, it isn't an album for every day. Like most doom metal you need to be in the right mood to appreciate it fully, and at just under 50 minutes it can be a demanding listen. That being said, doom metal shouldn't be an easy listen - and Castle Rat have proven on this album the reward is in the perseverance of the listener, and in their ability to stay focused on the rich and rewarding music whilst ignoring some of the gimmicky dress ups and album art. Some tracks are a tad samey, mainly due to the mostly monotone vocals and the tempo of many being the same, but they do have enough variance to stand apart once you get to know them. Doom metal megafans will probably claim there are more genuine doom bands out there, but are there any that are quite so 'fun' to listen to? Probably not.

Cult Of Luna is a band I'd taken a mild interest to in the period called 'post-metal' if there is a meaning to that. There were several bands labelled this, but I didn't have much of an interest in it. The bands and the music on offer, while somewhat appealing, also needed a significant investment in the 'genre' highlighted by mostly 8 plus minute songs wavering through all types of sounds and moods. There were a number of bands that stood out with one of them being ISIS (that I recently reviewed). Of CUL's discography I chose The Beyond to review as it is considered a close replica of ISIS - Panopticon (2004). After a very short introduction, the band hit hard with 'Receiver', again bringing a blast of music and gritty vocals followed a minute or so later by an interlude of drums and guitars bringing the anger down a little but has the listener hanging on the edge of what is about to happen next. Eventually returning to the start, the desperation in the vocals continues, screaming for attention. Sure you need the liner notes to read what is being sung, but really you do get the idea of what the band is trying to portray, accompanied with the music. A brilliant starter, setting up the listener for what is to come. Or is it? Next track opens with a mellow, plodding sound, giving every intention of drowning vocals which have the listener feel they are climbing a mountain too impossible to climb. With track 2, 'Gensis', prepare to hang in for over 11 minutes of desperation, sorrow and anger. Certainly there is much more vocal involvement in the song structures which I don't mind. Highlights include the bass line that runs through 'The Watchtower'. The remainder of the album covers 7 to 11 minute songs along the same lines as what you would have heard to now. Again, taking into account this is a release for a band still young in their music journey (2nd full-length after their self-titled debut 2 years ago), the maturity shown is impressive. The band has very early captured the sound they want to present to fans and have a lot of upside coming to them in the years to come.

No review of the Live E.P. can't at some point address the elephant in the room, so let's get it out the way before we begin. Why is one of the most recorded artists of all time, releasing nothing but an E.P. worth of live material when they probably have oodles of concerts that could be released in entirety instead? The short answer is 'Who knows"?. Jimmy Page has not addressed this in any way, and considering this E.P. is to celebrate the 50th anniversary of one of their best albums, 1975's Physical Graffiti, it certainly makes ZERO sense when at least a single - if not double - album of material could surely have been released? The tracks included are all part of concerts that were previously included on the DVD release of 2003, so the complete audio of these concerts exists. We may never know, and that is where we will leave the question, instead now focussing on what has been included. Leading with the tasty slide work of Page on the band's loose interpretation of Blind Willie Johnson's 'In My Time of Dying', the 1975 performance is pretty flawless, and the sound quality impeccable - with a new mix better than the DVD of years ago. It is an odd opener, as it isn't particularly energetic. Bonham's drum work quickly becomes the star here, as it often does - but John Paul Jones doesn't take a break on bass either, with his pulse driving the song. Next up is another 1975 performance with 'Trampled Underfoot', and again JPJ shows off his versatility - but this time on keyboard. Page plays a wild improvised solo that wraps the song up nicely. Fast forwarding to 1979 for the next two tracks we hear a more restrained Led Zeppelin. In only 4 years the band had become a very different animal due to personal events, and the Knebworth recordings were their first live shows in a couple of years. Robert Plant's vocals do not sound as sure of themselves as the earlier tracks, almost showing a distance to the material. 'Sick Again' is a ragged performance, with him semi-screaming in places rather than refining his vocals. Closing the E.P. with the epic 'Kashmir' is an easy choice, but the performance again sounds somewhat subdued and restrained. Both tracks sound like the band is trying to re-find the magic of playing together. Obvious short running length aside, it is another quality Led Zeppelin product, as only perfectionist Page would allow the release of. The first two tracks are the band in their barnstorming prime, and the second - only four short years later - sound like a professional, mature band. The contrast works well, but still would have worked better with more material to compare making this essential rather than a novelty.

With a lot of the heavy metal I have listened to in the past has been all aggressive fast paced, in your face rebellion that gives you the rush you need. ISIS was the first band I ran into that gave you the alternative somewhat. There is less a focus on lyrics and more so on the music itself and the play off between very heavy brick wall bashing insult on your ears to periods of reflection in a rolling, somewhat peaceful soundscape that leads you on a journey of something that is not so much complex to play but executed really well, presenting a challenge to the listener to sit back and enjoy. Panopticon is the 3rd release by the band. I did enjoy the first 2, but this one is regarded as their best effort. Right from the first second, the heavy guitars and deep growling vocals set you on a false sense of what you about to hear. And what you are about to hear is a track of a just brilliant landscapes of sound. Mid-paced, not threatening for the most part, but rewarding if you take a deep listen. Occasionally sprinkled with some distorted lyrics with perhaps an attempt to interrupt the music but fade away quickly. With most tracks clicking in between the 7 to 9 minute long, you get plenty of time to intake each track. Looking at specific tracks, 'Wills Dissolve' is a great example of building up a song into a crescendo that only last for the final minute of the song, but the lead up gave you a sense it was coming. Like in the middle of night at home, seeing the lighting and thunder slowly heading toward your hour. It arrives with authority and leaves as quick as it came but leaves a lasting reminder of what you just experienced. 'Altered Course' is purely instrumental but I call it out I guess due to the drum being so pronounced for most of the song as again it shifts through different levels of emotion. I will finish by saying that you do need to be in the mood and have the time to dedicate to this album in a single sitting. If you do, the reward is there for the taking.

If there was one trend in metal that was over almost before it began, it was the late 80s surge of 'funk metal'. With bands like Infectious Grooves and Living Colour leading the way it was only a matter of time before someone melded thrash, and that is where Scatterbrain came into the picture. Rising from the ashes of Ludichrist the band appeared on the scene with an explosion with the songs 'Don't Call Me Dude' and 'Down With The Ship (Slight Return)' released as singles, but they soon disappeared just as quickly once the novelty of joke songs and men playing guitars in chicken suits got tired. The album opens OK with the groovy title track 'Here Comes Trouble', and although the lyrics are a little on the nose it proves itself to be a reasonable opener. The vocals are like an imitation of Faith No More's Mike Patton, no doubt an inspiration. Cheech & Chong's classic 'Earache My Eye' is next, and it suits the feel of the album heard so far quite well. It even features the first of many horn breaks. 'That's That' really hits the funk hard and with its gang vocals could be straight off a Red Hot Chilli Peppers album of the era. Although the songs are performed well, they are all rather vanilla, with nothing really jumping out as better than average. 'I'm With Stupid' slashes the speakers with a razor blade, and if a decent amount of distortion was added the band's thrash roots could easily be revived. This only lasts about a minute though until we are back into funk mode and the song voids any of its charm. 'Down With The Ship (Slight Return)', although it was the second single released, is what the audience is here to hear. Containing samples of dozens of popular rock and metals songs, with everyone from Metallica, Aerosmith, Van Helen, and Led Zeppelin represented, the song is a great listen. If you step back for a moment and stop trying to name the samples and just listen to song you soon discover it is another hollow entity, created to carry the samples and not much else. 'Mozart's Sonata #3', although clearly placed here to be quirky, actually reveals itself to be a standout track. The musicianship is top notch and flashy, and it is fun listen, sounding like the lost soundtrack to a Bill & Ted mall chase. The songs of the second half breeze past as uninspired as the first, with 'Mr. Johnson And The Juice Crew' (take a guess at the subject of that one) and 'Goodbye Freedom, Hello Mom' zooming by. 'Outta Time', although it suffers from some tempo change fatigue, actually has some pretty good riffs and potentially is the only track that could survive out of the time it was created in. Maybe the song name wasn't just a fluke, but a premonition? 'Don't Call Me Dude' is up next, the joke song that put the band on the map. It starts like a 50s doo-wop, before going metal, but with a great lead riff and some pretty heavy guitar work it actually still holds up OK - cheesy lyrics and all. The one minute finale, arguably the greatest song on the album, is the mournful 'Drunken Milkman'. In 1990 no metalhead on the planet couldn't recite the lyrics word for word. It isn't that the song is good - quite the opposite. It is that it is so over the top that it becomes a quotable classic. A joke song or even two on an album isn't necessarily a bad thing, and bands like Anthrax have proven it can be done well. The problem with Here Comes Trouble is there is just too much - and it is at the cost of quality song writing. Even if you were a fan of the funk metal style, nothing here has enough substance to last more than a couple of listens. Scatterbrain carried on for another album after this one in 1991, and even squeezed the dollars from the record company for an E.P. in 1994 (which took itself a little more seriously), but really everything they did after this album was just more of the same. It is debatable whether they would even have been noticed at all without those couple of singles, but then again that could said of a lot of well-known bands that have lasted longer than Scatterbrain ever did.

Oh boy, this album hasn't aged very well at all. The production is terrible, but putting that aside it's a really fun album, kicking off the 90's and the continuing rise of thrash music. The self-titled starts off the listen and gives you a good insight to what this band is about to present the listener with. Some quality thrash music with questionable/humorous music. I say quality I guess to the extent it won't land anywhere near the thrash gods of the time, but is a serviceable effort that is catchy. I like Earache My Eye, with the playback between the lead singer and the remainder of the band with the lyrics. Clearly the band made its name from some classic songs that hit the mainstream. Including 'I'm With Stupid', which is a laughable parody of a man who has two heads. The lyrics are very imaginative leading to a catchy song. 'Down With The Ship' does a great job of sampling some classic riffs from other bands. 'Mr Johnson And The Juice Crew' is again quirky but a catchy song to sing along to. And then we come to the final 2 songs on the album which are probably their best. 'Don't Call Me Dude' which is a great story, along with 'Drunken Milkman'. You will notice that the focus is mostly on the lyrics from each song that make you want to laugh or sing along. It's almost like the music is secondary, which well might be the case. Not much happened for the band from here. I did buy their next album, but it was nowhere the same. In any case they deserve the recognition they got in the early 1990's.

Although in recent years Accept have been thought about as a legacy act, regardless of them releasing a stream of consistent albums for decades, it is important to remember they were at the forefront of acts leading heavy metal in the early 1980s. The vocals of Udo Dirkschneider are often cited as an influence, and guitarist Wolf Hoffman was amongst the first to bring neo-classical influences into heavy metal. By the band's fifth album Balls To The Wall they were a well-oiled metal machine, and it is often the album still talked about today as their most important. Oddly enough, it has also often been discussed due to its album cover and song lyrics, both seen as being linked to homosexuality in some way. The band themselves have indeed confirmed they deliberately added some subtle references, as heavy metal was all about challenging social taboos. Whilst more open-minded European audiences saw the connection and made sense of it, American audiences just didn't get it resulting in censorship plaguing the initial U.S. release. To the censors singing about violence and Satan was regarded as OK, but gay references crossed some sort of line. Obvious hypocrisy aside, the title track opens the album nicely, and the crispness of the modern production is immediately noticeable. Dirkschneider's gravel-mouthed vocals cut the chorus to shreds, and a metal classic is born. The song has been covered more times over the decades than anyone could count. 'London Leatherboys', one of the tracks often mistaken to be about gay men (it is actually an ode to motorcycle clubs), is a similar tempo and again kicks in a big sing-along chorus. Fans by this point would notice a clear change in song writing on the album, moving from the more in-your-face metal songs from previous album Restless And Wild (1982), to an easily digestible version of the band. This was clearly an album that was written to appeal to a wider audience than just metal fans. Having said that, 'Fight It Back' makes a good play at older fans as a throwback to their earlier work. The slick production and mid-tempo songs continue throughout the album, with songs like 'Head Over Heels' and 'Losing More Than You've Ever Had' fading into each other without much to distinguish them. 'Love Child' stands out as a perfect example of 1983 heavy metal track and could be at home on any album by any band from the era. 'Losers And Winners' carries Side B best, with another punchy guitar-line typical of the era. 'Winter Dreams' wraps the album with the obligatory ballad, and is largely forgettable except for the soulful soloing. Listening to the album today brings a feeling of nostalgia, but also the realisation that most of it isn't really anything above average. It is an album that has to be heard with the history of the era in mind, and only then can it be understood why it holds a special place in metal history. It was launch-pad cited by various younger bands to leap from to evolve the genre, and that is what still makes it important - regardless of the content.

Growing up, the only exposure I had to pre-80's music really was through my dad's collection. He had some great bands, but it didn't include Black Sabbath. The other influence on my music interests growing up was AM radio, and you certainly weren't going to hear the likes of 'War Pigs' playing on a Thursday afternoon. If fact the first time I heard this song was the cover by Faith No More, which I loved. I was never one to go back and listen to the history of a band or a song once I started buying their music. There was so much new music to listen to in the 80's/90's I didn't think to go back. In any case it's clear that Paranoid is a seminal album for Black Sabbath. There might be arguments against their debut being the top of the pops, but for me, Paranoid was the one album I chose to listen to and still enjoy to this day. I kinda feel this review actually doesn't need much explaining as I believe anyone interested in the band knows this album very well. In any case I'll provide my view. Opener 'War Pigs'. Referencing what I mentioned earlier, it was great to reconcile with the original. Still blows me away that this music royalty was created in 1970. Blows me away. They lads had a knack for rhythm and Ozzy with his moody but somewhat childish vocals. Almost seem we are waiting for his balls to drop. Yeah, sue me if you don't agree. Maybe it was the production. In any case it turns into classic hit after classic hit, with 'Paranoid', 'Planet Caravan' and 'Iron Man' blowing your mind on what is just side one of the L.P. 'Panet Caravan' for me is the outliner for the first side. Only 3 tracks in you have this solemn offering with distortion of Ozzy's vocals you can hardly recognise. A really interesting interlude. The need for it at track 3, not so sure. 'Iron Man' is just so over the top. With that bass drum intro leading into a simple strum of the guitar before we get into business. Probably my fave of the record. The second side as for many bands seems to be a challenge to meet the quality of side A. Maybe just slightly Paranoid suffers from this a little. However if you invest the time you will find the intricacies that while different to side A, still offer a different attractiveness. Love the cheeky lyrics in the intro to 'Hand Of Doom'. 'Rat Salad' instrumental being the clear classic and a bold choice by the band as instrumentals aren't everyone's cup of tea. But it is a one-in-all-in by the band and all 3 of them blast out such a memorable classic. I have to point out Bill Ward on this and his incredible effort on this track. Amazing!!! Finishing with 'Faries Wear Boots'. Impressed by the band's knowledge of faries but any case, grab me a napkin so I can wipe my face after indulging such a record. I'm done. No desert for me thank you.

The Ultimate Sin, Ozzy's fourth solo album overall, is often viewed as low point in his career. He had just spent time in rehab, and has often said that recording the album wasn't a pleasant experience. He was not in the right state of mind, and contractual disputes with band members made the whole experience rather forgettable. Guitarist Jake E. Lee would present no material until contracts were signed and bassist Bob Dailey quit before recording even started. With all this chaos in mind, somehow an album of above-average quality emerged. The songs were hard-edged, with a tight production, but still held the pop sensibilities of early albums in the catchy choruses and accessible lyrics. The title track rumbles from the speakers with the opening drum pattern, and although the song isn't fast - it is sinister, and Ozzy's vocals sound focused and aggressive. The track even features some double-bass drumming towards it's close, reminding us that is all these great guitar hooks this is still a metal album. The music feels focused in a way Osbourne's music hadn't before. This continues into 'Secret Loser', and although the chorus is almost cringingly poppy, the ragged guitar tones still carry it beautifully. Although Lee would never be seen by fans as a worthy replacement to dead guitar god Randy Rhodes, his solo here shows why he should be. The anthems continue, with 'Never Know Why' giving the best stadium fist pumper of the album. 'Never' features some great six-string work, even if it does lean a little too close to too much of that 80's reverb. 'Killer Of Giants' is a rare quiet moment on the album, and in Ozzy's career overall. It gathers some momentum and punch toward the end, but his heartfelt vocals really touch a nerve as pleads for the warmongers to stop. He is delicate and vulnerable, and it adds a deeper dimension to the album overall. The closer, 'Shot In The Dark', is an oddly sombre track, although it has a decent tempo and a sing-along chorus. From the opening steady bass line and scant guitar, it just has a different feel to the rest of the album - like it is a song that has a different goal than the others. It is a perfect closer to an album, although it wouldn't seem that way if heard on its own. It has a feeling of a restless farewell, of a door being closed that will not be opened again. Rather fitting really, when in hindsight we know that this version of the band would completely splinter in the very near future. It would also be a song that would be at the centre of legal disputes for years to come. The album isn't Osbourne's best work, but it did add another strong group of songs to his growing solo legacy at the time. Although many of the tracks aren't brilliant, overall it is one of his most consistent bodies of work, with no absolute low points. In later years he openly stated it was his least favourite album - but those comments never seemed to be about the songs, more the period of time.

Any metal fan can tell you that the birth of the genre can be traced back to one album. The debut by Black Sabbath. It is the moment a group of four guys from post-war Birmingham pushed blues out it's comfort zone, and twisted into it into something else. From the moment the title track starts and the church bell rings out from a bell-tower somewhere deep in the misty distance, the atmosphere of the album seeps through. When the instruments crash in, and the sinister Devil's Titone rings from the guitar of Tony Iommi, you know this is like no other song. Ever. This is a Hammer Horror film put to music, and the anguished wails of Ozzy Osbourne are like nothing previously unleashed on the public. The song ends with the benchmark for heavy metal, as the galloping riff is accentuated with a shredding solo. Heavy metal was born at that very moment, and rock music would never be the same again. Defining something new isn't easy of course, and there are certainly sign-posts back to where the band came from - 'The Wizard' has a fat and distorted guitar tone, but make no mistake - this is just heavy blues through and through, and would feel right at home on a Deep Purple or Led Zepplin album. Even Osbourne vocals and harmonica line lock this into the late 60s heavy blues boom. 'Behind The Wall Of Sleep' is similar, but much like the title track this one morphs itself into something previously unheard, and Iommi really gets a chance to shine with his soloing. Geezer Butler's bass line weaves and twists like the sounds of a late night smoke-filled jazz club, and it isn't too long before he gets his chance to shine on the intro to 'N.I.B.'. Not only is this track a classic metal assault, often cited as one of the band's greatest songs, but it is also the point that Sabbath did something that would change popular music forever - they sang a song about Satan, and made it great fun to sing along. This was 1970, when the Western world still held Christian values central to their way of life, and with one song four ragged outcasts changed how millions of teenagers would think about religion for countless decades to come. The U.K. version of the album contains the rather insipid cover of Crow's 'Evil Woman' at this point, and the band sounds like they are going through the motions, playing a song that was suggested as it may be a potential hit single (spoiler alert - it wasn't). For once the U.S. version had the better track list, with the brilliant 'Wicked World' midway into the album. A blues romp from start to finish, but with Sabbath at the helm is still has sinister undertones that a band like Cream or Jethro Tull could never have conjured. Bill Ward gets a few moments in the sun, and his thunderous playing pummels through the song, carrying it wonderfully. The album ends with the delicate guitar and Jew-harp of 'Sleeping Village', with minimal vocals but a great instrumental build up before it segues into a 10 minute cover of The Ainsley Dunbar Retaliation's 'Warning'. It is a perfect ending, with its dark and ominous vibe - and although it isn't far in style from the original, it again shows the band's ability to make something sound like a darkness is growing beneath. Osbourne's voice is at its finest here, and the song winds up with Iommi showing the fans of the great bands of the 60s that a new generation of guitar players are about to take control. The production on the album is as simple and raw as the cover art, and there is no studio trickery or post-production here, beyond some solo overdubs. Osbourne's voice is intense and filled with a sense of equal parts anxiety and terror, and without the double-tracking his voice would later constantly be subjected to, he sounds youthful and sincere. This is possibly his greatest ever performance. This isn't just an album, it is a blueprint for thousands of albums to come, with some following the doomier aspects and others preferring the more intense moments and guitar wizardry. Every metal band from this moment onwards owes its existence to this very point in time, and whilst the release of Black Sabbath probably isn't that relevant in the entire linage of human history - it's pretty fucking important if you like heavy music.

By the mid to late 1980s the popularity of Ramones was on the decline. Punk had taken on many new guises, most of them more aggressive and socially-engaged. They were a band of another generation, and to the new punk fans, nothing more than a legacy act. Clearly noticing the decreasing record sales the band began returning to their roots in their late 80s output. Although they themselves later said it wasn't a favourite (mostly due to the infighting amongst the members during the recording), 1989's Brain Drain was not only an album that felt genuine and mature, it also felt like it was readying the band for the decade to come - a decade that would eventually find Ramones fashionable again. The raucous 'I Believe In Miracles' opens the album, and although musically there is nothing new, the lyrics are deeper than the band is usually known for. It's a great opener that fires up the listener with its punch and purpose. 'Zero Zero UFO' is more in line with the usual Ramones whacky lyrics, but it a great high-speed track. The album continues with great muscular riffs for the next few tracks, and the band feel energised and committed to the material. 'Punishment Fits The Crime' almost feels more of a metal anthem than punk, with a great crunch in the guitar tone. It isn't all great though - 'All Screwed Up' is pretty cheesy and dates the album to the time-period, and 'Pet Sematary' (the song for the movie of the same name) is not bad, but just a bit of an sore fit amongst the other tracks. 'Come Back, Baby' is a pseudo-ballad, but Joey Ramone's vocal range was never designed for softer songs. For the most part though, tracks like these are buried amongst punchy punk anthems like 'Learn To Listen' and 'Ignorance Is Bliss'. It all ends a bit flat with the seasonal 'Merry Christmas (I Don't Want To Fight Tonight)', which is not only a song you can only play at one time of the year - but isn't really a song you would want to play at all. Although not their greatest album, when listening to the faster tracks early Green Day and The Offspring come to mind, and there is clearly influence here. If making sure they still mattered was the intent of the band, they did that with this album - making a set of catchy songs that carried the legacy of their early album on its shoulders.

Celebrating 30th year anniversary this month (June 2025) seems appropriate to review a favourite band of mine and their sophomore release following on from Soul Of A New Machine (1992) and the E.P. Fear Is A Mindkiller (1993), It was an incredibly impressive set of music across 3 releases. In the path of the likes of Ministry, it was a period of me loving Industrial Metal releases. However, if you compare the two, their sound is miles part in my view, but I won't get into that now. Demanufacture - as many punters say and I agree, was the commencement the period of the classic line up for the band, with Burt, Dino, Raymond and Christian. Over the years the door has swung a lot, including the atomic clock himself (Hoglan). In any case, for me, the band could do no wrong. I got the impression that writing and recording songs was as simple as spreading butter on a piece of toast. They had an approach to their writing and recording of music that wasn't going to mess around with tempo changes and guitar solos. Their craft simply focused on frenetic ear bursting sound, however with a secret unique weapon. That is Burt's vocals brutal and soulful. He switches perfectly between the two which again provided a differential for the band. Highlights of the release certainly have to start with first track. It perfectly sums up all you will hear from the band. Face mashing guitars, frenetic drum beats and Burt starting with his howling before engagement with the growls. ''I've got no more goddam regrets'' on repeat is just brilliant. A perfect opener that hooks the listener into their lair. From here it becomes hard as every track has a different delivery approach. 'New Breed' is another standout. As we have come to learn, the band love to include a cover - 'Dog Day Sunrise' delivers on this this and deserves a shout out. However, if I am to be honest, the album does fall flat in the middle part. As much as I am a devotee to the band, thinking they can do no wrong, this record doesn't reach the highs of a previous L.P. and E.P. sadly.

The 'legendary' Manticore Tapes (named after the studio they were recorded in), have sat in a box somewhere for almost 50 years until they have finally seen the light of day for this release. These rehearsals are the first recordings of Lemmy joined by Fast Eddie Clarke and Philthy Phil Taylor. It has been heralded as 'lost album', but that simply isn't true - as these are merely rough run-throughs, probably recorded to see how the band sounds on tape. Launching with the instrumental 'Intro', the recordings reveal themselves to be rough but completely listenable. There isn't a lot of distortion present, and Lemmy's bass cuts through better than on most studio recordings, as he hasn't quite reached the point sonically where he is filling the same space as the guitar. Fast Eddie gets a chance to show off his soloing, and the three musicians lock together wonderfully to create a cohesive sound. 'Leaving Here' is next, a cover of the Eddie Holland song that seemed to be a band favourite. Musically it is raucous, but Lemmy's vocals are restrained - and he sounds somewhat unsure of his place. This no doubt is a result of these tapes merely being a rehearsal, as they seem to vary in conviction from song to song. 'Vibrator' is bursting with an energy even later studio recordings were lacking, and 'The Watcher' has more of a bluesy feel than the final version. The song 'Motorhead' shows how much dirtier the soon-to-be recorded debut album could have sounded with the right production. John Mayall's 'Witch Doctor' is a highlight, and sounds the most like what the band would soon become. This is by no means an essential addition to the Motorhead collection, as the performances feel like they require work and care to get them to where they eventually would land. It is however and amazing time capsule for fans into a studio in August 1976 where a band was literally being born performing these tracks.

Probably a band that many are aware of these days. One of the pioneers of the Industrial Metal sound. Loaded up with heavy guitars, thumping drums, and then the element of synthesizers and sampling which is much more prominent now. Along with Fear Factory I reckon they lead the way in this sound and it has lasted for some time. Listening to this record again for the first time in a long time, it brings back memories. 'N.W.O (New World Order)' is the quintessential track to explain what I have mentioned above. With band leader Al Jourgensen leading his vocal in between samples it creates an attractive sound. Some might argue quite repetitive and simplistic in its sound. The music still alludes itself into a typical metal song with a guitar solo nicely placed within the song. Oh I must mention that good old Al J at this point in time had a penchant hatred for the current USA President at the time (George Bush Senior). Other highlights through the album are TVII which is non-stop guitar riffing and drum pelting, spilt every 20 or so seconds with some poignant vocals again addressing social issues of the day (connect the goddam dots!!). A lot of work has been out into this album not to make it a paint-by-numbers song after song. Each track is very different from the others. All with the underlying industrial and in places thrash metal tempo but building on that baseline with very different add-ins if I can call it that. From different instruments and their sound, but also with Al's vocals. It really does make each track quite unique. The highlight of the album for me is 'Jesus Built My Hot Rod'. It's not the best effort musically, but simplistically when there is a need to ''Ding a dig-dang my dang-along ding-dong'', you must put your hand up and say yes I am in. It's the spoken work in this track that perfectly rounds out a brutal assault on the ears for a very fast-paced song. Other highlights are of course the title track 'Psalm 69' which is irrelevant in its topic as it is a song that essentially wraps up the album. All up my assessment is if you want to listen to something new that was a genre leader in this space, take a listen. I'll just add finally that I did get to see them live when The Big Day Out was around in the 90's and they delivered the show in spoons. A band with an amazing legacy.

New music from My Dying Bride is always an exciting experience for the listener, as it is never clear until the album starts if it will be a gothic and mournful album that tugs at the heartstrings with wails of pure sorrow, or a dark and heavy beast that lumbers and weighs upon your soul. Songs Of Darkness, Words Of Light heads into the later, dripping with atmosphere and death metal tinged dirges. 'The Wreckage Of My Flesh' opens the album, and at nearly 9 minutes takes the listen through a number of moods and movements, from the crushing weight of the opening guitar work, to the church organ played through the lighter passages. It is paint by numbers My Dying Bride, without a doubt, but every moment is chained to that spot of pure despair that only this band can do so well. The heaviness continues on 'My Scarlet Sorrow', and some of the weightiest riffs of the album unfold throughout. It has moments of beauty, but like always with this band the tension of knowing they are fleeting is what makes the listen so intense. 'Catherine Blake' starts out as dirge, but by mid-way builds to an intensity that swallows the listener whole, with massive riffing carrying the growled vocals of Aaron Stainthorpe to places deep and dark. Make no mistake, this is a heavy album, possibly their heaviest to this point, and it takes no prisoners when songs like this one wind up. The musicianship is faultless, and this is the sound of a band that is still exploring what can be done within the guardrails they helped to set. 'The Prize Of Beauty' has a drumline that pummels in places, and 'The Blue Lotus' is full of down-tuned chugging that drives the song to even darker despair. The finale, 'A Doomed Lover' is the epitome of the style - a dirge of lost love with whispers and cries, intermingled before a musical background that builds to a wall of sound crescendo. My Dying Bride are not a band that will reinvent itself into anything new, but this isn't what the listener wants from the band. They excel in the style they perform, and they know this, so album upon album they build a funeral pyre to the sad and lonely, with just enough variation to make the album stand out from the one before. With Song Of Darkness, Words Of Light they have created a work that will stand the test of time as one of their best albums.

I think this album doesn't get the accolades it deserves. A young, obnoxious band from L.A. California simply putting their ego out there, releasing a couple of demos and E.P.s for those that would listen. At a point in time (early 90's) when the musical environment in the rock / metal space was undertaking a re-definition to the extreme. So much so that the music Tool were proposing just didn't fit anywhere. We talk about defining first full-length releases by bands that might define a genre. OK, you immediately look to the likes of Pearl Jam who did what they did. No explanation needed. I'd argue that Tool, through Undertow, as a first full-length release, put together a sound that was unique for the time. A mash of fast paced drumming by the now legendary Danny Carey, underpinned by a huge bass line that made your ears drums tingle. The guitar lines taking main stage as needed and then there comes the howling, enthusiastic, sometime depressing magic of one Maynard James Keenan on vocals. A preacher in his music just drives you into the overall sound Tool has to offer. If we look to the album song list, do your best to show me another record that can compete with the first 3 tracks on this record as the best commencement to an album. 'Intolerance' immediately introduces that underlying drum/bass sound that they become famous for on many albums to come. 'Prison Sex', although a bit in your face with the song topic, it switches to showing how Maynard applies his singing to the song lyrics. Brilliantly delivered this has us understanding in 2 tracks simply the range of the band, with so much more to come. Which brings us to 'Sober'. An amazing bass intro with a tempered intro to the song overall. And you soon find the reason for it. This is Maynard's song with some very strong messages to share as he deals with a friend that has a creative musical genius about him only when he is high. The hate with which this is made very clear in the song. As masterpiece and arguably the best track from the album. From here we shift into some perhaps more light-hearted approach. However still displaying that raw edge. The bass leading the way and Maynard providing the high points. They seem very tight in their delivery and hard to fault any tracks. Also, with very little low points. The rest of the album settles nicely into a rhythm they have made the listener comfortable with. I'd admit no particularly outstanding tracks from here on in, but equally the ice has been broken into their sound, so you simply need to sit back, relax and listen to the pavement set by the band in the first few tracks and follow the journey. My final advice, if you connected with this in anyway, do not miss what they have to offer 3 years later (1996). If you didn't like this, still take a listen. They were only getting started on their world domination with this record. Enjoy.

Metallica had already taken a massive risk with their 1991 self-titled album, and proved that if the material is strong enough - you can update your sound and not only survive, but actually thrive. Load took the stylistic changes one step further, moving from a classic metal sound to more of a southern rock flavoured alternative style. They are a band that always trusted their instincts, and again got it just right - creating an album that was a step forward in their development, but also an album that appealed the 'alternative nation' audience so fashionable at the time. Fans of older alternative bands like Red Hot Chili Peppers and Faith No More embraced them, as did fans of newer nu-metal like Korn and Limp Bizkit. That isn't to say a few feathers weren't ruffled, with many older fans of Metallica finally proclaiming this was too much of a stretch musically, and that isn't even mentioning the much publicised haircut and fashion choices thrown about in marketing photos at the time. For those fans that did persevere and continue to follow the band, they were rewarded with a album rich with groove and personality, something that they had not really been part of the Metallica make-up before. Frontman James Hetfield even loosened the reigns enough to allow guitarist Kirk Hammett to add rhythm guitar parts to the album, something that had never been done before. The two different styles of the guitarists weaved together to give the music room to reveal tapestry of harmonies. The album opens with the succinct 'Ain't My Bitch'. With a slower pace than the usual opener, and a jaunty bounce that moves the song along, this didn't feel like the epic opener that a song like 'Enter Sandman' was. It feels like someone has opened a window and let some light into a dark room, but the lyrics still reveal the darkness that light can't quite get to in the corners. '2 x 4' provides even more breathing room, and anyone not sure where this album is heading will work it out here. It has a massive bouncing groove, and the cynical and intelligent lyrics are the only things connecting the listener to where this band were a decade ago. 'The House Jack Built' slows things down to doomy chug, something Metallica have done many times in the past - but this is still very different. A morbid tale of the woes of Hetfield's addictions that would catch up with him very soon, it again showcases that although the musical edge of his writing has been deliberately dulled, his lyrics were still tight and ever meaningful. It is something that occurs throughout the album, with these lighter edged songs being weighed back down to the dirt with the heaviness of Hetfield's lyrics. 'Until It Sleeps', the world's first introduction via single of this new Metallica a couple of weeks before the album, tells of his mother's battle with cancer. 'Hero Of The Day' opens the album up yet further with an almost rock-styled, single ready, anthem. 'Bleeding Me' is a slow chugging monster, that only really shows it's underbelly on repeat listens. Monster is indeed the only word that can describe it. At almost 80 minutes, it is a long album, and for what heaviness is lost in the music it seems by mid-point has been replaced by a heaviness in emotion. The songs drip with a dark energy, like a sleeping giant slowly awakening, and it isn't until the acoustic country-tinged ballad 'Mama Said' that the mood feels like it lifts. Penultimate track 'Ronnie' has a bluesy riff that challenges the listener not to bob their heads, and it isn't until you realise that the song is about a mass shooting that the smiles leaves your face. The final track, 'The Outlaw Torn' is an epic weighing in at almost 10 minutes. On first listen it feels a sprawling dirge to self-depreciation, but only repeat listens reveal the majesty of the track. It is full of space and air, yet fills the head with mud and confusion. With some of the best guitar work of the album on display, it is a masterpiece that may well have been lost to time if the rest of the songs had not resonated with audiences. When listening to the album, leave behind the edgy photography and the silly outfits. Forget about the band wearing makeup and cutting their head. Even try if you will to forget anything they had done prior. With a clear and open mind this album is revealed as an amazing statement by a band that were willing to destroy their own popularity if necessary, because they were driven by their urge to evolve into something new. Whether it was successful or not lies in the eye of beholder, no pun intended.

Redemption time. 7 years on from their debut record that essentially blew away the Australian music industry with a bunch of teenagers putting together 11 tracks over 44 minutes would have them called the likes of 'Baby Nirvana' is something at the time the 'kids' could not have comprehended in a million years. Quite the accolade, as any teenager would stive for, mostly being popular, they rode the wave and produced more 'mature' releases if you can call it that. Freak Show for me was their pinnacle, but I'll leave that for another review. We have Neon Ballroom and then hit Diorama. Before a first listen I was happy if we had something similar to Neon, but there was that underlying narrative that Johns was looking to shift away from what made them famous. A shift from the 'cookie cutter' grunge sound to something he as a song writer can show that he is more than that. Neon gave us a hint. Diorama opened the flood gates. Let's start with opening track 'Across The Night'. No fan in their right mind would have expected this. And while it might have distanced some fans, it was truly the start of a transformation of the band. Hard to ingest to be honest, but apparently a song about his time at this point living in his home of Newcastle reflecting on his life and the struggles he has. We know now he was a troubled soul and, in some respect, should respect the fact he continued on. Re the album as a whole it is something that for me has limited throwbacks to their roots and more a shift to the orchestration direction Daniel was taking more interested. The composition with winds and strings from your typical orchestra are well woven into songs. I always wonder what Ben and Chris thought about this direction. From what I understand there was very little public presentation on John's plan for the band. If you take the blinkers off on what you would have expected from a Silverchair release, their lead single 'Greatest View' I really like. From there we have some enjoyable songs such as 'Without You' but it is 'Tuna In The Brine' that goes back to the old sound and makes me question if Daniel has ever moved on from the old sound. Chris behind the kit would be loving songs like this. Similar to 'The Lever'. However contrast this with the likes of 'Luv Your Life'. It's at a point where Chris can check out and grab some lunch and Ben can grab some grot from the streets to fill-in for him. For the fans I think we all agreed this was the beginning of the end for the band from what we know then as. All I can do is be thankful for what they had given us to this point, and we all move on.

There is precious little live material from the early years of Pink Floyd available, so for that reason the 'Live At Pompeii' film, originally released back in 1972, has been repackaged and reissued in varying levels of quality for decades. Finally in 2025 it has received the attention it deserved in a full 4K make over, but more importantly it has finally been given an official stand-alone soundtrack release to accompany. The core tracks were officially released previously in The Early Years boxed set (2016), but here they have been given the sonic treatment they deserve - by being remixed by the amazing Steven Wilson. The album opens with a short introduction of feedback and drums before launching into the epic 'Echoes'. Only half the song plays through, ending early to move into the moody 'Careful With That Axe, Eugene'. Both songs are played with precision, although the live vocals are a little flat compared to the studio version. The guitars cut through louder and heavier than expected, and bass drives the tracks with that wholly Pink Floyd groove. 'One Of These Days' is punchy, and really leaps out with an energy that wasn't on early releases of the material. 'Set The Controls For The Heart Of The Sun' is a long, brooding affair that is a more experimental in nature than the album version. In fact, anyone that has seen the film will know that some of the longer songs do tend to 'meander' a bit from time to time, but this was very representative of their live shows of the period. The penultimate track of the soundtrack, 'Mademoiselle Nobs', is an odd little ditty played to the singing of a howling dog. In the film it was short interlude to the band in the studio, whereas here it does feel very out of place, and almost breaks the momentum of the tracks. The second part of 'Echoes' closes the performance, and it builds to a great climax. The only production decision that could be deemed questionable is breaking 'Echoes' into two separate parts, but this is serving as a soundtrack to the film after all, and that is how the song was presented on screen. That aside, the sound quality and mixing of the album is wonderful, beautifully transforming something captured over 50 years ago onto portable 8-track into a piece of art still relevant today. In particular, Nick Mason's drums have a thunderous rumble driving the whole album. As a whole, the performances here are quite flawless - but although recorded in October 1971, it would be incorrect to say the band was in their prime here. That was still to come with their breakthrough album The Dark Side Of The Moon close to two years away. Instead what this shows is band that is so rehearsed they are locked together as one. They are finding their way through early growing pains and discovering the sound that would eventually define them. It took Pink Floyd longer than most bands to do that, but the great part is we get to hear that journey as they travelled it - and this great concert is part of that. It will never be an album marked as essential in the bands discography, but it is certainly still worthy of attention.

By the band's own admission, The Angels self-titled debut album didn't have much impact upon release. It isn't surprising really, considering they had yet to even dent the charts with a noteworthy single. It is one of those albums that in reflection many years later gives you small hints at what the band would become, but as a stand-alone item in 1977, it is clear why it didn't sell like hot cakes. Opener 'Take Me Home' shows a rock band that plays with a bit of grit, and although there are harmonious guitar moments, this sounds a lot like an AC/DC clone. The comparison continues throughout the album, but to be fair that isn't entirely the band's fault. The album was recorded in Albert Studios, Sydney - the home of AC/DC's early albums - and was even produced by the Vanda / Young team responsible for the early AC/DC sound. A year later Rose Tattoo's debut would have the same distinct guitar sound. The second track, 'You're A Lady Now', is an adequate song, but doesn't really carry its place on the album well - and certainly isn't up to the standard of their later work. In fact, that could be said of the eternity of the songs here. 'Shelter From The Storm' is a stand-out that has a great sing-along chorus, but feels stilted by Doc Neeson's restrained vocals. He was still finding his way at this point, having only moved from bass guitar to vocals a few months prior. The amazing character of his voice, a thing that he would become legendary for, just wasn't here yet - leaving him sounding like a better than average karaoke singer at times. Mid-way through the album we get to hear his best performance on the album on the Australian rock classic 'Am I Ever Gonna See Your Face Again?'. Not only does he sound a little more confident here, with his vocal personality poking through at the right moments, the lyrics are also some of the best penned of the album. The band had released this as their debut single the year before, but this is a newer / tighter, version - but unfortunately without the familiar 'siren' riff at the start to give it the memorable 'hook' it needed. Perhaps with a little more time to be fleshed out other songs on the album could also have benefited from such a hook to make them more interesting. There are some blues undertones on the album, with songs like 'Can't Get Lucky' and 'You Got Me Runnin'' following a 12-bar template. There is even a cover of Don Nix's 'Going' Down' - which is a great version. 'High On You' is the least needed track on the album, giving us a dull, almost laughable, campfire sing-along. Close to the end a surprise punches through with 'Hot Lucy' barnstorming out the speakers. This is possibly the only song on the album that really allows the members to shine as musicians. A rollicking rock n' roll riff that sounds like you have heard it a thousand times before drives the song, and although it isn't by any stretch an amazing song, it does hint more than any other track at the band's future direction. 'Dreambuilder' ends the album with another fairly flat song, only really saved by its chorus. In 1977 what the band needed most to get ahead of the pack was a clear identity, and this album was never going to give them one. It comes across as an average set of songs by an average band. That would change of course in the future, but it would be a full 12 months away before the signature Angels 'chug' would be heard on any of their music - and that proved to be the magic ingredient they needed to get a charting single - and of course the emerging 'x factor' of frontman Doc Neeson.

It's 1994 and the wave of new and exciting music hitting our airwaves amongst a number of genre's was a lot to take in. Again not for me to put a history lesson together in this review. If we however put the massive grunge scene aside and focus on what else was happening at the time, we had some modern releases for our thrash metal God's doing their best to stay relevant, which from my perspective most of them did. Alternative which has a wide definition, but then I'd like to point out a little old punk/rock band coming to us out of California named The Offspring. Rebellious, they were the sound of the youth, with some hitting messages to make in their songs. But it is the way they sent those messages which is the cream for the cat. Just not so much about 'in your face' rebellious / world hates us type of approach. They show how to temper that with some songs that don't start with the up tempo, but drag you in. Read on for example. A spoken word track to start us with which dates perfectly the album telling us to listen to it on or compact disc. Track two, 'Bad Habit', has an awesome bass intro with a spoken work lyric, which every teen at the time learnt word for word. Then it ramps up, followed by again another break in singing which again every fan knows word for word 'Drivers are rude, such attitude' If you're a fan you'll know what I'm talking about. One of the highlights of the album and we are only at track 2. Looking through other tracks on the album, highlights include the single that still gets radio play, 'Come Out And Play'. Afterall 'You gotta keep em separated'. Another song for a generation of youth anthem at the time this album was released. Although you could switch between that and 'Self Esteem'. Perhaps this one would win. I love the bass line on this one. Even 'What Happened To You?' is super catchy although bordering on a ska sound. Mind you not sure ska was a thing back in the 90's. Track times wavering between 2 and 4 minute mark, clocking in at about 38 mins overall, excluding track 10 which is a mix of silence and reprise of a track already played. It is just what you'd expect from the band, not looking to mess about. At the time, this set them up for fame and fortune which thankfully for the fans still sees them delivering quality punk/rock music in the 2020's. Amazing career. For this record, can't praise it enough.

To say the Sex Pistols debut album exploded onto the music buying public in October 1978 would be an understatement. The band were already well beyond notorious, having been banned from various venues causing tour cancellations. They had already been dropped by label E.M.I. after guitarist Steve Jones called morning show host Bill Grundy a 'fucking rotter' live on national television. They had already been dropped by label A&M after the band threatened one of the label heads with violence, causing thousands of copies of their second single to be destroyed before they even hit the shelves. They had also by this point fired bassist Glen Matlock (the most musical of the four band members) and replaced him with the totally incompetent (but undoubted more 'punk') Sid Vicious. Virgin Records finally picked up the bill for an album, and the band finally captured their lightning in a bottle on vinyl. All this was of course playing out as newspaper front page headlines, partially because it made great news, but also because the abhorrent behaviour of these four young musicians was unheard of in 'civilised' English society. Musically the album is tame in comparison to some of the harder styles of punk seen today, but regardless it is still a classic that not only drove a well needed sea-change in the late 1970s musical landscape, but also spearhead a change in the collective thinking of the youth of the U.K. at the time. In fact, the band was so despised by the mainstream media that when they topped the U.K. singles and album charts the space on the chart where they should have been listed was just left blank - as if to say the band didn't even exist as far as the public were concerned. The album bursts out the speakers with 'Holidays In The Sun' hooking the listener immediately with Johnny Rotten's tuneless (but engaging) snarl, and his mentions of Nazi's and communism - all very much taboo in post-war England - pull you even closer into his deranged world views. 'Bodies', easily the most boisterous song the original line-up ever recorded, is a graphic novel about abortion that uses more expletives than the average music fan in 1978 was used to hearing. That said though, nothing from Rotten's mouth is for shock value alone. His words are carefully placed and timed to provoke thought. He may have often acted like a uncaged orangutang in public, but he knew that his words carried wisdom to those young enough to understand them. The controversial 'God Save The Queen' is a punk rock classic that has never been matched, and almost had Rotten up on charges for crimes against the empire - at that point still punishable by death. It is a perfect template that every punk band since has built upon. Although the establishment of 1978 would have you believe this 'music' was just noise, the songs are actually incredibly catchy, and you'll be singing 'I'm a lazy sod!' along with the band by 'Seventeen'. The songs conjure images in your mind's eye of the fashions of the period, and you immediately imagine the red-headed Rotten leaning forward toward the crowd with his signature crazed grin while Jonesy stands spread-eagled behind him, Les Paul in hand, playing his working man's chords - all the while dodging spit from the pogoing audience. The chugging 'Anarchy In The U.K.' is placed mid-way, and reminds us of the bend's message of anarchy. As their first single it was a message of intent - here it more a reminder to you as you pour another pint of lager. And lager it must be, as although this is as unhinged as music could be in the late 1970s there is still a feeling of Britishness here, of that staunch stiff upper lip. Even those on the brink of rebellion can't quite rebel without a break for a cup of tea at the local vicar's house on the way to oblivion. 'Pretty Vacant' continues the classics, and this is a song that transcends its time and place. It's a song that exemplifies rock and rock and not just this disgruntled generation, but ever disgruntled generation for the rest of time. It is the voice of youth, and should only ever be that way. The band wraps everything up with their ode to record companies with 'E.M.I', and it is a great closer. At under 40 minutes the album is short - but it should be, as this isn't just a musical expression, but a time capsule of a short moment in history where the youth actually created a voice for themselves that was so loud that their mums and dads paid attention. It has to be asked though, did anything actually change because of it?

I thought it was time to have some fun by reviewing a band that impersonates and mashes up such classic bands as The Beatles and Metallica. Yes that's right, Metallica singing Beatles songs mashed with Metallica songs. And let me tell you the mash up is absolutely brilliant. Brought to us by Jaymez Lennfield, Grg Hammerston, Kliff McBurtney and Ringo Larz. Some very creative minds behind this band in general and more-so this release which I think is the pinnacle of their talent. Up to this they had a couple of E.P.s to test the waters I guess before this being their first full length. Starting a listen to the first track which is the title track, you hear Lennfield kick off which is a brilliant parody of Hetfield's vocal style. It's a quick 2 minute song which is the case for half the songs on the record. I'm not going to do track by track so you get a sense of the track names and the melding of the title between Beatles and Metallica songs. Simple to say it is incredibly creative. I do have to pick out a few tracks that are my favourite. 'Blackened In The U.S.S.R.' - starts with the Blackend intro which is brilliant, then takes a Beatles turn singing to Back in the USSR. 'Sandman' very similar in the intro, then turns into the 'Taxman' type sound. Brilliant. 'A Garage Dayz Night', which you can guess which Beatles song this is linked to, with a short reference to 'Wherever I May Roam'. 'Anesthesia (I'm Only Sleeping)' where you have to ask in what right mind would you link this classic Cliff solo to the 'Happy Birthday' song? You have to hear it to believe it. My favourite on the record is clearly 'Hey Dude'. This is the flip where a Beatles song is the base for the song and Jude is changed to Dude. Thy rhyming lyrics in the song are genius. Extremely clever work. 'Remember that metal is in your heart, then you can start, to become a shredder.' There has been some releases since but with less to work with compared to a 2007 release where they had 30 years of Metallica to work with, they haven't been as creative as this release. Take a listen if you still want to hear from your favourite bands but not in a corny way.

The firing of drummer Jimmy Chamberlain from Smashing Pumpkins had played out publicly, and it was made clear by that band that for at least the short-term they would be drummer-less - and using a drum machine. Throughout the leadup to a new album frontman Billy Corgan warned fans that this wouldn't be a heavy album, the band would be taking risks and trying new things, and this would not be an album anyone expected. When the album eventually materialised as Adore, it was certainly different - and it divided fans. There was little here that connected the sounds with the prior works of the band, creating a polarising experience. The album opens gently with the acoustic 'To Shiela'. Although it is simple, it's ethereal softness makes it a wonderful opener, and one of the standouts on the album. Things immediately shift gears at this point with the goth-like anthem 'Ava Adore'. Is it the loudest and heaviest point on the album, and although it is catchy it is also soaked in digital effects, something previously used vary sparingly by the band. It is a great song, and one of the best on the album, but sticks out like the proverbial sore thumb, as it is totally disconnected with the other music on the album. 'Perfect' has a great song buried under a driving pop drum beat that sours the song from potentially being great to instead coming across as limp and insipid. Most listeners by this point have realised they weren't going to get another 'Bullet With Butterfly Wings from this album. 'Daphne Decends' presents as another simple song with a pop like beat, but soon after reveals this is something far deeper. Under the thick production is a classic Pumpkins song on the edge of bursting free, only really held back by the expectations the listener has on what they are hoping to hear. The two songs side by side are the epitome of where this album restrains itself. Throughout its lengthy runtime it reveals songs that with some slight patience and open-mindedness are wonderful examples of the band at its peak, but they are often overshadowed by the pop beats and digital wizardry that soaks many of the lesser tracks. 'Tear' has a great chorus, but a verse that sounds like Billy's 1986 Casio keyboard is proving backing. 'Crestfallen' is just plain dull, even with a horrid drum-machine provided back-beat, and 'Appels + Oranges' holds nothing of interest due to being so over-produced it is barely recognisable as a song. 'Pug' is a dark masterpiece that showcases more of what the album could have been, and it is followed by one of the most wonderful songs composed by Billy during the period - the floating 'The Tale Of Dusty And Pistol Pete'. Removing the instrumentation and reimagined as a simple acoustic ballad, this could have been perfect with a chorus that is for the ages. It is the albums best example of where restraint in production could (and should) have been applied. The whole listen totally loses steam at this point and trails off with a number of slow ballads that hold no aural or lyrical interest. 'For Matha' even lets itself drone on for over 8 minutes. It actually has a catchy main piano refrain, but it isn't enough to carry the song above mediocrity. Adore certainly has its fair share of fans, and like many divisive albums, it has gained followers over the years upon re-evaluation. For others though, it will always be an album of missing opportunity. There is a good album, possibly even a great one, somewhere buried in here, but it hidden and hindered by dense overproduction and poor sequencing and track choice. Its biggest weakness is without a doubt it's length. With so many slower songs, it suffers from tempo fatigue, especially by the second half. Shelved tracks like the punchy 'Let Me Give The World To You' and 'Cash Car Star' or the dark and moody 'Do You Close Your Eyes?' if included would have added punch to the album when it suffered lulls. These could have easy replaced some of the starker songs like 'Annie-Dog' or 'Shame'. At no time in the future will the world decide this is one of the great lost albums of rock and roll, but at the same time it does deserve its place in the band's discography. It nothing else, it shows a greater dimensional capacity for songwriting than Billy Corgan had ever had the opportunity to present previously - and every great song writing deserves that chance. Adversely, it also shows where some slight production restraint can make a good set of songs much better.

I did recently review Now, Diabolical and while in the mood thought it would be a good idea to continue on with their catalogue in order to make note of any improvements or otherwise, per release. For me Age Of Nero came with big expectations only 2 years after the legendary Now, Diabolical release. The first track 'Commando' leaves you in no misunderstanding this is going to follow the Now, Diabolical template. Heavy riffing guitars from Satyr and some incredible drum work from Frost. The gravel vox from Satyr is unmistakenly him. I have to say though the tempo of the lead track is a bit bland, travelling at half pace through most of the track. The single 'Black Crow On A Tombstone' is a great song and perhaps an outlier for the record, as it is certainly more up-beat than the earlier tracks. All up this is a quick review and can be simply summed up by the fact if you were a fan of Now, Diabolical you will find elements of this release filling in that urge for more songs or that itch. But is not as engaging, song-by-song. I don't like to make direct comparisons album to album, however these are so close and only 2 years apart. You can certainly see the influence but sub-par in places.

The hectic fame of the glory days of grunge must have been quite taxing on many of the key musicians, and Pearl Jam guitarist Stone Gossard sought a shelter from the storm with a group of old friends when he formed the band Shame during the busy touring of Pearl Jam's debut album. Musician Brad Wilson quickly contested the use of the name, so why not rename the band Brad as a reminder and instead call your pending album Shame? Recorded in October 1992 during a brief period of Pearl Jam touring downtime, the album has a loose jam-like feel to it, as many of the songs were written in the studio and recorded on the spot. The result is a moody album, and one that often feels like it could have been more, given more time to develop. It is far from perfect, but is charming in many ways. Opener 'Buttercup' sets the tone of the album nicely. It's a mellow affair, that builds and crashes like small waves hitting the shore. Shawn Smith's voice is the focus of the song, a theme throughout the album. His voice could be described as an acquired taste, and depending on how you feel about it either makes or breaks the album. 'My Fingers' up the volume and tempo to closer to the style that was probably expected of a band that included four Seattle alumni. It is rocking and has a great pulse that drives it. 'Nadine', although slower, has a great bass line that winds around the words. Gossard's guitar is subtle, as it is on many of the songs. It is clear he has chosen to take a step back from being the driving force as he was on so many of the tracks from Pearl Jam's debut Ten to instead let these songs breath and swirl like dissipating smoke rings. '20th Century' is groovy beyond belief, and is the stand out track of the album. 'Raise Love' has a great chorus and almost a funk-type feel, before 'Bad For The Soul' really raises the funk bar to sound like a Red Hot Chili Peppers outtake. 'We' closes up the album nicely, with a quiet farewell and a simple solo from Gossard. The album suffers from a lack of punch in many places, almost like the songs are building to a crescendo that they never reach. The intensity of long, drawn-out slow passages needed some sort of coda to refocus the listener. With a little more time to develop the songs, and maybe even more thought into the overall direction of the album it could ultimately have been a better product, but then again who's to say this wasn't exactly what the four musicians wanted?

One of the pioneers of thrash metal music, at this point they were up to their 5th release. For me this was the first album I managed to listen to in my youth and by God, if 'War Ensemble' as the opener doesn't get you on your feet and wanting to go crazy, then you're a corpse. Tommy yelling the chorus is a call to arms to just let loose. Wait for when he yells "WAAAAAAAARRR!" at the top of his voice. Love it. And if you think it would stop there, then your sadly mistaken. The album very quickly moves onto a more even paced 'Blood Red'. This is where you can take a breath to acknowledge each instrument. Lombardo seems like he is on holiday when double kicks his bass drum. King and Hanneman (R.I.P.) were such a powerhouse with their guitar collaboration and there is Tom handling bass duties and a magnificent delivery of the vocals for what you'd expect these days from a thrash vocals - in some ways I believe he matches the music better that the likes of Hetfield, Belladonna, Souza, Billy etc. Speaking of Hanneman, I realised just now that he wrote the majority of the music for this record. Skipping to highlights in the album, 'Dead Skin Mask' is right up there. Creepy topic to sing about but so well delivered in a song. Again epitomises what Slayer are all about. You just have to take a read of the track names to understand they ain't hanging out in a playground swinging on a swing. Again with Tom's delivery and the topics they 'sing' about there is no mistake on what you should expect. The last track, the title track, is simply epic. Graceful but equally ear piercing in its delivery. Arguably it goes into the debate of the best intros in metal music (and Slayer has a few candidates already). Great album and will always be one of my favourites.

'Sometimes, standing for what you believe means standing alone!'. I'll get back to that lyric a bit later, but what I love here at TheBigBlackMachine HQ is that we are accepting of each other's oddities in some of the metal music we like to listen to. To be honest Hatebreed are an outlier for me. I usually walk the other way when the word 'Hardcore', or 'Metalcore' is mentioned. What draws me in is the absolute fact the Jamey Jasta is at the top of the list of vocalists that can bring the necessary brutality to this type of music. His vocal tone is dead spot on. He holds it back at points in tracks where you just sit there and support the music, but then throws up both arms when he tells the band to 'hold back and let me take this to the next level'. Which leads me back to the lyric I mentioned above, which is in Track 2. Take a listen and you will know exactly what I mean. Now unless you are in a 'smoke em if you got em' space right now, this an brutal wall-bashing for anyone. 37 minutes I think is enough for anyone who cares to take a listen to get their blood pressure up and ready for remaining tracks after the initial assault on your ears. Jasta's continuous call to arms in most tracks leave you wanting to take up the cause. In all honesty, and to reiterate earlier comments, this is not necessarily hard music to make - but these guys are at the top of their genre for how they blend the music with Jasta. It's not your dumb song where you see a band full of musicians that think they are the shit and just bash a heap of shit together, then have a vocalist who thinks he is God and just yells the best he can for the fuck of it. Again, I can't reiterate enough with this band how the music and the vocals can completely support each other to make it a really enjoyable listen. No band does it better than Hatebreed in the Hardcore or Metalcore scene.

Adding to the metamorphism I undertook coming out of the 90's focus on grunge / alt rock music, with nu-metal stepping in for the 2nd half of the decade, TheBigBlack politely introduced me to Satyricon. And let me say there is nothing polite about Now, Diabolical. I knew little about this Norwegian Black Metal band by this point, but I had been enjoying listening to more black metal in the likes of Carpathian Forest, Khold and Mayhem. All from the land of Norway. Anyway onto track one and you immediately get a sense of what the listener is up for. Wall to wall down-tuned guitar sounds, Satyr and his gravelling voice at perfect pitch. For me the production is crisp which perhaps not what you'd expect from a BM release. In fact, and not having listened to their earlier catalogue this isn't your typical Black Metal release. However it still has some amazing moments in almost every track. Half way through track one where the tempo slows and there are no lyrics is absolutely brilliant timing for the track. But not for long, before the song asks you to introduce your head with a brick wall. Possibly the standout track is track 2 'K.I.N.G.' I love the chorus where Frost does his best to add a slightly different vocal sound to Satyr, which I love. I did read about the band seeking simplicity for this release. In some ways you can argue for that, but with repeated listens you start to uncover different layers in the sound. Especially for Frost. His drumming is amazing. He hits his high point on track 'A New Enemy' where I can't believe he is still standing after that effort. Insane. Other notable highlights include the dark, moody intro into 'The Right Of The Cross'. You are very mistaken if this was to be a chance to catch your breath halfway through. It's a brutal assault that interrupts soon enough and you are forced to push on through the onslaught. 'Delirium' also has that type of marching tempo to it if that's makes sense. Very straight up and down in its presentation, but with catchy lyrics at the same time. Then there is the closing track 'To The Mountains', which is a brilliant finish for a brilliant recording. Kudos to Satyr as the band lead and his ever committed servant Frost on drums continue to put together some incredible music and at their age, don't like ending anytime soon.

Being a big fan of the two bands these gents come from (Powderfinger and Something For Kate), I had big expectations of this release. Both of them have incredible voices and I was interested to see how this collaboration would work. Listening through the album, vocals are equally shared and I think this is done well. However I'm going to be blunt in my review of the record. Hearing the single 'Disconnect', which was the first single off the album, I held hope. It is a very mature track with some great back to back swapping of vocals and quite simply a catchy tune. However as the whole album presents, for me there is not much to celebrate. I had an expectation that the music would be a mash of the two bands, but possibly off on a different direction so as not to rinse/repeat. However they have bought in an element that I don't like into every song. Looking up the details now, my suspicions are true in that the Synthesiser plays a reasonable part in their music. It's super clear to recognise on each track and I'm not sure it promotes the songs in the right way to be honest. I know it is only a single instrument, but to have it evident in each track, becomes a bit tiring after a while. It is a shame as I was looking for more. If they decide on a sophomore release, I'll be keen for a listen in the hope for there to be something I enjoy more than this release.

After a slew of lukewarm releases in the early 70s no one expected Bob Dylan to return with not only one of the greatest albums of his career, but also one of the best rock albums of all time. Blood On The Tracks is a true masterpiece. It is an album recorded during the break up with his wife Sara, so was born out of raw emotion. As Bob's son Jakob Dylan once stated 'This album sounds like my parent divorcing'. You won't so much hear that in the lyrics, but in the performances themselves. Dylan is a man that rarely reveals who he really is, but this album was created in a moment of true despair, and his voice alone tells of the ghosts of recent times and emotional conversations. Initially recorded over 4 days in September 1974 in New York City, the album was to feature a simple approach to the music. Dylan was accompanied by a bass player and the occasional organist, and the music was as stripped down and intimate as the songs (mostly odes to love both in hand and lost) required. The whole album was recorded in this mellow way, and test pressings of the original 'New York Version' of the album were made - but heading home to Minnesota for Christmas he decided to re-record half the album with a full backing band. The results produced a vastly different final album, with the mood radically changed. Some still stand by the original pressing being the definitive, whilst others say the final released product is better - but regardless the record stands as a powerful statement in either configuration. 'Tangled Up In Blue' opens the album with a powerful start, and a confident Dylan is heard. The song feels more crafted and complete than much of this work (both before or after this album), and a different type of ballad emerges from the songsmith. It feels autobiographical at the same time as feeling like a ludicrous tale, and the listener is left unsure of just what the lyrics are referring to. Fans of Dylan are used to this of course, but this opener feels different. Deeper somehow. 'Simple Twist Of Fate' follows and again the confidence in Dylan's voice is clear. It is like he doesn't just sing these songs, he lives in them, or once did - so knows them with great intimacy. It is a simple acoustic tune, and like many of the songs here is unremarkable on first listen, but it slowly draws you in. On 'You're A Big Girl Now' you hear regret in his voice, and you know this is lived experience. 'Idiot Wind' is an odd song, which in its original form was actually more biting and aggressive than its full band remake. It is Dylan at his tale-telling best, singing a song in first-person - but one that doesn't sound personal. It involves murder, intrigue, but most interestingly paints the protagonist into the role of an arrogant narcissist, who by the end of the tale realises he is as fallible as the other subjects he berates in the song. Digging deep in the lyrics fans can find many self-references here, so is this Dylan's vailed attempt to tell us how he really feels about his own actions? Side A closes with the simple 'You're Gonna Make Me Lonesome When you Go', again hiding nothing about its intent and meaning. 'Meet Me In The Morning' opens Side B, and although it is one of the lesser songs on the album, the acoustic blues makes a nice groove to open the side. In a near perfect album you will never get any disagreement if you call out the lively 'Lily, Rosemary And The Jack Of Hearts' as a misstep. There is no hidden meaning here, just a fun and very convoluted story of a group of bank robbers. The song itself is adequate, but the nearly 9 minute run time with very little musical variation causes it to drag on and when it does find it's end it is more of a relief than a triumph. We now know that there were a number of very worthy outtakes from the sessions, and any of those alternate songs would have been better placed here. It feels like a blizzard in Summer in comparison to the other songs, but Dylan is a man of contradiction, and perhaps liked the unpredictability of it being placed in a bunch of such personal songs. 'If You See Her, Say Hello' is a song of a man living in deep regret, and is possibly the most brutally personal on the album. His voice sounds sad and lost, and the lyrics feel the same. This is pure heartbreak in disguise. As the album winds to a close 'Shelter From The Storm' lifts things, and is possibly the best know song on an album that had little attention from singles. Rightfully so, as it is an amazing song, catching the listener with the hook at the end of each stanza. You only need to hear it once and you will be singing it all day. The album closes with one of the most simple tracks, 'Buckets Of Rain'. It is one of Dylan's most covered songs, and rightfully so, as it is a straight-forward love song. It is an upstroke on a canvas that was mostly painted in strokes downwards, and bookends the regret of earlier songs with the memories of better times and wonderful moments. As an artist that is not known for putting much effort or thinking into sequencing, Dylan nailed this one perfectly, closing one of his finest musical works of art with something wonderful.

It's way past time to review this beast of a record. Yeah that's right - I'm in the minority, along with TheBigBlack, that absolutely love this release. We all know the lead up to its release. Heck a movie was made for the making of. Personally as you know, I strayed away from the band in the 90's and they had minor success in the post lack album releases during, but dang did this release knock my teeth to the back of my throat on first listen. Let's get straight into it. Opener 'Frantic' introduces the listener to a sound that is not familiar to Metallica fans. The songbook from previous releases is out of the window. Take notice of a band that has gone through hell and back and with the first track you can see the anger they hold. Possibly from the years it has taken them to put something new out. Perhaps getting to the point to almost break-up. This is a big 'eff you' to any of the doubters. 'Frantic' delivers one of the best lines I've heard - "My lifestyle determines my deathstyle." Speaking of anger, track 2, the title track, focuses specifically on that anger feeling. Mixed with some moody, slow paced verse, building up into a fast-paced chorus is well orchestrated. For track 3 'Some Kind Of Monster' my immediate thought is this is as close a link as you might have to their back catalogue. Very straight forward verse, chorus, verse mid-tempo but with the frenetic Lars drumming where it suits. 'Dirty Window' is flat out the head down, bum up frenetic anger (I should stop using that word). Possibly their heaviest song on the record perhaps. 'Invisible Kid' is a little strained for me to be honest. It isn't the best song on the record but still full of speed, however the topic and the output probably marks this as a low-light on the record. I had planned to review each song but it'll end up a long review so from here a few highlights to look out for. 'Shoot Me Again' has the most brilliant intro. The thumping drums actually linked into the drum beat. Love it. Great song also. 'The Unnamed Feeling', which had episodes on future releases, is a very "pull at the heart-strings" song. And the final track which is different to what you expect from any final track that Metallica put together for their albums. Equally this puts a perfect end-point on a record that no doubt was difficult to put together. All up - if you pair this release with what the band had been through for the previous 5 or so years, there was a time where us fans thought they were done. So in some respects we just wanted something from them. With St. Anger I think they delivered that and more. Yes, it is different, but hey - some of you might have a different hair cut (or no hair anymore) since the 80's so just accept it and thank the almighty Beelzebub they still exist! Welcome Rob to the band. Only good things can come from here (which in hindsight reviewing this is 2025, we know do).

Let's get straight into this. Track 2 'Back To One' was the very first introduction of this band to me, played on a local radio station. Their third release, but by this time still in their early 20's. And yes, who cannot be captivated by John Tardy's unique vocal style. Let's call that out straight up. In your thrash / death metal genre, he stands alone as having the most unique voice. For the band it works super well, and I'll never grow tired of listening to it. Backed by his brother on the drums, they have been inseparable through the highs and lows the band has had. This early period was a diamond period for them although still having to work for their meal ticket. There were much bigger bands taking a slice of the pie, but they never gave up, and more importantly never changed their sound. Track one provides no misgivings into what you are to expect over the next 40 odd minutes. Simply hard thrashing solid riffs, and drumming backed up by razor like vocals. Granted if you are looking for an album with variety, you won't see it here. Equally I see no problem in a band putting across a simple formula for each track and adding special niches to the track. I return to 'Back To One' with the slow breakdown toward the end of the track, before the tempo again reaches a high-point. I'm easily exhausted by the end of this track but there is more to come. Much more. 'Corrosive' I love as it does mostly take the vocals away and you hear is the music craft that this band can put together that still exists today. Again a unique sound which modern day death metal bands fail to succeed in. There is much to love about this record and the band actually. A standout in their genre. Just not got the acknowledgement they should receive, but glad they are still with us today. And finally a quick shout-out to Donald Tardy, the drummer write or co-writes all of the songs. Who said drummers were dinosaurs or monkeys that are capable of only one thing?

From the opening notes of 'Cross' Scour blasts from the speakers in a wall of noise. It is unrepentant black chaos, but in a perfectly American style. Phil Anselmo's vocals are brutal and pinpoint effective, switching from death-like growls and grunts to black metal scowls and screeches with perfect timing. Track 1 only lasts just over 2 minutes, but leaves the listener exhausted none the less - but if there is any doubt of what is ahead, you weren't paying attention. 'Blades' is slightly slower, and a bit more death metal, but is pummelling just the same. 'Infusorium' slows things down even more, but is still as heavy as hell, and the razor sharp guitar tones and demonic vocals embrace the listener in a hellish landscape. There are strange moments of clarity here, like the interludes 'Ornaments' and 'Contaminated', but they feel like they are here more to allow the listener a chance to breath than to showcase any music. The songs are short and tight and all under 4 minutes, and track after track the hated filled assault blows away the listener. It is hard to nail down the particular style with the songs alternating between death and black metal randomly, and often. With tracks like 'Evil', 'Devil' And 'Hell' there is no questioning the intent. The title track manages to actually get a bit of a groove into the chaos, but for the most part the track blisters like all the others. There really isn't much variation here, so by the final track 'Serve', which is a stand-out, a lot of the album has passed by in a blur. By design, isn't meant to dazzle with its musicianship and there are scarce few guitar solos, so don't come here looking for a feel good album - this is about sheer brute force and the power and energy it evokes when listening to it. It is like a mosh pit for your ears and soul, and when the just under 40 minute album ends you'll have the mental bruises to show your dedication. Then you'll press play again.

Ahh 1991 - a year that blew the minds of many metal and rock fans alike. I won't go into any detail though as we will be here forever (the black album anyone?). Anyway to this point, my daily music was completely devouring as much Thrash Metal I could. It wasn't until I moved to the big smoke that I had access to radio stations (yes you young shites, not streaming services) that opened your eye up to what was out there in the world of metal. To be honest Pungent Stench and this album were one of the first. Listening to their tracks aired on a metal radio show in the early 90's just blew me away. If you weren't sure by the band name what they might be about, the first track, not only rips at your ears, but also provides a frenetic pace of complete nihilism for anyone that wants to get in their way. The drums by Alex Wank (yes, his real name), the buzzsaw guitar work and the guttural vocals of Martin just hook you in. They also know how to change the tempo so it's not just a complete wall of riffing to try and absorb. Death & Roll I think they call it, but who the hell cares about that. Other notable tracks are track 3, which has some doom type elements to it. Very muck soaked in some slow paced guitar with drums over the top providing the pitch in your ears. The outro to this track is just brilliant. Finally for me track 8 (note, I'm not listing track names here for a reason) I recall as the first song of theirs that I heard and have loved it to this day. To summarise, it really is a perfect mix of aggression controlled by those songs which again slow the tempo down, scattered perfectly throughout the record. I'm so glad TheBigBlack and I got to see them live in our local town with not a large audience so was up very close to the band in a small venue pretty much making the walls swell and the floor beneath giving any termites hanging around absolutely no chance.

Talk about the early days of rock 'n' roll and where it all began, and it is only a matter of time before The Everly Brothers will come up. Don and Phil pioneered an odd blend of rock 'n' roll, country, folk, and pop mashed together into something irresistible to teens at the time. The vocal harmonies, now legendary, are known to have influenced many artists, among them The Beatles, Robert Plant, Simon & Garfunkel, and even pop group a-ha. Their debut album is a mixed bag in terms of quality, but has enough charm to keep it interesting. Like many artists of the time, covers were a large part of the duos repertoire, and the album opens with a rocking version of Ray Charles' 'This Little Girl Of Mine'. It is pretty standard of rock 'n' roll in 1958, but the vocals immediately stand out, with the harmonies cutting through. It's a great album (and career) opener, and leaves the listener wanting more. In a move that wouldn't be seen on modern albums, track two is a slow crooning number, really dropping the energy. 'Maybe Tomorrow' gives Don Everly a chance to show he can write as well as perform, but the two songs certainly stop the momentum of the album dead. 'Bye Bye Love' follows, one of their best known songs, and salvages the album before the listener loses interest. It wasn't written by the brothers, but was written for them, and today is cited as one of their signature tracks. Even today is understandable why, with its catchy vocal line, but also the excellent guitar work. It isn't amazing by today's standards, but for the time the way the guitar weaves in and out of the plodding double bass and simple snare tapping was amazing. After another soppy waltz timed moment in 'Brand New Heartache' (those teen girls loved that stuff in 1958) it is onto some rock 'n' roll numbers, with the trio of 'Keep A Knockin'', 'Be Bop-A-Lula' and 'Rip It Up'. These songs would later become rock 'n' roll standards representing the time period, but at this stage they were recent songs. The brothers put their rockabilly stamp on them, with 'Keep A Knockin'' in particular having a totally different energy to the rocking original, especially in how constrained the piano solo is. 'Be Bop-A-Lula' doesn't have the slinkiness of Gene Vincent's original, instead sounding like a sing-along version. The voices are thin and youthful and high-pitched in places, and don't yet have the softness the brothers would later have. 'I Wonder If I Care As Much' (another Don original) is possibly the best ballad on the album, taking on folk phrasing and style. 'Wake Up Little Suzie' is next (arguably the best know Everly's song), and bursts out the speakers. Again written for them, the songs bristles with energy and charm, and you'd be hard pressed to find a rock fan that doesn't know the tune. You can hear early Beatles here more-so than any other song on the album, and you realise how much these two brothers influenced the musical revolution brewing in England at the time. It ends with the traditional song 'Hello Doll Baby' which is possibly the weakest song on the album. As important and influential as this album was at the time, it certainly isn't a masterpiece, but groups like The Everly Brothers were the first cowboys in the new wild west. They forged the identity of music to come by taking what they knew and turning it into something new, and not every experiment was successful. They did the heavy lifting so that bands over the next few years already knew would work and what wouldn't - and for that alone they will always be important.

Ahh the 90's - a whirlwind of a decade for metal music. Grunge was a wave that blew mostly all genre's out of the water re popularity. In Australia it also co-incited with the emergence of what was called 'Alternative Music' - a very broad description but it was in some ways for the youth to rebel, via the introduction of some bands that just rocked out in a 90's way. This didn't require a great deal of thought. The fact it was mostly Oz content was the attraction and they filled the live venues for years. The fightback for metal came in the second half of the 90's with what was called 'Nu-Metal'. Offering an alternative to the trad metal offerings. But again simple, no thought, catchy tunes that caused a lot of pushback. Anyway the history lesson has gone for too long. During this time, there were always these metal bands surging on under this wave of attention, that would resurface at the end of the Grunge/Nu-Metal fad for the most part. One such band that gave me a lifeline back to metal was Opeth and indeed an absolute classic in their catalogue - Blackwater Park. Since TheBigBlack discovered this and shared, I've since gone back and listened to their back catalogue and can see how they landed at this record. Just an incredible kaleidoscope of amazing song writing, brilliant technical application of the music, sublime vocal and soulful interludes. It starts with 'Leper Affinity'. Clocking in at just over 10 minutes it set the mood for the rest of the record. While an absolutely brilliant track on its own, in some ways the content provides the listener elements of what they can expect to hear on the remainder of the record. Flat out aggression, those death vocals spitting out razors in your ears, right down to the opposite of soulful, tempo down, vocals. The way those song transitions between a number of tempo/rhythm changes is amazing. Next up 'Bleak' is in a similar vein although on the aggressive side. By now you must be hooked. 'Harvest' at track 3, as you will see from the acoustic start is a time to take a breath and focus on Mikael's unbelievable vocals. It did take me a while for this song to grow on me as it was so different. If I'm honest as much as I like albums as Damnation, this track is a left a little wanting. In any case it leads us to 'The Drapery Falls'. My favourite track on the record. The mostly guitar driven intro lasting around 2.30 minutes is amazing. The remainder of the song, particularly when the death vocals come into play just wrack with your brain to try and keep in touch with what is actually being played here. There are so many layers. I won't go through each track from here on, in detail but you should by now have an appreciation for how refreshing this band is to the metal scene. Sure they have left the underground scene but when attending their live converts after this, not sure they have any concern. Clearly in my Top 10 of all time.

In 1975 when Led Zeppelin released the double Physical Graffiti album they were kings of the world. As they lined up yet another world tour for later in the year vocalist Robert Plant was in a near fatal car accident, meaning all touring was on hold indefinitely. Much like other bands of their ilk (The Rolling Stones is great example) the band was also exiled from mother England due to massive (and unreasonable) tax bills, leaving them somewhat fractured and unclear of their next steps. All this pain and uncertainty seeped into the core of their next album, taking the material to somewhere very different than the band had been before, both in style and sound. During Pant's recovery guitarist Jimmy Page spent a lot of time with him at his home, so the majority of the songs were written by the two of them with little input from the other members. This meant that the album was very guitar-focused and surprisingly the entire album does not feature a single ballad of any type, something the band was always known for. Add to this the dry production and it has a very confronting and stark feel about it. 'Achilles Last Stand' is one of the great Zeppelin epics, and opens the album like an out of control freight train. The guitars are muti-layered and massive sounding, but Plant's vocals are immediately lacking in some of the power he previously sang with. Whilst this is possibly due to him recording a lot of his vocals from a wheelchair, there is something else at play, almost as if some of his confidence was lost in his accident. This carries throughout the album, giving it a feeling of tension like a rubber band about to snap back into place. 'For Your Life' drops the force back to a slow groove, that is incredibly catchy in its charm, almost feeling unfinished in its looseness at the time of recording. 'Royal Orleans' follows with a rollicking guitar and vocal line that really lifts the album. 'Nobody's Fault But Mine' (carefully borrowed from Blind Willie Johnson) opens side two and is the perfect centrepiece of the album. It is infectious and heavy, and Plant gives his best vocal performance of the album. Add to that he delivers a brilliant harmonica solo after the instrument was absent from any recent Zeppelin albums, and it all add up to being an essential track in the catalogue. 'Candy Store Rock' and 'Hots On For Nowhere' follow and unlike their predecessor neither of them are particularly necessary songs. They both have great hooks, but feel like they were always going to be filler. The album closes with 'Hats On For Nowhere', a return to the heavy blues of the band's early days. The songs could have soared like 'Since I've Been Loving You', but instead it plods to a close with only a couple of interesting moments, and listening closely it could be said that it is not only the weakest song on the album, but one of the weakest of their catalogue. On the first listens the album has a distinct amount of underwhelming material, and whilst repeat listens does mine a little gold, for the most part the album falls very short of previous releases. It is oddly void of any form of keyboard / piano and is totally guitar focused (something that would be the opposite on the following album), yet again making it sound quite unique in the band's recordings. The upside to this is that like many great bands, even the 'not so good' songs by Led Zeppelin are usually better than the best by others. Regardless, this album still feels like the beginning of the end.

10 songs and 38 minutes of classic Oz rock. I could very easily end review at that point. But the boys deserve so much more than that. Show me an Aussie that doesn't know 'Down Under' and I will show you millions more that do. It is entrenched in the true Aussie fabric of living in the 80's and beyond. In someways it defined the Aussie sprit and laidback approach to life and all its challenges it has to present. Now I am not meaning to degrade the other 9 songs on the record. As a 7 year old when it came out I didn't really appreciate the entire album when Dad bought it. It was many years later when Colin Hay, one of the greatest singer/songwriters you will see, was putting out his solo albums, that drew me back to this release. It bought back some great memories. Some of the songs had a short stint on radio but listening through the whole album, it's just a 'comfortable' listen. From the rolling bass line behind Hay's singing in 'Underground', to Ham and his classic flute playing in 'Down Under' (ignoring the posers that took the band for money over plagiarism). In fact his Sax interludes in many of the songs were spot on (R.I.P my friend). Overall, it just worked. 'Be Good Johnny' was also a big hit at the time. The story telling is what drags the listener in, once again. You can pick up the words easily and can't help singing along when you hear it. Which is the beauty of Hay's songwriting. I've really enjoyed reconnecting with this release more than most as part of the TheBigBlackMachine AoTW publications.

As the Beatle with the least amount of writing credits and vocals performances to his name, Richard 'Ringo' Starkey has still managed to make a long and surprisingly prosperous career with limited talents in both those areas. He is of course an amazingly talented drummer, but that alone usually can't carry an artist. With many smart decisions and well-known special guests (other former Beatles included) he has managed to keep his music relevant to his fans. Look Up is a perfect example of this, sharply tilting away from rock to a more country-tinged affair. From the moment the acoustic opener 'Breathless' bursts through the silence it is obvious this is a different Ringo album than anything else in recent memory. Featuring bluegrass master Billy Talent on the strings, the song is both rich and sparse at the same time, the density coming from the feel rather than the instrumentation. The song will make you smile, and let's face it, that's all Ringo has ever really wanted us to do when listening to his music. Don't analyse it. Don't be critical of it. Just bob your head and smile. The title track has a bit more of a muscular punch to it, but is still light and fun, and it is clear that Ringo has worked hard to craft a set of tunes that his vocal range can compliment. 'Time On My Hands' and 'I Live For Your Love' are full country steel-string soaked ballads, and 'Never Let Me Go' feels like it could have its own boot-scootin' line-dance. 'Come Back', featuring indie stars Lucious on backing vocals, is about as deep into Texas as you can travel. 'Rosetta' lifts the album back out of a deep-south tavern, and puts a little more rock on the album's roll, and its placement is perfect to lift things. It all wraps up in a bow with 'Thankful', a largely forgettable track that is only really saved by the irresistible Allison Kraus sharing the vocals. At a smidge over 35 minutes long, the album is short - but it works at that length - and the production is smoother than an aged Kentucky Bourbon, making the album a very easy listen. This wasn't the first time Ringo had tried country as his second solo album way back in 1970 was also sporting the Nashville sound. Critics at the time noted how well the style fit his voice, and it seemed like he would return there in the future. Now that he has, we must wonder why he took so long?

OK, I won't got into the history about how a prestigious rap artist got to writing some rap/metal album which at the time caused some significant pushback, it was in fact the notoriety itself that put the band even further into the headlights and ultimate success with their very first album. It's very clear right from the first track the record was to be a message to whoever wants to listen, the treatment of native African Americans within U.S. society. Being mostly raised by his dad and being educated in South Central L.A., a place you really don't want to visit, Ice takes a little bit of time to set the scene with track one 'Smoked Pork'. It sets the scene to some extent but will not be what the entire album is about. Read on. The second track 'Body Counts In The House', is the most unique way I have seen to introduce all your band members. It is a winner and very enjoyable, particularly the solo's from Ernie C, for whom we would come to learn years later was part of the reason for forming the band. Oh and I just love Beatmaster V on the drums. It is a different sound in some ways, but if you saw him back in the day playing (he's now deceased) he was a sight to behold. For the next 10 minutes or so, the listener is treated to some short commentary / statistics. It's track 8 that suddenly hits the humour / cheap comedy side of Ice. 'K_K_K' and 'Voodoo' - while I like the tracks, they are a little cheesy. It's track 11 where you come across the masterpiece of the record. 'The Winner Loses'. A ballad if I dare say about the challenges of a young kid spiralling out of control in the drug scene. A not uncommon theme in many communities. Ice shows his soulful side and clearly is the highlight of the record. 'There Goes The Neighbourhood' is a perfect follow on and again does a great job of the disparity between whites and blacks. The remainder pans out with a few more slapstick songs, but enjoyable and catchy to me. The final song, that only was available on early pressings of the CD before the U.S. courts ordered for it to be removed, is the track 'Cop Killer'. Very direct in its intentions that didn't sit well with those that had the power to influence change. In some ways validating yet again the oppression and challenges the African American has trying to just live, even survive. All up one of my favourites, now over 30 years old, that I still enjoy listening to. Good to know they continued on but with some ups and downs. I'll get to those another time.

The all-important second album by The Doors arrived a mere eight months after the first. After the success of the debut the band could have followed a similar formular with album number 2, but although there are some similarities, for the most part this is an album standing on its own feet. Starting gently with the winding keyboard notes of Ray Manzarek, the title track opens the album with a gentle nudge, but once the intense punch of the wordless chorus hits - the song really finds its own. In fact, the whole song minimises it use of lyrics, with Jim Morrison's warbling, processed voice almost becoming another instrument of its own. The carnival bass line drives the track forward, and at just over 3 minutes it is stunning opener. 'You're Lost Little Girl' follows next in the track order, but not in style, as the song is wholly its own. The moody guitar line is the focus of the track, and again Morrison's vocals take a back seat as he croons through the uplifting chorus. The musicians play off each other perfectly, and 'Love Me, Two Times' (arguably the most well-known track on the album) is another guitar showcase, but the keyboard wrap around the guitar line so perfectly is almost unfathomable. This is another side of the band, a bar-room blues themed shuffle, and the jarring chords at the end of each chorus shake the listener out of their comfy shell. Things get odd with 'Horse Latitudes', a track that feel like Morrison has finally been unleashed to be himself for the first time. As the poet steps up to the microphone and barks redemption like a deranged preacher begging his flock to find salvation, the soundscape behind swirls in and out of view. It is a minute and half of madness which some will enjoy and others no doubt will despise. 'Moonlight Drive' returns to the simplicity of the earlier tracks, and has some great slide guitar work to carry it. It is reportedly the first song written by the band back in 1965, and isn't particularly strong on its own, but its charm works perfectly in its placement here. Side 2 opens with the classic 'People Are Strange', although it is likely most people first heard it via Echo & The Bunnymen's version that featured in the film The Lost Boys. It returns to the rollicking bar-room vibes, a theme the band would continue to mine into the future. 'When The Music's Over' is an epic closer, which is very reminiscent of the final track from the band's debut album, 'The End'. At a quick glance is seems like a clone, but repeat listens reveals the track is far much genuine than that. Unlike its spiritual successor it has many turns and a number of sharp dynamic twists. It is structured beautifully, and the 11 minute play-time passes by without any low points or drag. There are live recordings of the song reaching back into the year prior, so this wasn't a track thrown together to suit the album. It always had a life of its own. With Morrison cycling through multiple 'movements' the track is exhausting, and a perfect ending to the suite. As with the debut, the album is perfectly produced by Paul Rothchild, weaving the instruments together into a single fabric, but not even his production can save the album from a few spots of tempo-fatigue, as each track pours out at similar speed. Morrison's vocals are restrained, and at this point he could still sing in the syrupy croon pre his meddling addictions. His lyrics are not as impenetrable as other albums, and his poetry is in more of a conventical lyrical style. The Doors as a band was bigger than the sum of its parts. It was four great musicians coming together to transcend their individual abilities, and in many ways Stange Days is like that also. Ten mostly simplistic songs that alone are somewhat unspectacular, but sequenced together they form a perfect storm and create a unique and compelling album.

Think of this - It's heading to late 90's. Us 20-somethings have just had a glut of music to ingest through the Grunge/Alternative period that, at this point, was slowly receding and only the true survivors managed to make new music that appealed to a slightly different audience. Arguably the surge of Nu-Metal in '96 or there abouts interrupted the Grunge/Alt juggernaut. Metal was still in a spin over the take-over in kids listening preferences. In all honesty, they didn't help themselves with even Metallica hitting a lean period and trying to re-invent. System Of A Down came into being in 1994 which included demo tapes (hello?) and the typical cutting your chops a nightclubs and bars. Just so happened that Rick Rubin caught one of these gigs and the rest, as they say, is history. Not really known outside the U.S., they released their self-titled in June 1998. This went huge very quickly with MTV play (remember when that was around?) and all of a sudden the world was exposed to an aggressive metal protest band. Not that many took note of the protest part. Being Armenians, they sing mostly about injustice to their people, war, genocide etc. On reflection, with the 5 full-lengths the band released in their time, I still think arguably this is the top of the pile. When re-listening I try to imagine what it was like to hear the opening few songs for the first time. It is unrelenting, aggressive, adrenaline charged music and lyrics. Very quickly you learn Serj's singing stye which is quite unique. Screaming in desperation with his beautiful interludes. He can hold a decent tune. Back up by some incredible aggressive and abrasive music, you have to wait until track 5 before you can take a breath, 'Spiders'. A brilliant ballad that got a lot of MTV play. Very passionate and equally desperate/haunting. In the middle of the album you get to experience songs like 'War' and track 10, 'Peephole'. A part polka/metal song. What the? Very different, but equally catching. I love it. I previously gave Toxicity, their sophomore release a 4/5 stars. On reflection of the s/t release it is a 5/5.

In the three years since their last album, the generally panned Another Perfect Day, Motorhead had made many changes. Apart from frontman and band leader Lemmy Kilmister, this was an entirely new group - and with a twin guitar attack instead of the usual three piece. This new version of the band had been introduced to the world previous on the four new tracks from the No Remorse compilation two years earlier, but those tracks only hinted at the potential, and were generally pretty 'safe'. Orgastmatron was the band's first chance to really show the fans what this new version of the band could do. 'Deaf Forever' opens the album at a slow pace, but with a grinding intensity that the earlier band had never had. It feels free of excesses, and gets to the point with little fuss. Even the lyrics are focused, and Lemmy sings with a 'take no prisoners' attitude. It's an ode to war, at the same time as a harsh criticism of it, and the song feels like it was carefully chosen to introduce us to a streamlined 1986 edition of the band. 'Nothing Up My Sleeve' sound more like the familiar Motorhead, speeding along like an out of control race car. The production, although often criticised by the band, is perfect for the music, sounding aggressive and in your face. It is a little bit muddy, but it adds a certain 'live' feel to the songs. 'Claw', an immediately fan favourite, is packed with fast guitar riffs and double entendres galore, and is the final nail in the coffin of the old brigade fixated on the band's 'classic' line-up of the earlier albums. 'Mean Machine' is straight up punk rock, and is one of the most intense songs performed up to this point by the band. There is little room to breathe, and closes the first half of the album nicely. Side B deliberately slows the pace with 'Built For Speed', and much like a boxer in the ring, the band now knows they have the listener subdued. The original plan for the album was to name it Riding With the Driver (hence the cover art), and although the title is a little flat, the same can't be said about the song. There are more moments driven by speed (both descriptively and likely by the actual substance) on this album than any previous, and although the album clocks in at under 45 minutes, it is both an energizing and exhausting listen. Drawing the album to a close is the grinding masterpiece that is the title track. It is unique, not just in the band's discography, but in general. The swirling production gives the repetitive plodding riff an otherworldly feel that is almost unsettling. Lemmy sings of the great hypocrisies of religion, politics, and war, all veiled in cosmic references to gods and times both past and future. As a lyricist he could run the gamut of shallow sexism right through to intensely bold and intelligent lyrics, and this song is far right on that scale, possibly being the greatest words that ever left his mouth. The track is bold and profound in a way that the band rarely ever explored again. Although the album is solid, the band itself was still in rough waters at this point, with drummer Pete Gill barely lasting the next album, and guitarist Wurzal also gone a few short years later - but guitarist Phil Campbell went on with the band for another three decades until Lemmy's death, making him the second longest member (behind Lemmy himself). Ultimately Orgasmatron is an album that demands attention, and creating such in a time where the band was at a 'do or die' juncture was placing a bet that ultimately paid off. The band created an album that will never quite be their best, but will never be close to their worst - A very solid middle of the road effort, that was as much about renewing faith in themselves, as it was the fans.

Incredibly these guys had been around since the 80's, but it wasn't until 2005 that I came upon them and their self-titled release. Not having anything to compare with I was blown away at the frenetic pace for the most part and original vocalist Messiah Marcolin. It ended up being the one and only release with him following their reunion in early 2000's. Despite being part of the early classic era, it seemed he just didn't gel as hoped with the band and was shown the door for some reason. I'm just glad I got to experience it - he has an amazing metal voice. There is no misconception about what you are about to hear due to the opening track 'Black Dwarf'. Fast-paced aggressive tempo with quite a unique vocal effort from Messiah. You can't not notice it. I love it. This flows beautifully through the remainder of the record. Surprisingly on track 2, to pull back the reigns and put together a slow-paced, foot-tapping ballad of some sorts. Smart play by band leader Edling who has written all the tracks on this record. Listening back now after many years not doing so, this is truly a genius effort. I could call out each song as being a standout for different reasons. I'll limit though my call-outs to such classics as 'Assassin Of Light' (brilliant guitar work on this one - love it!) which is followed by 'Copernicus' - that double kick at the start is killer, following by that doomy entrance to the song. Just brilliant!! When they changed lead singer for future releases I did listen to the next couple but just wasn't the same. Great to see they are still going. Looks like there is a 2025 release in the works. I should pick it up for a listen.

Anciients have a discography stretching back over a decade before Beyond The Reach Of The Sun, but it feels like this is the album where they really find what they want to be - and the results of that new-found identity make this opus sound effortless in execution. The opener, 'Forbidden Sanctuary', is a perfect introduction to what the listener will hear over the next hour. The beginning of the track builds a loose tension, like the feeling that storm is on the horizon - but when it finally breaks the guitars don't crash in as expected, but instead roll in with a slap rather than a punch. The vocals are delicate and thin and ethereal, until the death growls break the beauty, but rather than being used a device to make the song heavier they instead are a mechanism which breaks the surface tension at the most perfect moments. The are often sparse, and never outstay their welcome, something that could be said about the growls throughout the entire album. By 'Despoiled' it is obvious how the album will play out, with that same dynamic tension in the air that shifts as the music pulls in constantly shifting directions. Throw in the occasional blast beats that nail you to your chair and it feels like walking on wet sand as the waves pull the grains one by one from under your feet. The whole track is heavier throughout, and has an odd 80s metal feel to it, possibly due to the heavy effects on the guitar tone. It leaves the song somewhere between space rock and the modern metal. 'Is It Your God' ebbs and flows, but almost with something that could be described as a loose groove about it. The vibe is dark, but in an album full of contradictions, it feels oddly uplifting. 'Melt The Crown' continues with this groove, but this time with some big Godzilla sized monster stomps. It is sprinkled with softer acoustic moments reminiscent of the masters of the style, Opeth. By 'Cloak Of The Vast And Black' it seems the album has revealed all its secrets, but what we now get is a big fat traditional heavy metal track, with brute force in its delivery. Maybe it's a throwback to an earlier time in the band's history, or maybe they are just showing the fans that they do sometimes still love a good old barnstormer in the repertoire. 'Celestial Tyrant' continues the trend, with another more paint-by-number death metal track, complete with complicated riffs and guttural growls. The production is intense and the music claustrophobic, making the song really hit hard. It feels at home, even though it is quite different to earlier songs on the album. And therein lies the number one strength of the album as a whole - that it can so effortlessly move through styles and moods. The songs on the album now take on a life of their own, combining the expansive feel of the first songs with the more traditional ones of the mid-section, giving the listener an oddly coherent experience considering the jarring changes of style through the remaining tracks. 'The Torch' is back to the massive death metal, but with an off-kilter feeling that you still can't quite find a similar artist elsewhere to compare with. It all builds to a wonderful crescendo with closer 'In The Absence Of Wisdom', but it does feel like it knows it is time to end. It is a very long album and has a lot to digest in a one sitting, but repeat listens really do open up the listener to so many fine details that shouldn't be missed. The band truly has created something wholly original and their own, which isn't an easy feat these days, but they did it whilst still showing us every obvious 'borrow' from those that came before them.

Taking a look back of the history of this band, they actually formed in 1988 and cut their Oz chops hitting the sporting clubs and pubs as any wishful rock band would do back in that day. Knocked off a few E.P.'s before eventually releasing their first full length in 1993. It was full of demos and live recordings which isn't a smart idea for a debut, and it flopped. It was however preceded by a debut appearance at the very first Big Day Out festival. Back then, that was your 'in' ticket, if you were smart and used it well. Persistence continued and being a young Oz rock band right in the sweet spot with Triple J really focusing on local Oz talent during the alternative era, they finally hit the mark with Future Spa in 1996. Mostly led by the single 'Dogs Are The Best People' which is a fun, quirky take on what dogs have to offer as a friend rather than another human. However to their credit they put together a number of catchy songs from this album, including the heavy rock tinged 'Self Abuser' and 'Don't Get Death Threats Anymore'. It does die off toward the last 2 or 3 songs, excluding the last song which is a 20 minute track consisting of 2 songs with intervals and then a recording of the band getting pulled over by the police for drug possession. The track only needs the one listen. And kudos to them for still releasing new work still with latest release in 2024.

The debate of The Beatles vs The Stones has ranged for over half a century, and will no doubt continued unresolved for many years yet. Comparisons are rife, but to be fair - remove the relativity of timing and location, and there really isn't much you can compare. The Beatles debut was full of Rock 'n' Roll with a little bit of R&B, and The Rolling Stones introduced themselves to the world with a little bit of R&B and a whole lot of blues. Most album (and career) openers burst out the speakers untamed, but The Stones instead introduce their debut album with the restrained 'Route 66'. A cover of the King Cole Trio, it is the sound of vintage America wrapped in the comfy blanket of London's swinging 60s. In case you are question the authenticity of white boys playing the blues, next up is the Muddy Waters classic 'I Just Want To Make Love To You' nailed in a wonderful, fast paced rock 'n' roll style that is totally The Stones. Jimmy Reed's 'Honestly I Do' finally puts to bed the comparison's with the Fab Four. Whereas The Beatles would perform a song like this with charm that would cause the teenage girls to faint, the sleaze of The Stones starts to creep in untamed. Mick Jagger isn't singing to school girls, he is singing to women. Bo Diddly's 'Mona' is a pretty faithful rendition, as you can't really perform a Diddly song without that distinctive rhythm. Most of these songs are covers, and the three tracks written by the band quickly reveal why. 'Now I Got A Witness' is a flat instrumental that has no real purpose, and 'Tell Me (You're Coming Back)' manages to redeem itself with a sniff of sixty's charm. 'Little By Little' is the only song of the three that hints at the future potential as a band of songwriters, and although it is credited to the whole band it reeks of that Mick Jagger / Keith Richards style that would become so prominent later. Song after song the album drips with atmosphere that makes it hard to deny. Recorded in and mixed only in true mono, it has a flatness to the sound that gives it an air of authenticity of its purpose, showcasing the great blues of the U.S.A. Slim Harpo's 'I'm A King Bee' is just perfect in its execution, with some great lead work by Brian Jones, and it sets up side 2 to rival the first. Chuck Berry's 'Carol' is played in a very Berry style, and is perhaps a little too. 'sterile' to rival the original. Many of the early Stones recordings suffer from poor sound quality due to the band's insistence of working outside the Decca studios, but this album is pristine in its sonics. It all ends nicely with a fairly basic and almost quaint version of Rufus Thomas' 'Walking The Dog', leaving you with just enough energy to go back to track 1 and start it all over again. Popularity at the time aside (the album topped the U.K. charts for 12 weeks) in hindsight it can be said it is a slow and steady start to a career that would certainly ramp up in the future. There are hints of potential throughout, but you won't find any of that signature Stones swagger that came to be such a identifying trait later. Regardless, it is a wonderful time capsule back to a time when music was simpler, but no less essential.

Somewhere deep inside of us is the need to hear rhythms. Back to the days of our ancient ancestors, they banged drums and danced and sang. Much like the need to eat and drink, it is built into all of us in some way. AC/DC taps into that primal needs in a way no other band can, and Powerage is the album that shows this best. It is both simplistic and yet complex, in that the instruments are rough and raw and deceivingly primal, but only after repeat listens do the structures of the songs really reveal themselves as perfectly crafted. There is a method to the madness, like some great architect planned every chord to unlock something in the mind, and no doubt that was the intention when writing these riffs. 'Rock 'n' Roll Damnation' opens the album with a groove that is irresistible, and with a simplistic riff the band creates their most 'pop' like song, whilst still keeping every ounce of muscle. Bon Scott's vocals are restrained, showcasing his singing, but he still takes the opportunity to unleash that all too familiar wail when he can. The challenge to the listener is to try not to sing along, especially when that chorus soars. Any chance of the opening track showing a new 'lighter' direction for the band is quickly squashed once the main riff of 'Down Payment Blues' kicks in. The songs gives us a darker side of the band than the usual tongue-in-cheek attitude. This isn't Bon Scott the dreamer - this is Bon Scott the realist, barking of his real life woes. In fact, this sets the tone for most of the rest of the album, with most of the lyrics sounding quite personal for the first time ever. In 'Gimme A Bullet' we learn that the cheeky smile on Scott's face can turn to a grimace when necessary, as he curses a female ex-lover for her past transgressions. There is a lot of repetition in the riffs throughout the album, and in some places they almost become a drone, adding creating a sensation of claustrophobia. This is perfect for the tone the album is feeding the listener - with it's dark and biting lyrics. The leads of Angus Young are as always sublime and perfect in every way, but brother Malcolm is the true star here, crafting a mood in the way he plays. The irresistible groove of the main riff of 'Riff Raff' kicks in and it feels like going home, as it is so drenched in the AC/DC charm it couldn't have come from any other band. Scott now really opens up for the first time, and that familiar banshee wail locks this into the 'classic' category of any fans collection. Phil Rudd holds down a steady beat on the drums, and Cliff Williams plays in a very economical style the album, allowing the songs to glide on his steady bass thumps rather than filling the empty spaces with unnecessary notes. 'Sin City' follows, and once opened side 2 of the album with a mid-paced punch the stomach. The guitars are tight and biting, and the tone is perfect. These songs have a feeling of urgency, like there is some sort of anticipation of something nefarious following behind, driving them at pace. "What's Next To The Moon' showcases this feeling, with the riffs all feeling like they are pushed to the limit. Things finally slow a little by 'Gone Shootin'', a laid back blues groove, and the lyrics take us into the more familiar territory of the band, dropping the vitriol for just a moment. It is easily the weakest song on the album, but is needed to break the pace. The final two tracks, 'Up To My Neck In You' and 'Kicked In The Teeth' are more in the style of the earlier tracks on the album, with barnstorming riffs and vocals, and lyrics hotter than a summer's day. Scott really had a chip or two on his shoulder when writing the lyrics of this album, but this proved to be a good thing, as many of the lyrics here are the most accessible and relatable he ever penned. It moves the tone of the album from powerful to downright aggressive at times. For the casual AC/DC listener, this may not be an album with many well-known songs and may be overlooked - but for the die-hard fan this is an album that generally sits near the top of any album ranking.

By album number two Twister Sister were still an underground band. They had signed to Atlantic by this point, so with some major label money and push, this would be the album that would truly introduce them to the rock world. It certainly wasn't a smash hit, but did position the band to break into the mainstream on follow up Stay Hungry (1984). 'The Kids Are Back' opens the album at a mid-pace, but with a real feeling of muscle, and the Dee Snider snarl cuts through the atmosphere like a knife. 'Like A Knife In The Back' follows with the same intensity. This is a band that writes more than songs - they write anthems that insist you sing along, and these songs are proof of that. 'Ride To Live, Live To Ride' is an ode to the open road, and it really feels like the wind is blowing through your hair as you barrel down the highway. The leads of Jay Jay French and Eddie Ojeda are perfectly crafted throughout, and take the songs to the next level, especially on this track. Snider sounds like Alice Cooper at times when he snarls the lyrics, and this is possibly heard more on this album that any other, but his raspy voice soars when he sings the big melody choruses. 'I Am (I'm Me)' unfortunately drags the album back to its time, and this suitable 1983 pop-rock song reminds the listener that the band were just as capable as being a pop band as a hard rock band when necessary. Songs like these are sprinkled across all their albums, and without them the band would have had no radio airplay exposure, so it needs to be seen as a necessary evil. 'We're Gonna Make It' opens side two with a punch to the gut, sounding like a lost song from W.A.S.P., but it is a fairly forgettable paint-by-numbers affair. In fact. The entirety of the second half of the album slumps in comparison to the first, with 'I've Had Enough' and 'I'll Take You Alive' being largely vapid songs. 'You're Not Alone (Suzette's Song)' is the obligatory big ballad of the album, and Snider's ode to his new wife. It is exactly the sort of tear-jerker you'd expect from an early 80s hard rock band. Luckily the album does end on high note, with 'You Can't Stop Rock 'n' Roll' - one last fist-pumper before it's all over. Twisted Sister certainly had better albums than this one (the follow up 'Stay Hungry' is considered a masterpiece by many), but the charm here is the intensity. This feels like an animal in a cage waiting to break free. The band knew they were close to fame, and played like they would stop at nothing to get there.

David Gilmour as a musician needs no introduction. Guitarist for Pink Floyd and with an equally impressive solo collection, he is revered worldwide for his talents on guitar, and the 'feel' he and his instrument give to his music. He plays the guitar like no other, but oddly this album is mostly void of that instantly recognisable six-string charm. Opening with the short and moody 'Black Cat', the listener is introduced to the style and pace of the next 45 minutes. The title track follows, and locks into a Pink Floyd bass groove reminiscent of the late 70s. Gilmour's voice is aged and raged, but comfy like slipping on an old pair of shoes. When the chorus breaks it feels like you have been here before, and not because it is repeating anything he has done before - but because his tones (both vocal and guitar) invite you into its welcoming arms like an old friend. Gilmour pushes himself vocally on this album, probably more so than ever before, but it is possibly due to his age that some notes just can't be hit. Some listeners may feel like it adds authenticity, whereas others may just think he is trying too hard. Lead single 'The Piper's Call' certainly doesn't have this issue, and stands as one of the standout tracks of the album. It drips through the speakers like honey from a spoon, so smooth it is almost unbearable until it breaks into another of those great grooves, leading to possibly the best soloing of the entire album. 'A Single Spark' is a mellow affair, that is quaint enough to listen to - but brings nothing new to the repertoire or legacy. 'Vita Brevis' brings a nice harmonic interlude, but at this point it becomes clear that this is a moody album, and mostly crawls rather than walks. It leaves the listener with a touch of tempo fatigue by the mid-point, and as 'Between Two Points' (featuring his daughter Romany on vocals, and a cover of a track by The Montgolfier Brothers) begins, it is clear the old rocker has reached a point where he rocks more in a chair on the porch than on the guitar. Nearing his 80th year, he is content to make music that is mellow and with moods that can't quite be grasped. Music that is both of now and completely timeless. Music that is completely Gilmour-esque whilst also being of a different artist entirely. In fact, it isn't until that distinct soloing style breaks through on songs like this one, that you even know who is playing. This is probably intentional on Gilmour's part, possibly wanting to prove he is more than just a guy with a magical Stratocaster. At song 7, 'Dark And Velvet Nights', the pace picks up for the first time, and whilst it still at a speed for those approaching their final years, it carries some of the punch fans are waiting to hear. It would have better served the album to place it further up front. The album closes with over 7 minutes of 'Scattered', a progressive ballad with a piano freak out and sublime acoustic piece into a classic electric solo, but for the first time in his long career it feels like Gilmour may have just been repeating his best solos of the past. It still gives chills, but sounds just a little too familiar. Luck And Strange is by no means a bad album, but it is certainly an album that only lends itself to a certain mood, and perhaps that is exactly what Gilmour was looking for. An album he could enjoying in his later years. An album made for him and no one else, and if we should happen to enjoy it - then so be it. He's earnt the right to do that.

Third release from the band from Lismore who hit stardom thanks to the JJJ Unearthed initiative. Thank God this existed at the time these guys were cutting their chops. Now arguably considered one of the modern Oz music scenes greats. Their first 2 releases along with the E.P.'s were very mature for their age but mindful of the topics they chose to write songs about. I'd argue that this 3rd release was their coming of age. You can tell from the short intro, followed by 'Anyday Anyhow'. It could put the die-hard fan off slightly, but if you wait until the next song 'Lost Control', they aren't turning into posers any time soon, putting a smile on the die-hards. It had been a long time since I listened to this release so it was almost like hearing it for the first time and wow - just wow. I challenge you to find a filler. Even with the likes of 'Chemical Heart' - a tuned down ballad which shows the bands maturity and possibly confidence in their craft to put this on a release. The final track 'Hate' is equally bold way to complete the record. The remainder of the record is a catchy as hell providing numerous opportunities to enact your neck muscles and perhaps your vocals. All tracks within the 3-4 minutes in length as has become familiar for the Grinners. If on first listen it seems at odds, listen again, and again. It'll hook you in and as I say, one of their best in their catalogue on long-players over their career.

Upon its release Blue Oyster Cult announced Ghost Stories would be their final studio album. Generally when this happens with such a long lasting and beloved band they pull out all the stops to try to produce one last great album their fans can cherish. Instead, they raided the vaults for old unreleased material, mostly recorded between 1978 and 1983, the period that included the albums Mirrors, Cultosaurus Erectus, Fire Of Unknown Origin and The Revolution By Night. These albums are all held in high regard by fans, but time will tell if the reworked left-overs included here are thought of similarly. Some additions were added to the tracks and AI was used in places to de-mix songs for rework, so this isn't just a bunch of left overs packed in the state they were found. Care and attention was apparently applied to the recordings to enhance them. That is why it is so baffling that they sound so void of any passion or intensity. 'Late Night Street Fight' is a groovy start, and opens the album up with in a rather mellow, laid-back way. It isn't the best opener, but has enough charm to hold your interest. 'Cherry' follows, but this is where the charm starts to evaporate. The song sounds like a cast off from a 1950s musical theatre show, more akin to an average Jim Steinman song than a band of this calibre. 'So Supernatural' is one of the catchier songs, and sounds more like vintage BOC than most songs on the album, but it is still ephemeral affair that feels like it would be the worst song on a better album. The cover of The Animals 'We Gotta Get Out Of This Place is flat and lifeless, but the band does breath some life into the MC5's 'Kick Out The Jams'. 'Soul Jive' and 'Gun' are both insignificant songs, saved by the slight boogie-shuffle of 'Shot In The Dark'. As the album winds up 'Don't Come Running To Me' covers the penultimate spot and is one of the better songs on the album, but then the album closes with an acoustic (and quite insipid) cover of The Beatles 'If I Fell' (apparently recorded some time in 2016). After a few listens it is clear that the title, Ghost Stories, is very suited to the material - as this sounds like an album full of songs so thin that you can see right through them. They often feel underdeveloped and flimsy to the point of being unnecessary, and the whole album is void of the vitality that once made this a great band.

Acknowledging the fact the band cut their craft in the 80's and had a couple of releases in that period which stand on their own, they eventually made it big on the alternate scene with Badmotorfinger in 1991, receiving MTV play for the likes of 'Jesus Christ Pose'. Another Seattle native band about to make it big. There will be many arguments for decades to go on who provided the biggest influence very early on. In someways it could be argued that Cornell alone was one of the biggest influences, setting up the like of Temple Of The Dog while Soundgarden were still paving their way forward. In any case, all eyes on the post Badmotorfinger release. And it hit hard in 1994 with Superunknown, that bought a ton of hits for the fans to love. It seems disrespectful to simply state the record is a bunch of catchy songs to get active on, learning the vocals and smiling whenever you heard them on the radiowaves, hanging out for them to tour the album. Yet the record has some very hard hitters like 'Fell On Black Days' and 'The Day I Tried To Live'. Call it a ballad if you will, but there are certainly parts in the record that has the listener pause for a breath and take note of the lyrics Chris has written. The album really has no fillers, with further highlights being the self-titled song, 'Spoonman', 'Limo Wreck' and finishing the record up with 'Like Suicide' - a very moody piece written by Cornell which arguably brings the listener down to reality after listening to such an engrossing release by the band. In some ways it is hard to listen to the band these days following Cornell's passing in 2017. Apart from just wanting to hear the band play again, the world has been robbed of the incredible talents of Kim Thayil and Ben Shephard. Matt Cameron being a big part of the band also of course but he lives on through Pearl Jam thankfully. R.I.P always Chris.

16 years is a long time between albums, and although The Cure was still reasonably active in touring, fans had likely assumed they had heard the last of new music from the band long ago. From the moment lead single 'Alone' opens the album there is a distinctness about it, a sound that could only ever be from the mind of frontman Robert Smith. The song opens the album beautifully, placing the music in a melancholy mood - but it isn't all about the dark, with shades of light breaking through the clouds on occasion, allowing the listener to take an untainted breath. By track 2, the sublime 'And Nothing Is Forever', it is obvious this is not an album of up-tempo songs, instead keeping to a walking (and sometimes crawling) pace. By 'Warsong' the true feeling of burden the album leaves on the listener really become apparent, unfurling like a heavy blanket placed upon your body. Songs like 'I Can Never Say Goodbye' have moments of the vintage The Cure charm that made them so popular in the 80s, but 'All I Ever Am' drags you back to now - not this time, but to this very moment - the urgency of Robert's voice being immediately apparent. 'Endsong', with its themes of loss closes the album precisely as expected, but perfectly just the same. To come back after a such a long break with an piece of music that is not just excellent, but an absolutely essential part of the band's large discography is quite the feat. The album leaves the listener feeling like the have witnessed a series of contradictions - of finality at the same time as a new beginning, of the denseness of pure darkness whilst offering the clarity of light, and most importantly the weight of great burden at the same time as a feeling of weightlessness. Very few bands will ever have an album quite this wonderful.

The mid 2000's seemed to be a period in time where I found 'new' favourite bands that had been around for a long time. Satyricon, Immortal, Candlemass, Darkthrone etc I discovered within years of each other. MDB was another. Now I need to make a point first up. While listening to this record at the time I did, I wasn't in a very good place. Listening to this every morning before you started the day didn't serve me well. It's taken a long time for me to take another listen with a different view. The judgement of this release doesn't really change. Not having listened to any of their earlier work I was a taken by Stanthorpe's voice when singing through those drowning, sad, depressive songs (for the most part). The guitars though the entire album are cutting for the most part and are incredibly addictive. Track 2 'L'Amour Detruit' is the first example of what the listener is in for. With most songs clocking in at over 6 minutes long you don't leave the locker of any song in any real quick time. As intense as it is, you are commanded to submit yourself to the song itself. The spoken work toward the end of 'Loves Intolerable Pain' raises a number of dark questions that some may relate to. 'Deeper Down' is the killer for me. The lyrics are very easy to learn and although an up-tempo song initially, it drags you into a depressive state (for me at least) when you absorb the dark lyrics of the song and understand the metaphor strewn through the song. In any case, if you can unbolt yourselves from the journey the album can take you on, you will find a death/doom masterpiece full of sounds and vocals that work at the very nerves of your body.

For many heavy music fans 'progressive metal' is a place they generally avoid going to. It is understandable, as most progressive music isn't likely to simply entertain, but instead forces you to pay attention and put in some real effort to unravel it. With complex and often lengthy passages, and vocals generally more operatic than heavy music allows, these bands leave most listeners confused - and often bored. When O.S.I. first emerged, formed by guitarist Jim Matheos of Fates Warning and keyboardist Kevin Moore of Chroma Key and Dream Theater, it seemed this would be another band creating complex music for a small group of listeners. From the moment 'The New Math (What He Said)' starts the influences of the two main men shine through, but this is something very different. The music is still complex, but it feels as though the passages where a mass audience would lose interest have been excised, getting straight the point. At only three and half minutes the track is an instrument, and sets up the listener nicely for what they will hear over the next 45 minutes. Track 2, 'O.S.I. (Office Of Strategic Influence)', smoothly transitions from the last song with barely a space to show the album has moved on from the opening track. Vocals are handled by Moore, and although his voice isn't amazing, it perfectly fits the pseudo spoken-passages he places in each song. There is moments of big metal glory, with super heavy breakdowns appearing suddenly, but nothing here is over used or outstays its welcome. 'Horseshoes And B-52's' is like an industrial horrorshow, before moving onto simpler moments like the moody 'Head' or the Filter-like 'Hello, Helicopter!'. The album's centerpiece, the 10+ minute 'shutDOWN' has prog-royalty in Porcupine Tree's Steven Wilson providing vocals, and is for its majority a grinding megalodon. Although the album is very listenable, there are still moments of progressive oddity, such as the electronic-tinged 'Memory Daydreams Lapses', but listened to as an album (rather than individual songs) these moments work as a beautiful contrast to the heavier tracks. There is a chance that this is an album that will open the door to those who would normally avoid anything with the word 'progressive' in the title, providing to listeners a sort of beginners guide.

I can't recall what led me to listing to this record, the final release for the band. Possibly the reunion in 2001 that lead to this and the following mess that made the public on their break-up (some band members said we are done, others said elsewise). In any case, I am so glad I picked this up for a listen. Having no past experience of listening to then, Monotheist can only be described as a heavy, dark, insulting & unrelenting effort from Tom Fischer and the band. The lead track 'Progeny' leaves no questions left answered - you know what you are in for. A brilliant opener. You will see this through the album where there are interludes of a drop in pace but don't think you can take a rest as Fischer will still command your attention. 'Ground' poses the question on a religious level. Here we get a chance to listen to that chunky bass that you might not always hear in the mix on most of the record. I have to say the highlight for me is track 3 'A Dying God Coming Into Human Flesh'. Following a very moody start it escalates to a heavy proclamation of the song title as eerie and heavy as it gets. 'Drown In Ashes' is what I mean re the quiet but heavy/eerie intervals through the album. From here you have still approx. an hour of listening to go. Hold on tight!! In summary, where it is their final release or not, Monotheist stands on its own as a classic example of the early move to heavy black/doom/death perhaps - dang-it it can't be locked into a genre on its own. It's just a unique effort and you would be well served to take a listen and judge for yourself.

The Last Will And Testament is more than just an album, it is a piece of art painted brushstroke by brushstroke, each note carefully placed to convey more than just sound. This is an album that conjures images in the mind, and takes you on a journey. It is a concept album, the story of the reading of a will following the death of a post-World War I wealthy patriarch, but the story is really just a vehicle to allow the music to breath and weave. The album opens with 'S1' (each track is given a 'Section', to denote the reading of the will), and the album starts subtly and with the familiar prog-rock style the band has more recently become known for. It isn't long though before the heavier riffing starts, and the true breadth of the album is revealed. This is an album that can't be discussed without raising the fact that frontman Mikael Akerfeldt has taken the bold step in returning to the death metal growls the band left behind over a decade ago. Make no mistake though, this is a not a return to the Opeth of old, but a true blending of both the old and new styles the band is known for. The music takes on moments of death metal intensity before heading back into forays into progressive patterns. The vocals are filled out with the great Ian Anderson of Jethro Tull narrating, and even one of Akerfeldt's daughters adds a vocal, and it isn't too long before the listener realises each voice belongs to a character in the tale. The song ends quietly, allowing the bombast of 'S2' to smash through the serenity. The guitars are not overly distorted, still lending themselves to a rock feel, but the intensity they are played with and the complexity of the riffs harkens back to the Opeth of old. The drums are also crushing, with double-bass blasts throughout. Europe's Joey Tempest even appears on vocals, adding another voice to the large entourage. By 'S3' the album has found its groove, and the symphonic backing by the London Session Orchestra adds a level of sophistication to the music, whilst also trying to corral the sinister charm that drips throughout. Although 'S5' starts out with a moody bass shuffle and Akerfeldt's croon, it soon lifts the intensity to being one of the heaviest tracks on the album, and features some amazing soloing. The album brilliantly weaves the soft and heavy into each other, and the songs hook with timing changes rather than choruses. By the time 'S7' (the final section of the will) is reached, the listener is left both exhausted and exhilarated, and the song fades into the ether taking the hopes of those in the plotline with it. The album closes with 'A Story Never Told', a 7+ minute thing of beauty done in a style so familiar and yet wholly Opeth that this could be no other band. Ian Anderson even lends his flute to the proceedings, before a stunning guitar solo brings everything to a close. This won't be an album for everyone, and even some fans of the band (old or new) may find the complexity of the songs challenging, but if it does connect - it is highly rewarding. It is an album that can't be completely understood in a single listen, and to be honest, may never truly be understood regardless of the number times you hear it.

With this week marking 20 goddam years since the guitar master Darrell 'Dimebag' Abbot left this word in horrible circumstances, it seems fitting to review some of his work. I'd expect the majority of Pantera fans would agree that this band became the biggest thing since sliced bread in the groove metal space with the release of Cowboys From Hell. They in fact had 4 releases prior to this in the 80's which didn't go very far and to be honest, I couldn't name a single song from those efforts. In any case the collaboration of Dimebag, his brother Vinny (the groove master) on drums, Rex on bass and the irrepressible Phillip H Anselmo carrying the vox duties, broke new ground with this release and became a big influence on the metal scene in the years to come. I can't sing the praises of this record enough. From the self-titled first song on the record, there is no mucking around re what they want the lister to experience for the next hour or there abouts - unrelenting, brutal, tight, wizardry that has its ups and downs. By that I mean they can get the listener going crazy when listening to the likes of 'Primal Concrete Sledge' and then only a few songs later bring soulful, and now bona fide classic such as 'Cemetery Gates', which brings us some of Dimebag's greatest work. Forever a legend of a man and forever a legend of a band.

The melodic death metal style has grown over the years, and morphed into a multi-headed hydra that may strike in many ways. As an analogy, a multi-headed hydra also works for the band Hand Of Kalliach. It is hard to nail them to one particular death metal style, but of the many heads this beast has, beauty is surprisingly one of them. Corryvreckan starts out quiet and builds slowly, and by mid first track 'Three Seas' is a symphonic cacophony. The band is a Scottish husband and wife duo, with haunting female vocals ethereally drifting across the music regardless of its force. This is on full display on 'Fell Reigns', with the growled gravel vocals offset by the beauty of the disembodied female voice. The guitar backing is crushingly heavy, but Scottish folk motives are played throughout giving this a timeless feeling. By 'Dioghaltas' the listener thinks they have this album nailed, but a brutally heavy straight up death metal track blasts that idea away, and yet somewhere buried in the mix those Scottish folk tunes are still playing away. It is an album that is hard to decipher at first, and constantly surprises (or maybe disappoints) as it twists and weaves through unpredictable timing changes and a mixture of styles. By track 6, it sounds like the album has found its heavy groove, but then 'The Hubris Of Prince Bhreacan' veers the ship toward the rocky waters of an almost gothic rock style, its serenity interrupted abruptly by the demonic growls. Although the album is heavily symphonic in places, it certainly isn't light in the slightest - with most of it brutally heavy and foreboding. It is a punishing listen in one sitting, and will require multiple listens to really sink in with even the final track 'Of Twilight And The Pyre' starting out pleasant but ending the album in a wall of brutal noise. This album won't be for everyone, and even hardened death metal veterans may struggle with the female backing and passages of serenity, but for those who do connect with it, it is a totally rewarding listen.

The Cars would never have hit my radar as a band to listen to until I started my first job as a warehouse staff member in the local Woolworths on weekends. Back then the store manager got to select what music was played in the store during the day. Amongst others he had The Beach Boys and The Cars on constant repeat. From this point my interest in The Cars grew. I've chosen to review a 'best of' from them rather than a single album as this is what I have been familiar with. It could be argued however their first release, self-titled in 1978, encompasses the majority of their hit songs. To get direct to the point, it is straight up and down rock and roll music. I hate the term 'Easy Listening', however it is how you would describe The Cars - classic, catchy songs such as 'Let the Good Times Roll', 'My Best Friend's Girl', and even to their 80's work such as 'Tonight She Comes'. This compilation includes some songs I had not previously heard however are addictive in nature and you'll be singing the chorus before you know it. When I want a pick me up this release is one I lean on quite a bit.

By 1989 thrash metal had hit its commercial peak, and what once a small number of bands was now a torrent of second and third wave opportunists poorly imitating their heroes. Testament understood this all too well, and with album number three took their band into unknown territory to ensure they stayed ahead of the pack. Still undeniably thrash, Practice What You Preach was somehow different. It was compact and streamlined, showing a modern attitude and also a new maturity to the band's lyrics. From the moment the title track launches, this is apparent, as the song grooves rather than pummels. Gone are the lyrics of dark entities and demonic tales, and instead frontman Chuck Billy barks a rebuke at the self-righteous. If the listener wasn't hooked yet 'Perilous Nation' will certainly draw them in. A tale of the dangers of patriotism, it is one of the catchier tracks on the album, and although it also contains some of the fastest riffs it is infectiously listenable. Billy growls lyrics throughout, showing real conviction to his words, further strengthening the connection to the listener. Many of the songs are mid paced, and noticeably simpler than the previous albums, leaving the whole album feeling efficient. That doesn't mean the musicianship is sacrificed, and Alex Skolnick and Eric Peterson again proved themselves as two of the best axemen in thrash metal. 'Greenhouse Effect' follows the trend at the time of songs about environmental damage, and the band even goes out on a limb to include a full-blow ballad (imaginably named 'The Ballad') which is a cry for help after losing someone. Quirky instrumental 'Confusion Fusion' ends the album, and 45 minutes has just pasted by in no time at all. The performances are loose in a way that many of the groove metal bands of the next decade would mimic, forgoing absolute precision for a more live feel. Although this makes the album feel organic, it does mean some of the dynamics of overdubs are missing, and the whole thing sounds rather one dimensional. Generally seen by fans as a 'safe' album by the band, it is rarely called a favourite, but it is certainly far from a bad album in any way, perfectly filling a whole for many headbangers upon its release.

Here at TheBigBlackMachine HQ we have often debated what is the greatest sophomore release from the bands we love to listen to. It's been a while since we discussed, however if not at the top of the list (you could consider the likes of Pearl Jam's Vs. for example) this release would easily be a very close second. I assume most of you know the back story of Silverchair. Little runts from a parents garage in Newcastle who just happened to handle their instruments very well. This first release Frogstomp got a lot of positive and equally negative response across the globe. Yes the globe, not just Newcastle, not just Australia. They hit the jackpot so-to-speak. It did come with a heap of expectation. Can they do it more than once? Well like a big finger causing a moon eclipse, they did it in spades with Freak Show. They don't muck around in easing you into the record with the wall bashing, guitar smashing 'Slave'. If you are not awake, you're dead by now. This leads into a classic Johns vocal output adding to the pressure on a frail neck muscles. From here there is very little head up although 'Abuse Me', the following track is equally elegant and saddening at the same time. It sits at a perfect point in the record. You will find similar low-tuned songs scattered through the record, including 'Cemetery' and 'Petrol And Chlorine'. I could comment on all 13 songs on this 48 minute classic example of modern Australian rock/alternative music, but I won't. Other highlights for me are 'No Association' - just a face pummeling insult. Live through this - good luck. 'The Door' and 'Learn To Hate' also being highlights for me. There you go, I'll stop at that with the highlights. But really, being almost 30 years old, it would stand up today if it was a new release. Something today's music scene has been missing for a long time.

Saxon have well and truly proven themselves as in important influence on so many metal bands that there really is no reason they couldn't sit back and take it easy in their final years. Whilst Hell, Fire And Damnation doesn't really bring anything new to their arsenal, it certainly isn't an album that sees them taking it easy. The album starts gently enough with the atmospheric spoken intro 'The Prophecy' (featuring the voice of Brian Blessed, everyone's favourite king). 'Hell, Fire And Damnation' kicks the album into proper gear, with a dirty guitar tone, and a muscular riff reminiscent of Judas Priest. 'Madame Guillotine' slows the speed down, but is a welcome second track with the well-worn and aged vocals of Biff Byford finding the style that suits them best. There are big choruses everywhere here, pulling the listener back to ye metal of olde, but still played with a modern feel. 'Fire And Steel' pummels its way through three and half minutes with lyrics straight from the Anvil playbook. You will find your head bobbing throughout, even on some of the less solid tracks like the cheesy 'There's Something In Roswell' or 'Witches Of Salem', but for the most part punchy tracks like 'Kubla Khan And The Merchant Of Venice' give the album enough edge to set it a cut above most of the recent albums by the band. Although the great production and guitar tones have a lot to do with this, the songs are the true star here, and the addition of Diamond Head's Brian Tatler to the band has certainly given them a lift. This late in the game a band like this is unlikely to pick up many news fans with each release, but if the quality continues on par with this album they certainly won't lose any old ones.

At the height of Oz Alternate music wave underway, one of the many bands that caught that wave was Spiderbait. A bunch of misfits from Finley, a small town in southern N.S.W. with a population less than 3000. Early years started in the late 80's but it was the mid 90's where their style of music began to be appreciated. What is their style you might ask? Non-traditional rock - swift, fast songs typically short clocking in less than 3 minute tracks based on the buzz-saw guitar of Whitt, the fast-paced and loud drumming of Kram and the bottom line held out by Janet (the chick with the heavy bass). They introduced themselves to the world in 1993 and shortly followed 2 years later with Unfinished. This was a much more polished release but still had the same sound as their initial release. Starts with Janet singing 'I Gotta Know'. Straight to the point abrasive song that put's it point across in just over 2 minutes. You will find this sort of behaviour through the tracks to follow. Track 2 has Kram putting up some insane drumming in addition to some aggressive vocals, Janet coming into calm the track down. I could provide a review on every song - it is a record that hits my all-time Top 10 and has many listens. It's only around 35 minutes long but hey so was Slayer's Reign In Blood. That is by no way a comparison. More so it shows that you can pump out a heck of a release if you cut the fillers and simply have gems included. Other songs to highlight include 'Who are The Freemasons', 'Chuck Picola' - a cool instrumental kinda acting as a short interlude for the record. It's quickly followed by 'Yeah Oh Yeah' which is superfast, punchy song with Janet in charge this time. I'll stop there. I have enjoyed the bands releases following but this to me is their most raw effort before the fame lights hit them.

The music of UFO was hugely important to a generation of budding rock stars from around the world in the late 70s. Everyone from Steve Harris of Iron Maiden to Kirk Hammett of Metallica have cited them as a major influence, and the years that Michael Shenker was on lead guitar are the ones most coveted. Schenker was with the band for five albums (arguably their 'classics') and then capped off his tenure before going solo on the legendary live double album Strangers In The Night (1979). After starting out somewhat directionless as a psychedelic jam rock band, UFO focussed on their third studio album Phenomenon (1974), coincidently (or not) the first album Schenker featured on. Although at the time they were sold as hard rock, most of the albums of the period were not particularly heavy by today's standards, but they do include some great lead work and sublime riff after sublime riff, building a rock guitarist's technique play book. For My Years With UFO Schenker has picked a selection of (presumably) his favourites of the period, and with a little help from a few well known friends, re-recorded the tracks for their 50th anniversary. Listening to the original songs with their 50 year old production shows the limitations of era, but these new recordings reveal a bunch of songs still worthy of attention. The production is bright and crisp, and brings a muscular edge to the tracks the originals just didn't have. 'Natural Thing' opens the album, with the gritty vocals of Twisted Sister's Dee Snider, and it is great opener, giving a modern look at a track that still bleeds the hard rock sound of the late 70s. Coincidently, or maybe not, 'Only You Can You Me' has a chorus that sounds like Scorpions (Schenker's previous and next band) and Europe's Joey Tempest has a voice that suits the material well. Joey Lynn Turner of Rainbow fame drives arguably the best known song in the UFO catalogue, 'Doctor Doctor', and does it justice. 'Mother Mary' is the toughest sounding track here, and with Skid Row's recent vocalist Erik Gronwal wailing and guitar legend Slash adding muscle to the six string, it feels like a sound that could fit the repertoire of any modern rock band. For the big ballad 'Love To Love' Schenker even managed to drag the elusive Axl Rose out of his basement to lay down one of the best vocal performances of the album. Vocal great Jeff Scott Soto gets to show off his pipes on 'Lights Out', but oddly his operatic style falls a little short on the songs anthemic chorus, and the power is lost on a song that should be celebrated better. Helloween's Kai Hanson, with his 70s styled voice, does an excellent job of 'Rock Bottom', giving it a vintage feel at the same time as making it sound like it was written yesterday - and at over 11 minutes it becomes one of the true heroes of the album. Everything wraps up nicely with Stephen Pearcy of Ratt lending vocals to 'Shoot Shoot', a great way to close such a great collection of songs. So much can be said about the guest choices on display here, but it is important they don't detract from the true star of the show - which is Schenker himself. His soloing is transcendent as always, and his tone is amazing. Every note is crisp and clean and masterfully played. After 50 years he clearly still loves these songs. The album is by no means a masterpiece, but for fans of both UFO and the virtuoso Schenker it is an excellent way to revisit these songs, and hopefully bring them back into the public eye (ear) for more recent generations. These were important songs in the history of rock, and they deserve to be remembered.

Over their long career The Offspring have slowly left behind the punk roots and moved more into a mainstream radio-consumable style of 'pop punk'. Much like other bands of the time such as Green Day, they are slowly now making their way back to where they began. Supercharged is by no means a return to prime Offspring like Smash (1994) or Ixnay On The Hombre (1997), but no one will deny it is a large step back toward that style. 'Looking Out For #1' opens with a fair taste of mainstream chorus and polished guitars, but track two 'Light It Up' takes the listener back to band's roots with a guitar tone and tempo reminiscent of the earlier works. This could rightfully be assumed it is a one off, but track 3, 'The Fall Guy' follows suit, and a very vintage sounding album starts to take shape. This trend carries on for most of the album. There are still moments of the modern band (for better or for worse depending on what style you prefer), like the poppy single 'Make It Alright', an insipid song with a hint of distorted guitar to ensure the band can still feel edgy in today's world of disposable pop. Up against later tracks like the speedy 'Truth In Fiction', which could easily sit on any of the band's first 3 or 4 four albums, the contrast feels like a bunch of old and new tracks by the band are being played on random. The production is oddly uneven and flat in places for a Bob Rock produced album, feeling like it was recorded at different times and different locations - which it apparently was. Running at only 32 minutes, it feels more like an E.P. than an album, because regardless of whether you are an old fan or a new one, you will likely only find some of the songs appealing to you, but it does feel more like an old-school album more often than not. Thankfully the band seems to having avoided any 'joke' songs, a staple of nearly all of their album since the mid-90s. All in all, it is actually the most enjoyable and energised album The Offspring has released since Rise And Fall, Rage And Grace (2008), but it is still a long way from being a classic.

OK, this is a first and likely only listen of this release, so here we go. I got to track 9 and listen to small parts of remaining tracks. Out-right poop.

Anything from Jerry Cantrell is a blessing for fans, but the line between his solo work and main band Alice In Chains is slowly becoming more blurred with each solo release. We know he isn't a one trick pony, and he has in the past proven he can write some incredibly powerful and stirring ballads, but his modus operandi in recent album is generally fixed on songs that are heavy and dirge-like in structure. He broke free of that slightly on his previous album Brighten (2001), but here he returns to what he knows best. 'Vilified' opens the album with a typical Cantrell riff, and it is only moments before his distinct voice chimes in. The chorus is loaded with the usually multilayered vocals, and the listener realises this album isn't going to stray far from his usual style. It is worth noting that this isn't a bad thing, as his songs are always full of harmony and driving melody regardless of the instruments and musicians involved, and this album is full of that richness fans want to hear. Track 2, the sludgy 'Off The Rails' has a main riff reminiscent of Iron Maiden's 'Wasted Years', and drives along nicely, pulling the listener into the album's big ballad 'Afterglow'. As with every Cantrell penned ballad it showcases the big chorus, and it is a welcome addition to the album to open up its scope. If anything negative can be said, it's that the album needed another big ballad or two, as many of the songs stick to a similar tempo and guitar tone, and until the songs get a chance to sink in after a few listens many of the tracks blend into one. In some ways Jerry has done the stronger songs a disservice by making them all blend so easily into each other, and better tracks like 'Held Your Tongue' take a number of listens before they break free of the others. 'Let It Lie' feels like a Tool-style track is trying break free, but Jerry keeps it constrained to what he knows. Although he uses many of his usual production techniques (such as the vocal multitracking mentioned previously), the album does feel a little less 'produced' and loose that recent Alice In Chains albums. Regardless, many of the songs (such as slow closer 'It Comes') could easy have a shared vocal with William DuVall and immediately be at home on any Alice In Chains album. All in all, one thing Jerry can be counted on to produce is the sort of music that could be called 'comfort food', an album full of songs that sound so familiar it is like you already know them, even when hearing them for the first time. Whether that is a good thing or bad is up to the individual listener to decide.

Important to note that in between Unit (1997) and .art (1999), the diabolical band Happyland was formed by Gurge singer Quan and Janet, bass player from Spiderbait. They scrouged the earth with their rubbish pop sounds for a couple of years. Unfortunately I could start and end this review by saying that, to me, this was the death of both bands. Anyway the record starts off positive with an upbeat pretty much straight forward V/CV called 'Happiness' and is an easy/catchy listen. Track 3 is where the deal is off. No wonder the poor drummer quit after the end of this record. It is insipid techno/disco rubbish. They have always been on the edge a little with this sound, but to have a whole song dedicated to it goes too far for me. Even 'I Wanna Be A Nudist' doesn't win me over as it tries to be a salute to the old-stuff (sort of). Next track, again tries to win the early fans over with its queerness but it's strike 2 for me. From here it's pretty fucked up. Hats off to drummer Martin who co-wrote track 11 'Obtusian', which is not too bad.

The chance of getting a new Jimi Hendrix album and having it full of anything actually magical is very unlikely these days, as the vaults have been raided for so many years that very little of substance is left to listen to. The last three 'studio' albums have been a poor attempt to package alternate (inferior) takes and lefts over from the sessions of other artists into 'lost' studio albums, and although they sometimes have a moment or two of magnificence - they feel like they are the sort of cash grab albums the family took over Hendrix's legacy back in 1996 to stop. Even the recent live releases leave a lot to be desired. This collection, which is finally being marketed for what it is - a collection of work-in-progress outtakes and mixes from the months leading up to Hendrix's death - is actually a welcome surprise. The box set is focused as much on the actual studio as the songs being worked on, celebrating more than just Hendrix's music vison. An alternate mix of 'Ezy Ryder' launches the album, but there is little here that makes the listener jump to attention, as this track has been heard so many times before. From there though a mellow version of 'Valleys Of Neptune' makes it clear that just when you think you have heard it all, there is still more to hear. Would vocals have worked on such a mellow rendition? No one will ever know. One take of 'Astro Man' has a big fat bass sound, the raw sound of 'Beginnings' is great to listen to - every note played live in the studio without overdub. An early slow take of 'Tune X' (later to become 'In From The Storm') is a great look behind the curtain, and the guitar-only demo 'Heaven Has No Sorrow' reveals a song that was potentially another masterpiece waiting to be discovered. There are off-the-cuff moments like the spirited stab at 'Further On Up The Road' (which falls in a heap after only a minute and a half), and the run through of a number of songs in rehearsal (labelled here as 'The Long Medley') is great to listen to, as everyone is loose and sound like they are enjoying the songs. Many of the mixes here are 'work in progress' mixes made by Hendrix himself (with Eddie Kramer by his side), which although revealing, also show where a lot of work was still to be done to complete the album. The great thing about hearing tracks like 'Freedom' presented here is that you get to hear the inner workings of the songs that were later covered in a blanket of overdubs and production when released officially. Surprisingly, some songs are a necessary addition to the Hendrix library, while others feel like they have not much new to offer. If the market hadn't been flooded with 50+ years of these sort of outtakes, this feels like a collection that may have made a bigger impact - but for all but the diehard fan, so much of what is presented here can be heard elsewhere else with only the slightest differences. Putting that aside though, and just looking at this in terms of what it is and the music on offer on it, it is an amazing journey through the 'never to be album' Hendrix was building in his final days.

Another Regurgitator album, and again, only another year later than the last - so you could argue they are making hay while. (you know the rest). I have to say I got sucked in, and almost as a premonition, track 1 is titled 'I like Your Old Stuff Better Than Your New Stuff'. The lads decided to put their instruments to the side on some songs, and while catchy, as I started to hint to - they have almost done a full 180 and brought the disco lights and sampling tables together for this effort. I will admit its catchy, but just not what I wanted to hear from them as a sophomore album. If I put my preferences to the side, this is a great, ballsy release that in some-way entices more fans to their music. For me, perhaps showing my age, the smut is just over the top to be honest. My highlight is the two that come one after another 'Modern Life' and 'Polyester Girl', but I have to listen to a bunch of rubbish before I get to these, including the rubbish before 'Modern Life'. Oh and hey if you want to piss fans off who actually enjoyed this release, which not re-release shortly after with different coloured album art!

In a year that has seen releases from many of the originators of the Australian alternative rock scene of the 1990s it is a welcome relief to see something from one of the bands on the heavier end of the spectrum, Grinspoon. They spent a few years in the 'are they still a thing?' void, but has surfaced alive and well - and certainly kicking. With around 30 years under their belt it would be acceptable if they wanted to experiment a little, but it turns out this album is mostly the opposite. The first track (post a short intro) '(ILYSM)' pounds out classic sounding Grinspoon, and even has a chorus with Jameson declaring 'I guess we're drunk as fuck', rewinding back two+ decades to the wild hey-day of Oz alternative music in the late 90s. The vintage sound doesn't end here, as 'Unknown Pretenders' blares out a riff reminiscent of anything ugly on the album Easy (1999). This is band that is throwing the baby out with the bath water, and ignoring the years they spent trying to get a charting album. New fans be damned - the old ones are the ones that made them after all. 'Nasty' continues the streak, and bounces with a groove that will get the whole pub on their feet. 'Pantomime' slows things down for a small mellow instrumental interlude, allowing the listener a chance to catch their breath before the guitar barrage starts again on 'Never Say Never'. Phil Jameson's voice is smooth throughout, and he saves the punch for the big choruses, which there are plenty of. 'Live Fast Die Young' is opposite of what could be expected based in its name, but it is the first time the album slows down a little - but it isn't a ballad in any sense. That comes a couple of songs later with the soft '4, 5 & 7'. It is nothing significant, but does break up the album nicely. The short interludes continue throughout the album with 'Trains' and 'A Minute' appearing awkwardly, but actually blending nicely. Some of the heavier tracks appear on the second half of the album, with 'The Only One' loud and proud, but possibly the most commercial song on the album. 'Can I Make You Feel?' on the other hand is two and half minutes of post-punk fury, with Pat Davern's guitar tone sounding like it is blaring from a Lismore garage on a suburban street. 'Underground (Hell On Wheels)' is pop song finish, and a nice ending - although it is one of the weakest songs on the album. Like many 'come back' albums, this has a bit of something from every period of the band, but it is certainly more akin to the earlier albums than the later ones - something that will hopefully continue if the band makes any further music.

Yet only another year after the band's previous E.P. New (1995), we get the long player that many of us didn't have to wait for. Once again, they push fans buttons with the first track, some will like, others not so and I'm probably on that side. But track 2 - 'Kung Foo Sing', is once again a classic from them. No idea what the hell a 'Kung Foo Sing' is, but who the fuck cares. One hate I do have is the re-recording of 'I Couldn't Do It'. The E.P. version was so much better and this is a low-light of the record. No time to reflect though before 'Miffy's Simplicity', a 1.30 minute burst of rock brings you back to life, quickly followed by 'Social Disaster', which again continues to bring that raw and unique edge that is Regurgitator. At this point they have hit their sweet spot and the next handful of songs display the essence of the band, which made this release a classic, even the Mexicana instrumental that is '348 Hz'. Love it!. Remaining stand-outs include 'F.S.O.' and 'Blubber Boy'. Having taken that next step to be able to put 14 songs together of quality as opposed to the 5 each from the E.P.'s, coupled with the radio and festival plays they were getting, the band looks to have a long history going into the future, although you never are to know where these will go next given their sporadic nature.

It seems that the exit of Jim Martin from Faith No More, the band he was a founding member of back in 1983, wasn't a smooth transition. With Milk And Blood he was back a few years later to prove who the heart and soul of that band truly was. Instead he unleashed an album on the world that left the listener feeling like they would rather listen to the real thing than his poor carbon copy. Two things became apparent very quickly - Martin was a better guitarist than a singer, but secondly, and more importantly, he needed a strong ensemble band around him to lift the songs from mediocrity. Unfortunately he didn't have one. The album opens with 'Disco Dust' a sludgy chugging monster that would fit a lot easier on an album by TAD or Melvins than by Faith No More, and it feels like Martin is keen to shake off his old band as fast as he can. 'Fear' cranks the distortion, and a modern sounding bounce-metal song pours from the speakers. The tracks are catchy, but even this early into the album the vocals seem to be the weakest link. By 'Dead', to his credit he tries to mix up the vocal styles a little, but he just doesn't have what the song needs. The styles of songs here need a big chorus to carry them, and without a punch in his vocals the songs sound under-developed and lifeless. 'Loser' is a mellow song, with a spoken/whispered vocal style that Mike Patton would have pulled off wonderfully. There is plenty of dirty sounding garage tracks here, with 'Barsoap Hair' and 'Mexican Sandwich' grinding away heavily, but it all comes across as somewhat bland. In fact the two absolute standout tracks are a cover of The Pogues 'Navigator' (which reveals backing vocals by James Hetfield of Metallica) and 'Surprise! You're Dead', a cover of a song by Faith No More - which has nowhere near the impact of the original. 'Hunter Shepherd', the album's final track, is an amazing acoustic instrumental that leaves the listener feeling like they have finally found something that is worth playing through a second time. If the album had included a couple more songs like this one to break it up a little more, it would definitely have been a better listen.

It was hardly surprising that the next release after the band's debut E.P. was as, or even more, out there. I must admit that Track 1 is probably one of their best singles ever released and in some way embeds the majority of the sound that the Gurge have to offer. But there is no straight-line here, as it shifts off into a mix of songs with different sounds. As I go through, realise that this release in particular provided their first full length with a couple of songs. Now knowing the band over the years to come, particularly Quan and Ben, I can understand why such songs as 7' 10'' was written. The lyrics for the first part of the song, ''woooweee'', but the second half, allowing for the jackass adlib for 20 seconds or so, is just cool and relaxing to listen to.

Melvins have never been a band that have cared what-so-ever about their listener. They make the music they want to make, and that can often lead to a jarring listening experience, with them on more than one occasion making albums that could be labelled unlistenable. With time and age they have slowly been writing songs that although distinctively them, have a more 'user friendly' edge. 'Pain Equals Funny' launches the album (album number 27?), and a hooky groove drags you in straight away. A few minutes in the song leaves the hook behind and the listener is on more familiar ground if they are a Melvins regular. A heavy sludge-dirge signals in what you will get for the rest of the track, all 19 minutes of it. Oddly thought it is very compelling, even though the vocals cease about 10 minutes in. It feels like the band has been making this music for so long now that the rest of world has finally caught up with their vision, and so they are the apex predators of the style. Once the near 20 minutes of the droning terror of track one is over, 'Working The Ditch' dirges its way into being, and the smell of burning spliff wafts from the speakers. Again though, the song is listenable and compelling - but it is unclear why. 'She's Got Weird Arms' could be called 'They Got Weird Songs' as an eclectic Devo-esque chant leaves the listener checking what they believe is the meaning of their existence, until they are punched in the face by the cacophony of 'Allergic To Food'. 'Smiler' continues the sludge to close the album, but picks up the pace, and closes what is possibly the most listenable album Melvins have produced in a long time (or even ever). Sure, it is still quirky and odd, and like every other Melvins album it will challenge you with every moment that passes to continue on or leave - but for some reason you'll find yourself making it to the end, and when you get there you just may press play to start it all over again.

In 1994, there were so many Oz bands emerging in the alt-rock space, with different sounds surprisingly, so as a bunch of us moving on from 80's rock found a new home with bands like Regurgitator and others. Now the Gurge very much took up a left of centre approach. Not so much your straight up grunge band, nor your balls out Oz heavy metal at the time, not even the early stages of ska. Musically the 'Hamburger' release as it became known is an E.P. of 5 songs lasting about 18 minutes that quite frankly are as weird as fuck. It's all over the place track to track, mixed with heavy guitars, dub samples, chill and obscure song themes. And I love it!!!! This and the next E.P. in 1995 (New) made them a must see at a number of Big Day Out festivals for the years to come.

Considering he has fronted one of the biggest rock bands in the world for over 30 years Eddie Vedder's track record with solo recordings hasn't been particularly good. With his only real solo releases being a movie soundtrack (littered with musical interludes rather than songs) and an album of songs played exclusively on ukulele, a proper solo album of real songs was long overdue. When Earthling finally appeared, produced by in-demand pop producer Andrew Watt, fans were a little concerned what direction Vedder would take things in. Turns out they didn't need to be worried, as the album is chock full of the sort of songs he has written for Pearl Jam over the last couple of decades - with a few surprises also thrown in. The album opens with the uplifting 'Invincible', an ode to the power of humanity, and swells into a great sing-along fist pumper. 'Power Of Right' grinds out the speakers with a little bit of grit between its teeth, allowing fans to smile as Vedder returns to his more alternative rock roots. Things get even louder still later in the album with 'Good And Evil', sounding like a punk song of Vedder's youth. 'Long Way', the album's first single, sounds like a great lost Tom Petty song - but that seems like the point. It's a tribute rather than a rip off, although it is one of the lower spots on the album. Alternatively, yet another single 'Brother The Cloud' is one of the highlights, building from a quiet start and then punching out the speakers at just the right moment. Vedder's vocals shine here, and he knows how to carry a chorus to the masses with just enough bait to hook them in. There are quieter moments like the tender 'The Haves', but these do tend to outstay their welcome a little as they come across a little too soppy to sit nicely side by side with the other material. 'Try' is a chaotic zydeco shuffle, that features Stevie Wonder playing harmonica like a deranged mad man. Elton John sings in everyone's favourite drunk uncle voice on 'Picture' and even Ringo Starr drops by to tap the skins on 'Mrs. Mills' proving Vedder has now truly transcended to being in the upper halls of the rock elite. The album closes with the moody, but short, 'On My Way' and leaves the listener satisfied with what they have heard. By all means, it isn't a perfect album - for one thing the production is flat and lifeless, and some songs are just a tad too. commercial - but all in all it is still a great listen, and a great 'first' solo album.

It could be said that a grunge supergroup formed by musicians that met in rehab is doomed to fail, but it did seem for a fleeting moment that Mad Season wouldn't be a casualty. Guitarist Mike McCready of Pearl Jam met bassist John Baker Saunders of The Walkabouts while seeking treatment, and once back on their feet they began to jam with drummer Barrett Martin of Screaming Trees. Rounding out the line-up on vocals was Layne Staley of Alice In Chains, himself recently clean. 'Wake up' opens the album in a mellow and sleepy way, not with the expected bombast of the sum of the band's parts. A vibraphone drives the songs until the magnificent climaxing guitar solo. Arguably, Staley is at his absolute best here, possibly finding a new appreciation for music as a post-rehab outlet. His voice is like the edge of a razor, slicing through the atmosphere. Although the album wonderfully showcases the vocals, it is also reminds the listener what an amazing guitarist Mike McCready is, as his warbling psychedelic guitar drives each song. He has no second guitar to compete with here as he does in his primary band, allowing him room to leave space and time his notes wonderfully. His guitar cuts the silence opening into 'X-Ray Mind', and the music now starts to sound like what one would expect from these musicians. The album ducks and weaves through multiple styles and tempos, with every song taking the listener on a different journey. This can often be a jarring listening experience, but for the most part the album manages to avoid alienating any ears. Moving between the classic rock balladry of 'River Of Deceit', an undeniable modern rock masterpiece, the album moves onto the soulful (but heavy) 'I'm Above' featuring the first song with the crooning guest vocals of Screaming Trees' Mark Lanegan. 'Artificial Red' showcases some classic blues, while 'I Don't Know Anything', easily the most 'grunge' of the tracks on display, grinds its way toward the album's final moments. Lanegan reappears and is showcased on the jazz infused 'Long Gone Day'. Although the moody and lengthy instrumental 'November Hotel' has some very loud moments, the album slows down toward the end, and closes with the quietly performed 'All Alone' wrapping things up nicely. It isn't an album that reveals it's magic easily, and it takes a number of listens to unravel it's many layers. Sadly, this was to be the band's only album, and forever will be, as both Staley and Saunders were both later taken from us by their addictions.

I have the Oracle of TheBigBlack introducing me to the evil and hatred that is Krek. In the early 2000's I was late on the scene of Norwegian Black Metal and it was the likes of Mayhem, Darkthrone and Satyricon that all were realising at the time, I discover less unknown bands like Carpathian Forest and Khold. Krek is their 4th release in 5 years, certainly making the most of the creatives juices at the time. Krek in particular has stuck with me. The title track kicks it all off with no bullshit introductions. Rather straight into the fast-paced, destroying guitar sound and growing vocals that pretty much is a warning. Get in quick or get the fuck out, and once you are in, hold the fuck on as you ain't leaving anytime soon. And here is the first example of why I love this particular release as 2 minutes later we jump onto the next moving train where we are met with a really cool, can I say that?, black and roll effort. The only thing I do miss is the vocals are in Norwegian the whole way through, so not being able to sing to it. Might take me bit to learn lyrics that include words like a dodd and blek and derpe in them. Other highlights are 'Oskorei', a slow paced but still vocal fearing track, which is the template of a few more tracks, and 'Lysets Flukt'. Gard has a very unique vocal style, and the rest of the band provide the perfect support. I best comment on Sarke the drummer, not just because of being a fan in general, but if you look at him when playing live, he looks ready to slay all of us with his corpse paint and the thought of this guy just escaping from prison to play this gig. Interestingly there is a non-playing member of the band, Hilde, with is their female lyricist. She has written lyrics for all of their releases. The band has released 4 more albums since Krek, most recently in 2024.

And just like that it is 1993 again, and Smashing Pumpkins have released an album that is big and brash and in your face, and bursting with that big rock energy that made the world fall in love with them. Since their return from hiatus in 2007 Billy Corgan has lead the band through many different styles (including 80s inspired electro-pop and multi-volume space operas), with only some albums containing brief flickers of their early 90s distortion and attitude - but it was always just a tease leaving us wanting more. After a number of albums that left most long term fans cold, they have finally hit the mark with Aghori Mhori Mei, and produced something that easily stands alongside past glories. Opener 'Edin' smashes through the silence, and Billy's voice is commanding and adds weight to the music with tight production. 'Pentagrams' carries on the rock, with a crispness to the guitars that cuts like a knife. Leadoff single 'Sighommi' is a great representation of the album's sound, although it isn't the best song on offer here. There are gentler moments of course, like the graceful 'Penetcost', the orchestral backing driving the song forward. But these are few, and bookended with tracks like the pummelling 'War Dreams Of Itself' and 'Sicarus' is the sleeper song of the album, revealing its many layers slowly over multiple listens. 'Who Goes There' sounds like it could have been on any Pumpkins album from the 90's and '999' is dark and brooding animal, that sounds ready to strike at any moment. The album ends with the sombre 'Murnau', but a softer moment is needed to bring the crescendo to a close. More recent fans of the band that prefer their pop leanings may be scratching their heads on first listen to Aghori Mhori Mei, but old time fans will be left with a smile on their faces. Clocking in at 45ish minutes it isn't too long or too short, and it begs to be put on repeat for multipole play throughs. One can only guess what the band may do next?

Straight up, this is an amazing album. Dano Swano is a genius and Mikael Akerfeldt is at his absolute growling and harmonic best. OK, I'll calm now and let you in on a record that is ground breaking. Not so much for its story and versatility in ups and downs in the tempo, but it is a single roughly 40 minute track. That is super hard to do I'd expect - keeping the listener engaged. And this is the beauty of the record. It starts off with hard and heavy approach to the song, followed by quiet interludes. But what is even better, it's not a verse/chorus/verse song. Instead replaced by different musical sounds but still maintain that grounded tempo and sound of the song from the first minute. It is so smart how it deviates away from that, but always brings you back to it eventually. The interludes that have non-growls from Swano are just perfection in their composition and again how this stitches together with the remainder of the song. I don't tend to delve too much into stories behind a song, but with this one I just had to know. A life where civilisation has lost the ability to reproduce, the King and Queen manage to buck this idea and produce a daughter. Mother dies during birth. King brings up daughter until he dies and then all hell breaks loose. You can actually see that in the song as you listen through the various stages. One last point to make - in times where we hardly have time to listen to a full album in a single listen, this album demands you do so, otherwise you won't experience the true masterpiece as it was to be enjoyed.

In the 1990s The Black Crowes were a force to be reckoned with, as each groundbreaking new album brought a fresh set of southern inspired rockabilly. Sure, they were merely reinventing countless bands that had come before them, ranging from The Rolling Stones to Lynyrd Skynyrd, but they did it with ability and swagger that placed them at the top of the pile. Over time their light faded, and when they announced their break-up in early 2015 it barely registered a blip on the rock radar. After such a stellar beginning, they deserved a bigger send off - but years of average albums and in-band chaos meant they parted ways simply, and that was that. Fast forward to 2019 and the brothers Robinson announced they were returning, albeit with a totally new backing band. Would this new band be anywhere near as effective as the original? From the moment the slide guitar breaks the silence on opener 'Bedside Manners' it is obvious this isn't a band having one last laid-back romp as the ease into retirement. This is the energy of The Crowes in their prime, and it doesn't let up. 'Rats And Clowns' sounds like early AC/DC, and lead single 'Waiting And Wanting' grooves in a way that can't be denied. Vintage Crowes never even sounded this good. It isn't all rock and groove though, with quieter moments like 'Cross Your Fingers' reminding us of the southern roots of the band, and the melancholy of 'Wilted Rose' is sublime. 'Bleed It Dry' brings in some blues, and late album highlight 'Flesh Wound' has a chorus that demands to be sung. Ending on a sombre note, 'Kindred Friend' closes the show perfectly. There will always be fans that argue that the old stuff is better than the new stuff, and that is usually true, but The Black Crowes have proven here that there can be an exception to the rule.

At some point I woke up in the late 90's from my Grunge infused reality and realised that during that time Metallica had released 2 new albums of fresh music and a covers album. Who would have thought? I obviously later came to listen to them and appreciate them for the period of musical history that wasn't always favouring new heavy metal releases. I now own and love all 3 albums, but have chosen Load today. The one after the masterpiece and equally dividing 'Black' album in 1991. Music aside, the band had an image change which wasn't all OK with me at the time. Short hair with wax and stupid face hair, looked laughable. That aside as I spent time with Load and this complete 180 (again) is musical sound, I learnt to really love this album. What I like most is through most songs is Kirk's guitar front and centre driving most songs. The songs are a way, way off from Justice and the early days. From my view there isn't really any filler in 14 songs we are presented with. The album has a certain groove/hillbilly rock about it ('2x4' intro is the perfect example), while at the same time achieving the abrasiveness of a Metallica album. It is just done in a different way. I could comment on each track, but I won't. Other highlights however are 'Hero Of The Day', 'Cure', 'Mama Said' and the final track (clocking in at just under 10 mins) 'The Outlaw Torn'. A great ending. For all those newbies jumping onto the Metallica bandwagon this is something I expect they would have appreciated. For the hardcore 1980's fans it was likely seen as another 'what-tha F' moment for them. To me they Metallica can do no wrong, so I feel guilty for missing them during my infused reality but trust me, since then, this and the other two have had plenty of plays for me to accept and love.

The last couple of Jebediah albums have been a bit of a bumpy ride, with the music awkwardly alternating between the alternate rock bombast the band started with and other more commercial tracks clearly designed to get airplay. This approach made for a difficult listen, as the listener generally wanted to hear more of one style than the other - leaving them impressed half the time and disappointed for the other half. 13 years after the very uneven Kosciusko (2011) the band is back with Oiks, and although this is still an album of varying styles, the band finally feels comfortable in its own skin. The album opens softly (but powerfully) with 'Bad For You', but it doesn't take long before the noise kicks in on 'Gum Up The Bearings' - a perfect blend of the pop-punk charm Jebediah do so well. Kevin Mitchell's voice is less abrasive than on earlier albums, and a lot of the nasal 'whine' is gone. 'Motivation' is an earworm that will be in your head all day long, and is very old-school Jebediah in style, and 'Rubberman' explores an odd dream-like landscape. There is a range of styles here, but they blend well, and the album never feels disjointed. 'Start Again' has an urgency that is hard to describe, and propels itself forward before the album comes to a close with the sombre but restless 'Aqua - Lung'. This isn't the Jebediah of old, in fact it is far from it, but it feels like the band are having fun - and that is infectious for the listener. It is an album that invites you along for the ride, rather than you merely being an observer - and that is what a great album should do.

I'm challenging myself with this review. I've never been a big fan of Pink Floyd, but I must admit those singles that make it to commercial radio I do enjoy, so I thought I'd jump in on reviewing one. There was a few I am familiar with such at The Wall and A Momentary Lapse Of Reason. So here we go. Some songs are just out there like the first 3 tracks, which easily meld together as short songs. Very mellow and psychedelic almost in nature. Given it was the early 70's at the time, you could easily see how such a sound appealed to the young audience. As short songs lasting about 7.5 mins collectively, you are presented with a classic that I am very familiar with - 'Time'. Going back to my earlier comment, I can't believe how seamless the recording shifts from one song to the other. It almost feels like a single song experience how beautifully the songs are put together. Before you know it, side A is complete. Side B starts with another classic, which I love in 'Money'. As I listened to the remaining 4 tracks, the song titles weren't familiar, but realised I am familiar with 'Us And Them' which always had me trying to remember the contrast to be sung. Like 'Black and..' I thought White, but it's Blue. Get caught by this all the time. 'Brain Damage' is another I am very familiar with. I didn't appreciate the song is the album title track. I'm not going to embarrass myself with describing the inner ongoings of the sound and looking to draw any comparisons. I'm just sitting back and enjoying it for what it is. As I read more about it, it's a masterpiece. I should look into listening to the two I mentioned above, along with this one of course, a little more often.

Describing Heavy Metal Wraiths beyond 'it is heavy metal' is difficult. The album runs through a blend of styles ranging from traditional to blackened thrash, but not in a smooth transition. The album opens with the Saxon-like 'Eagle Strike', before 'Beneath The Black Sails' continues the 1980s style metal, but it isn't until track 3 'Heavy Metal Wraiths' that the band really winds itself up to show us what it is capable of. 'Frostwyrm Cavalry' launches into a frenzy of drums and guitars which feels like the album is finally finding its stride. The vocals are a gravely black metal snarl, but aren't over the top, blending nicely with the music, and the crisp production give the music a razor sharp edge. Mid-way the band heads into an Enya style vocal chorus named 'Widow's Lament', but it only really serves as a short intro to the next track. 'A Welcoming Hearth' serves a similar purpose, but is an odd orchestrated piece. The album even closes with one of these interludes called 'The Last In A Line Of Kings'. All in all it is a bit of a disjointed listen, that feels like it could have been improved a lot with some tweaks to the track order to pace things better. The songs are all good, but they don't flow to each other particularly well, and the second half of the album feels stronger than the first, with a track like 'Razor Sharp' feeling like it should have been right up front. Regardless though, it has enough intrigue to keep the listener coming back for repeat listens, even if it is slightly underwhelming each time.

We all know Serj as being a founding member of one the biggest Alt/New Metal bands in the late 1990's into the early 2000's. With all the hiatus talk about the band (one minute off then on etc), Serj spent a lot of time in his new country of abode - New Zealand - to continue his creative nature and also continuing to sing about society issues and challenges. It would be obvious to expect a similar sound to SOAD, given the popularity. You could draw this bow in some points. For example the title track was written with SOAD but left on the scrap heap. There is no mistaking Serj's unique vox and so you will see that quirkiness if I can it that, through this album. While might suggest that a verse which repeats the same line before the chorus (and sometimes the other way around), is a lack of thought and talent, for Serj, it just works, leaving the likes of 'The Unthinking Majority' in your head. 'Elect The Dead' has all tempos considered. From the opener 'Empty Walls' to what is perhaps is Serj's revision of a ballad in 'Saving Us'. Other highlights includes Serj's sarcasm in 'Praise The Lord And Pass The Ammunition'. I will admit the first half of the record is easy to engage with and love. The remainder does take some time to soak in, but it is worth it.

There is always a point with archival releases from an artist long gone that it moves from being a moving experience to the release of a commercial product driven by profit. Although many of the recent releases by the Experience Hendrix company have contained some questionable content, this album leaves the listener wondering why from the moment the music begins. The problem here is not the performance, but the sound quality. It is from a radio broadcast, and the instruments were not captured correctly, leaving everything distorted and dull - including Jimi's vocals. That is not to say it is a bad concert - on the contrary, it is a great energetic show - and there are actually precious few complete performances from 1967 available. It should also be noted this is recording even unknown to underground collectors, so it is unearthed treasure. Opening with a shambolic performance of The Beatles 'Sgt. Pepper's Lonely Hearts Club Band' the band then moves into a great version of Howlin' Wolf's 'Killing Floor'. 'The Wind Cries Mary' is next, but mic dropouts leave some unfortunate vocal holes. Other highlights include Robert Petway's 'Catfish Blues' played loud, and a feedback driven version of The Troggs 'Wild Thing' closing the show. A couple of decades ago the Hendrix estate created the Dagger Records label for 'official bootlegs' and had this been on that label, it would have been a perfect addiction. Unfortunately they are now in business with Sony, who demand a new general public release every year. Who knows what may come next?

In everyday life we all primarily listen to studio versions of songs, but a band's ability and reputation to hold a crowd at a live show is really what makes or breaks them. Some band build a massive reputation on the live circuit, and many Aussie stalemates proved themselves in the pubs long before they were put on a record. The Angels were one of these bands, and even over a decade and a half into their career Live Line proved that they could still cut it against even the toughest audience. What makes a great live record is the combination of many things - the songs selected, the quality of the performance, the recording quality - but above all else, it has to give the listener the feeling of being there. If you close your eyes, do you feel like you are in the crowd, shoulder to shoulder with other fans bouncing in time to the beat. Live Line does this effortlessly, with performances culled from four different shows ranging from 1981 to 1987, stitched together to form a single cohesive 'concert'. Tracks from the most recent show from March 1987 bristle with electric energy, as the band tear through songs from their current album Howling with focused intent and enjoyment. As good as the performances are though, the stars of the album are undoubtably the tracks from the Narara Music Festival in January 1983. To this day, still one of the biggest Australian music festivals of all time (with a line-up featuring Choirboys, Divinyls, The Church, INXS, Moving Pictures, Australian Crawl, Men At Work, Rose Tattoo, Cold Chisel and many many more), frontman Doc Neeson announced to the band it would be his final performance and beneath a blood-red moon the band played a show like a bunch of men possessed. The songs from that performance carry that energy to the listener perfectly. Needless to say, the band did carry on after that show. From the massive sing-along choruses of 'After The Rain' and 'Comin' Down' to the subtle acoustic performances of 'Love Takes Care' and 'Be With You' even song is played with care and precision, and also the key ingredient in any Angels performance - personality. Neeson makes every show unique with his between song banter and barnstorming vocals on songs 'Like For The Shelter' and 'Face The Day'. And of course, no Angels live album can be complete without the usual audience participation on 'Am I Ever Gonna See Your Face Again?'. Some live albums are just a product of their time and are quickly forgotten by next studio album, whereas some stand up so well on their own that they become an absolutely critical part of a band's discography. Live Line sits firmly in the latter category.

Although it is often unfair to constantly compare bands similar in style, sometimes the hero worship is so blatant it is hard not to. In the case of Brazilians Piah Mater, the band they are so easily compared to is the metal titan Opeth, and it feels like Piah Mater see it as their duty to pick up the progressive death metal crown that was dropped. Opener 'As Islands Sink' wastes no time diving into the distorted chaos, and launches the album nicely in the direction fans disgruntled with 'new' Opeth have longed for. As a two man band, they manage to weave incredibly intricate harmonic moments into the framework of the bursts of tight death/doom metal, and the hooks are the tempo and stylistic changes coming at unexpected moments. What becomes apparent on repeat listens (regardless of the similarities in style to classic Opeth) is that the band is often willing to take the progressive elements further than their heroes. As examples, the 10+ minute 'Fallow Garden' has a saxophone solo, and the epic closer 'Canicula' has a lengthy passage sung in Portuguese by a female voice before a violin weaves and winds around the guitar line. 'Macaw's Lament' is a short soulful solo guitar arrangement, whilst 'In Fringes' goes in the direction of layered clean vocal harmonies. Overall, the album twists and turns through a death metal / folk interlude template that does seem somewhat familiar (and possibly a little predicable for doing so), but with immense honesty and integrity Piah Mater proves to the metal community that once one band drops out of the race another with a sound so close can easily fill the void if the public are still wanting. It does beg the question though, where is the line between similarity and mimicry?

Following my previous reviews, you will know that I stray from my music foundations and venture into other sounds that prick my ears up. NIN is certainly one of them. Taking a step back from this release, it's hard to believe these guys cut their chops in the late 80's and had their debut in 1989 with Pretty Hate Machine. Gave us some gems such as 'Head Like A Hole' and 'Down In It'. Arguably their pinnacle was the sophomore full-length release The Downward Spiral in 1994 which many suggest is an influential album in the evolution of music in the early 90s, which was shifting into the grunge era but providing different sounds on the side such as this, equally matching the grunge movement. Interestingly they only released 1 more album in the decade before we get to With Teeth. Reznor is a very smart lyricist and by this time had matured in his approach to his music (he'd just come out of rehab). The first track will likely put off many as it is very much a drum and bass sound with an aggressive vocal toward the end of the song. If that bores you, await the second track which is very much in the old-school phase, particularly the chorus. Classic NIN at this point. The remainder of the album is very much in that industrial/rock sound, which is very mature and controlled with Reznor's vocal perfectly placed in the music. Other song highlights include 'The Hand That Feeds', along with the title track 'With Teeth', a slow burner that builds up brilliantly and then finally 'Getting Smaller'. The difference from this being an OK release as opposed to a great one is the quality of the songs on the final third of the record, which most artists suffer from. Perhaps I need to listen more next time.

Bob Dylan's music is often described as 'an acquired taste', but the 1978 Budokan shows are notorious for even tipping many fans of the bard over the edge. Booked for two shows in Japan (28 February / 1 March 1978), Dylan was politely instructed by the Japanese promoter to ensure he played a greatest hits package, with no obscurities. Ever the contrarian, Dylan agreed - but the show that was played was different from anything he had done before (or ever again for that matter). The two performances are often compared to the Vegas years of Elvis, full of dense big-band instrumentation of popular songs, complete with backing singers and new arrangements in different tempos and keys. After a lengthy instrumental entrance overture (that feels like it is designed for a big stage entrance) both shows are opened by obscure blues standards ('Repossession Blues' and 'Love Her With feeling' respectively), before launching into a big band version of 'Mr. Tambourine Man', complete with flute aplenty. 'Shelter From The Storm' gets a reggae make-over, and 'Maggie's Farm' is complete with a horn section, and sounds almost like a different song. Some tracks actually sound great with the new arrangements, and old classics like 'To Ramona' have new life breathed into them at these shows. More recent songs like 'Is Your Love In Vain?' are closest to the original arrangements, and are performed well. That ever present flute battles with the electric guitar and violin on 'All Along The Watchtower', and actually takes the song to places it has never been before. Toward the end of the shows we even get a Vegas-style band introduction moment, just reminding the audience of what they are seeing here. The shows were initially released in truncated form as a double album back in 1978 in Japan only (before being globally released the following year due to popular demand). This new album, with a modern mix, is both shows in entirety. The setlists are largely the same, with only a song or two different between them, so digesting both 2+ hour concerts in one sitting is unnecessary. Either way, the new version is still as divisive as the original. You either love these shows or you hate them, and no amount of remixing or repackaging is going to change any minds.

I can't recall the first time I had a listen to this band. In any case became familiar with their releases after forming in 1998. While The Blessed Hellride released prior to this effort I love to bits, Hangover is a very different beast. As the name suggests, it is a very dulled-down release to perhaps support the day after for some. That aside, this is actually a very ballsy effort from Zakk-man. It exposes his vocals even more so, which most would admit take some getting used to. To the point however - he blows the doors off with a mix of mellow, blues/rock sound covering some very catchy tunes. You get to hear his now familiar guitar sound that he has perfected over the years - even when you listen to Ozzy releases over the recent years you will clearly know he has left his paint mark on the release. Highlights include the opener 'Crazy Or High', but as you proceed through the album, you hit the gems such as 'Stepping Stone', 'Yesterday, Today And Tomorrow' which shows the man can hold a tune and can hold his own on the ivory which is surprising. We then have the short enjoyment of Zakk noodling in 'Takillya (Estyabon)' - very much in flamenco style. As you proceed you will find a tribute to Layne Staley and a cover of 'A Whiter Shade Of Pale'. I must admit the 65 minute effort does come to an early halt with the last few songs which does relieve it of the 'classic' title. However going back to the start, if you are after a comfy listen on a Sunday morning following a big Saturday night, this is the landing zone. It hooked me as a lifetime fan and loved having the chance to see the man handle his guitar playing live.

With riffs and a tone that were distinctively Jimmy Page, the great virtuoso's first true solo album 'Outrider' burst onto the hard rock scene in 1988 only a few shorts months after he featured all over Led Zeppelin band mate Robert Plant's return to rock on 'Now And Zen'. The buzz that appearance had generated only helped to build for this album, but ultimately the buzz wasn't justified. The album has a very modern blues feel, mostly aided by the vocals of John Miles on the two opening tracks. These launch the album well, but it is obvious very quickly that this is slicky produced product. Robert Plant returns the guesting favour and provides vocals to one track, 'The Only One', but sadly this is one of the tracks that suffers the most from the dated 80's production techniques. In fact most of the album is dripping in almost insipid reverb reflective of so many albums at the time, that it can only be from this period - stealing from it the opportunity to ever be seen as anything more than a product of its time. Instrumental 'Writes Of Winter' sounds like a barroom boogie, whilst the steel guitar on 'Emerald Eyes' is about the closest the album gets to his 1970s work. The final two tracks feature vocalist Chris Farlowe (who also performed vocals on Page's soundtrack to the film 'Deathwish II' back in 1982). These songs again head deep into blues territory, with 'Prison Blues' even being a slow song reminiscent of 'Since I've Been Loving You' in places, but never quite reaching that level of greatness. In fact the album as a whole never really reaches any level of the epic songwriting or guitar playing the public had hoped for from Page, and although it was big news at the time, it soon disappeared into department store bargain bins worldwide not long after.

When doing a general review of band history as I do for all reviews, I had to double take at the band forming in 1980. Wow, that is a long time ago. During that period to now, I have fallen in and out of love with the band. First being hooked by their second release 'Join The Army' offering that emerging punk, rock, thrash style at the time. Lead by this 'little' 20 year old upstart in Mike Muir putting on a show and writing such classics as 'Possessed To Skate', they were on their way. It was over a decade to 'The Art Of Rebellion' which saw a very different sound from the band, that I loved and still listen to this day. A short fast forward to the topic of this review of 'Freedumb' - a recording after a 5 year hiatus and a great play on words that I guess highlighted the bands view of the world at that time. It was a return to the 3-4 minute blasts of pure in-your-face punk-rock. The title track gives you a good indication of what you are in for. That bass click in the early part is great, and we hear it at other times, including the intro to track 3. What you will hear is Muir leading the way in his hatred and protesting of all things that piss him off. Songs to pick out if I need to - the first track 'Freedumb', as described, 'I Ain't Like You', 'Naked', 'We Are Family' with a sick bass line thrown in at the start. Overall, this shows Suicidal Tendencies, in my mind re-emerging as a significant force in the punk/rock space. Sadly, there was one more release a year later and nothing after that for 10 years with Mike having back issues. The important thing is they are still alive and well, currently touring.

The Cavalera brothers have completed their re-recordings of the original Sepultura trio of albums with easily the best of the three, both in terms of the song writing and performance. Whereas 2023's new versions of 'Bestial Devastation' and 'Morbid Visions' sounded a little unsure of themselves in places, almost as if the brothers were being cautious not to overdo things, the new version of 'Schizophrenia' hits with full force as if nothing has been held back. 'From The Past Comes The Storms' explodes into life with lo-fi retro-style force, showcasing the simple yet powerful riffs of early Sepultura in a way the original recording barely even hinted at. Every song on the album is given a second chance at life, and in every case far exceeds the original. It isn't just the better production that makes tracks like 'Escape To The Void' and 'Screams Behind The Shadows' classics that never were, but it is also the 30 years of experience in between that make so much difference. Whereas in the original Max's guitar would sometimes sound thin and out of tune, or Igor's frantic drumming was not quite as skilled yet as he had hoped, here the performers are seasoned veterans that are perfectly in sync. Max's voice has a (deliberate) old-school feel and charm about it, and although the production is light years beyond the original, it has still been given a 1980s feel to add to the authenticity. 'Inquisition Symphony' finally gets its chance to shine as the masterwork it is, and the lone new track 'Nightmares Of Delirium', a relic of the time, closes the album nicely (but not as well as the original closer 'R.I.P. (Rest In Pain)'). Whilst the first two re-recordings of their earlier material in 2023 gave a better insight into the early band and a refreshing take on the songs, 'Schizophrenia' goes one step further revealing an album that given better production at the time would possibly still be talked about today as an early thrash classic.

I had mates at school in the 80's that were big Iron Maiden fans. I was on the thrash path with Metallica, Anthrax, Sepultura etc. It wasn't until the early 90's that I decided to take a listen. Bought 'No Prayer For The Dying' and 'Fear Of The Dark' as they came out. I don't think they were hits with the true IM fans, but for me, I liked them. I could have chosen to review either, but have chosen 'Fear'. Again, still being a 'raw' fan, you see right from track 1 what a heck of a voice Dickinson has. The way he holds a note - he tops my previous love in Belladonna. In any case I see it as an enjoyable listen. Not particularly earth-moving, but some catchy songs that easily deserve many re-listens. Of most surprise is the final track that ends up the lead single and the only song from this album that has a permanent spot in their live concerts. Apart from this, highlights for me are the opening track and to be honest I skip to the final track "Fear Of The Dark". The middle songs are OK, but no standouts really. For whatever reason Dickinson left the band, only to return 7 years later. It's weird how successful bands can be so disruptive. Anyway this effort was never going to turn me into a devout IM fan.

After touring for almost 2 years straight (from Augst 1991 to July 1993) with very little reprieve, two things were inevitable at that point for Metallica. 1) the band would leave the public eye for some well-deserved downtime for a little while, and 2) that a live album of the lengthy jaunt would appear on shelves at some point. When the album did appear (carefully timed for Christmas) it was bigger and better than even the most dedicated fan could have hoped for. The hefty boxed set not only contained a triple CD concert recorded in Mexico City over five nights in February / March of 1993, but also contained three VHS cassettes featuring between them a full concert from San Diego in January 1992 and (somewhat oddly) a concert shot in Seattle in August 1989 on the band's previous tour. All this was packaged in a replica (cardboard) equipment road case that also had a glossy booklet, a replica backstage pass and a 'scary guy' t-shirt stencil. The sheer quantity of music made the box a mammoth listen (and watch), but none of it would have been worth anything in the performance quality wasn't there - so luckily it was. By the time of the Mexico show the band was arguably on autopilot, but this certainly doesn't sound so on the recordings. The band is tight, and James' voice is in excellent form. He has found his comfy place as 'rock star James' at this point, moving to stadium sized crowds and learning show after show how to keep the crowd begging for more. Sure, every word he says is repeated night after night and carefully placed for maximum impact, but he says them with such conviction that it doesn't sound that way. Jason is now at peace with his place in the band, and his bass rings throughout, filling the shoes of Cliff Burton with ability and pride. There are no true highlight tracks here, as there a no songs they are new, but every song is perfectly performed. The San Diego footage reveals more once we see the band. James owning the stage, pacing back and forth like an angry redneck, swilling beer and spiting both spittle and vitriol. Kirk reminds the crowd with every solo why he was Guitar Player magazine's guitarist of the year. Jason - ever in a Metallica t-shirt - jumps around smiling from ear to ear. Lars not so much plays his drum kit, but becomes one with it through out - tongue poking from the side of his mouth. This is arguable the band at its absolute peak, even playing the songs from the self-titled Metallica album with such force and intensity that they can't be told apart from the earlier heavier songs. This was when Metalica transcended from staging concerts to staging an 'experience'. No one leaves disappointed. The odd choice was the inclusion of the Seattle '89 show, not just because it was from a previous tour, but because it has a very good crack at becoming the crown jewels of the box. The band isn't as tight, and the stage isn't as big, and the bombast of the next tour isn't there yet - but none of that matters, as this concert is sensational from start to finish. This is the Metallica that still belonged the metal community. The Metallica that hadn't yet 'sold out' to the rest of the world, and were still the best kept secret in music. They always knew this was a stepping stone (as is evidenced in the incredible professionalism of the performance), but the fans were still in denial of the band's future at this point. The box still holds up today, and many online communities rank the Mexico recordings as possibly one of the greatest live albums in metal history, and something even the band themselves has never been able to come close to matching ever again. There could not have been a more perfect close to the first decade of the band.

Helmet, with a fresh major label signing made the most of their opportunity with a record that arguably holds more importance years beyond the release itself. Their 2nd release of their very early career, Meantime was released with little fan-fare and ended up being one of the most influential releases, along with the follow up Betty, to this day. Hailing from the other side of the country away from the Seattle & emerging Grunge scene, the title track opens up with a swirling of noise, followed by a simple drum beat before all hell breaks loose with a wall of guitars and a man that is very, very angry. 'Ironhead' and 'Give It' being next which is a more 'calmer' song and Hamilton not quite so angry. The next, 'Unsung', is the track of the record. Released as a single it bought them a lot of praise. Mr '6ft Hi-Hat' Stainer is the absolute star for the last minute or so of the song. Brilliant! It terms of influence, bands such as Deftones, SOAD and Korn to name a few, have all cited influences from the band. Didn't listen much to the band after Betty. They had 1 more release after a couple of band member left and went their own ways in 1997. During this time, amongst other things, Hamilton was guitarist for David Bowie when the band went on hiatus. Still enjoy going back and listening to Meantime.

Exodus suffered a number of unlucky setbacks in the 80s, and many believe this is the reason their early 1990s output suffered in the quality department. Whilst substance abuse probably had more to do with their downfall that lady-luck, it does pose many 'what if?' scenarios, one of which being 'what if this was released back in 1989 when it was recorded?'. Performed at London's Astoria with locals Acid Reign on support, this is a document of a band undisputably at its peak, and the performance is intense and brutal, reminding us that Exodus really deserved a place alongside the likes of Slayer and Metallica. This is the line-up most see as the band's peak - the twin lead of Gary Holt and Rick Hunolt held steady by Rob McKillop on bass and Tom Hunting on drums, and of course the razor-blade vocals of Steve Souza at front of stage. From the moment the first note of 'The Last Act Of Defiance' is played you can see the sweat-filled pit break in your mind's eye, and that familiar head crushing guitar tone only Exodus can dial into rips into your brain. The next hour and a quarter is filled with a selection of fan favourites from all three of the band's albums at the time, and although it is quite heavy with tracks from Fabulous Disaster (the album being toured), it doesn't skimp on earlier material. The songs are frenzied, but still tight, with the Holt and Hunolt (the 'H Team' as they were known at the time) perfectly in-tune with each other, delivering the riffs and solos on the earlier material with perfect precision regardless of the lighting speed. Hunting's drumming is insanely fast, with double kicks on songs like 'Fabulous Disaster' seemingly otherworldly. The energy bubbles throughout, and even on longer tracks like "An Then There Were None' and 'Like Father, Like Son' that slow the tempo, the band doesn't slow the intensity. With a mouth full of gravel and broken glass, Souza's vocals hold up well, and at no point in the high-energy show do the band feel fatigued. About the only thing that doesn't hold up is the between songs banter, which like most U.S. thrash bands of the time is full of cringe-worthy rants about violence and politicians. Closing with crowd favourite 'Strike Of The Beast' the whole thing ends in the same style it started, brutality, and then it is gone, and the time capsule is again closed. Archival releases like this are often just a way to clear the vaults, and act like a passing curiosity - but this album is more than that. It's rough-hewn edges and sheer sonic force reminds us of a time when metal wasn't about anything more than banging your head and making some loud and wonderful noise. Thankfully 35 years on Exodus are still doing just that.

I'd never heard of these guys prior to this release and was surprised to realise this was to be their 5th studio album. However very much a change of pace/direction for the band. Produced by the legendary Rick Rubin, previous fans may have been shocked. Again a 1992 release considered a tumultuous period for metal/rock music. Metal struggling to keep their identity on the surge of Grunge. However there was a band doing something a little different that managed to break through both with their funk/groove sound that seemed to stick with the music population of the day. They had their hits such as 'Suck My Kiss' and 'Give it Away', however it was 'Under The Bridge', a slow, melodic, soulful piece that hit a home run for them. I hadn't realised until this year, this had a very special meaning to the band. Search for Chad Smith and him reminiscing on the song. You can see he's almost bought to tears. If you bought the record after the radio attention you find a 17 song, 70 minute album that links Flea's bottom bass sound, Chad's funk/rock sound on the drums and let's not forget Frusciante's amazing guitar effort, crossing from that groove, into rock/metal solos. And there is Kiedis who is almost an instrument in itself with his voice. I could reference Mike Patton who is the only other that I consider that can use their voice to provide an additional sound to the band. Sure there are questionable songs with questionable lyrics that some may call cheesy or unnecessary, however it is more about the music and sound that such songs produce that is captivating. Overall, I love this record and it is clearly in my Top 5 of all time.

Apart from with rare exception, it is safe to say that by album number 5 most bands have crossed the line of their creative peak - and their best work is probably behind them. Opeth were one of those rare few, releasing what can only be described as their masterwork almost a decade into their career. Whilst previous album 'Still Life' started with a polite whisper, slowly awakening it's demons, Blackwater Park instead pummels the listener from it's opening notes, and the unique death growls of band mastermind Mikael Akerfeldt fill the speakers just moments from the opening of 'The Leper Affinity'. Shots have been fired, and like everything the band does, the song doesn't so much open an album, but open a period of time in the band's evolution. It starts the juggernaut that is the next 67 minutes of music rolling, and immediately tells those listening that this isn't the sort of music you play on random. It demands to be listened to as a whole. It is immersive. A 'movement' of music, rather than individual songs. Not before long Akerfeldt's voice changes, and an angelic vocal is heard, countering the demonic conjurings of early parts of the song. The guitar lines are achingly beautiful also, and the piano close is divine. Song after song the canvasses are filled with colours and textures, with 'Bleak' primarily in grey before 'Harvest' lifts the album like an acoustic distress call from beyond that floats and swirls in an out of reality. 'The Drapery Falls' is even better, a modern metal classic that will never be matched, both in the way the guitar harmonies draw pictures in the mind, and the swirling bass line wraps around the soul. Track after track the guitar melodies and sublime solos ebb and flow like waves coming and going from the shore, occasionally crashing in a crescendo that is fleetingly broken up with acoustic flourishes like the wonderful 'Patterns In The Ivy'. The album closes with the sublime wall of slow riffing that is the title track, and its deceptive simplicity (in comparison to other tracks) closes the album with a feeling of uneasy grandiosity, but nothing here was ever supposed to feel particularly inviting. The band followed with a number of brilliant albums after this one, but none will ever match the majesty on display here.

There is a lot of evidence that just because you are an exceptional guitar player doesn't necessarily mean you can write a song, and this evidence is usually found on the solo albums of great guitarists. Like any great artist is aware, knowing what to put where and how much of it to use is what makes or breaks the work. Sometimes great guitarists see their art as the lead-line or the shred, forgetting about the rest of the song, and those leads alone are not enough to carry repeats listens. Satriani has been guilty of this many times in his career, but on this album he found the perfect balance. From the moment the ethereal strums of the album's title track begin, the listener is transported to another place. That opening song nails the reason why the whole album works so well - the guitar line serves the song, rather than a song backing a guitarist. Track after track Satriani effortlessly (is there any other word to describe his playing?) weaves his leads and rhythms together like a patchwork quilt of ideas and styles and sounds. There is blistering pseudo metal on 'Can't Slow Down' and the track also gives us our first taste of something new to the guitarist's repertoire - vocals. Audiences were divided at the time, as it is safe to safe Joe's real voice can't quite sing like his guitar voice can, but it does create a welcome variation. 'Headless' and 'Strange' mix things up even further, whilst 'The Bells Of Lal (Part One)' works nicely as experiment in controlled feedback. 'The Mystical Potato Head Groove Thing' and 'Day At The Beach (New Rays From An Ancient Sun)' show off his insane level of finger tapping mastery, whilst 'Back To Shalla-Bal' is an all-out sonic assault. Whilst the variation in styles is one of the album's strong points, it doesn't always work, with tracks like the banjo-heavy 'The Phone Call' a better addition to the cutting room floor than the album (with or without vocals). Older fans will feel right at home with 'One Big Rush' and 'The Forgotten (Part Two)', showing off the more traditional 'guitar album' style. At just over an hour, the album hangs around long enough not to outstay it's welcome, and many of the songs are just long enough they don't lose their freshness. Although the majority of fans will still vote Surfing With The Alien from two years prior his best album, Flying In A Blue Dream often has the honor of being called a close second, and one listen should explain why.

Although prolific, Slash hasn't really proven himself particularly versatile over the last few years. Sure, he has released some good albums, but they are generally carried by a couple of great songs amongst many that are paint-by-numbers. Arguably, his first true solo album, 'Slash' from 2010, is still his best solo work. That is what makes this album such a breath of fresh air, as it follows a similar template of featuring different guests on every track, but the twist here is that the songs are all old blues standards. Billy Gibbons of ZZ Top is (of course) perfect for some blues, and transports 'Hoochie Coochie Man' to a dive bar in the deep south, allowing Slash to show off his slide chops. Dorothy Martin channels her inner Joplin on 'Keys To The Highway', and although an odd choice, country star Chris Stapleton does an amazing job on the early Fleetwood Mac classic 'Oh Well' - a standout track. The album isn't perfect by any means, and some of the collaboration choices are odd. Punk icon Iggy Pop's world-weary warble on Lightning Hopkins' 'Awful Dream' is at best tolerable, and we he 'sings' the harmonica line it is cringe-inducing. Also somewhat disappointing is AC/DC's Brian Johnson tackling Howlin' Wolf's 'Killing Floor'. It was a song he could have tackled easily in his prime 30 years ago, but feels now like his voice just doesn't quite carry it. The addition of some electrifying harmonica from Aerosmith's Steven Tyler does lift the song nicely. 'Papa Was A Rolling Stone' is the clear centrepiece of the album, and pop elite Demi Lovato does a supreme job of carrying the track, until Slash really opens up midway through, reminding us why he is one of the greatest guitar heroes of the last few decades.

When Kerry King announced his new solo band he made it clear what the world was going to get - Slayerless Slayer, as that is what he likes to play. When the album was finally released, that is precisely what was heard, but it was clear that he had really taken his time to put a very personal stamp on it. Phil Demmel on guitar is a great touch, as his soloing style is very different to King's, but compliments it perfectly. The album is punchy as hell, and the production is faultless, really allowing each musician to shine - and King really has assembled a world class thrash act with the addition of Slayer alumni Paul Bostaph on drums and Mark Osegueda of Death Angel on vocals. From the moment 'Diablo' (the instrumental intro) starts this all sounds oddly familiar, but in a good way. A way that wakes you warm inside and feels like you are going home. Yeah, there are some moments straight from every Slayer song King has written (hear 'Idle Hands' and ' Trophies Of The Tyrant' for examples), but for the most part the album stands up as its own angry animal, with songs like 'Toxic' showcasing some of the heaviest music King has ever produced, and 'Two Fists' has nods to the punk that inspired young King to pick up a guitar. A couple more tempo changes in the form of mid-paced songs are perfectly placed, with 'Residue' and 'Tension' allowing a break from the pummelling, but this was clearly an album where King was out to prove something - and he has - that even post Slayer his music is still a force of nature that will continue unbaited.

As most people will know - SoAD are primarily a protest band. For most they are a metal band that formed mid 90's, with their first release in 1998 introducing a sound that most would like to peg as nu-metal at the time. They got on some big tours as openers for bands like Slayer and eventually made an appearance on Southpark. It was their sophomore release in Toxicity that drove them to large success. This is not nu-metal (never was) and is a complex band with very unique sound - 2 to 3 minute songs that run the line of brutal vox by Serg, Darion and his softer vox every now and then, and encompassed with John punch his drum kit through to middle-earth. Shavo and his bass holding the fort when they take a short break from the brutal music attack. It might sound like I am describing a rinse and repeat approach. Far from it in my view. The opener 'Prison Song' sets the scene very quickly and became their first song in their live set during touring of the album. The chorus of 'Deer Dance' is a very confronting point being made about some American history. You can look up info on what the purpose behind some songs. 'Chop Suey!' is easily the highlight of the album and is the one that sees any pit, when played live, got to another level. There is a big quirkiness with likes of 'Bounce', which is Serj to a tee, particularly if you listen to any of his solo work. Other notables for me are 'ATWA', 'Toxicity' & 'Aerials'. Overall, a record I go back to regularly when you want to get energised. Just always wonder how many of us get deep into the protest being made and simply just love the music.

An album by half of Led Zeppelin almost 20 years after their break up was an exciting prospect for rock fans. Although quite prolific in Zeppelin's heyday, Jimmy Page had become quite a lowkey figure by this point, with only a range of ephemeral projects that could be counted on one hand under his belt. Robert Plant on the other hand had been very productive with his solo career, but had tried very hard to break free from his 'golden god' past. Opening with the subdued 'Shining In The Light', the album immediately feels like it is trying to shake off the shackles of it's past, but it isn't long before the big choruses kick in - and the guitar phrasings of Page and the vocals of Plant lock together in that familiar way. 'When The World Was Young' feels like a modern sequel to 'Ten Years Gone', even when trying not to make comparisons with the past. None of this is bad in any way, as it showed that although the duo was looking to the future, they also knew there was no escaping their massive legacy. 'Please Read The Letter' (later re-recorded by Plant with Alison Krauss as a country crooner) adds some nice muscle, whilst 'Most High' features some subtle Indian motifs linking the album to the No Quarter sessions of four years prior. 'Heart In Your Hand' offers a western-styled reprieve from the rock. Plant's vocals are sometimes strained (most notably on 'Upon A Golden Horse'), and the extra instrumentation on tracks like 'Most High' start to touch a raw nerve after a few reptations, but these are really the only downsides of the album. Everything slows towards the end, but ends with the punchy 'Sons Of Freedom'. Admittedly, not every song is memorable - but those that do stand out are earworms that demand you listen again and again. It is a shame that the two men working together ended here, as the album feels like the start of what could have been a wonderful journey now that the ghosts of the past had been exorcised.

A complete shift from my normal listening party, however I do have a few indulgences outside of your typical rock and metal bands. Something For Kate is one of them. Great Australian band that are classed as Post-Grunge when they formed in the mid 90's. What the hell that means I have no idea. In any case, up to this point they had 2 releases in the bank which gave you a sense of what they were about. You could see in that, they were building on their craft and I think Echolalia, for me, easily hits the high-point to this stage in their career. So onto what to expect. Paul Dempsey is one of the great modern Australian vocalist and his reputation since this is testament to that. Musically it is Alt-Rock listen but with a smooth edge to it, with each song seeming to flow easily into the next one. No particularly call outs for specific songs as all have favourable traits. It's a perfect listen from start to finish (I don't believe there are any fillers) on a Sunday morning when you are resting up with your favourite pair of socks or slippers with a good cup of coffee (or whatever you do).

Album #8 for ZZ Top was the one that finally made them a household name. They had been around for close to 15 years at this point, but their southern soaked whiskey blues had never been much more than a slight blip on the radar of the mainstream charts. The band took some chances with the album, most noticeably with the synthesised guitar tones and the lack of the usual boogie blues. It paid off, producing four hit singles. Although some of the production choices are a little dated today, the crisp punchy mix means it still sounds great. 'Gimmie All Your Lovin'' opens with a bang, and although many great rock albums start with a recognisable and legendary guitar riff, very few can say the same about a drum beat. Moving through now-rock classics like 'Got Me Under Pressure' and 'Sharp Dressed Man', the album still demonstrates the ZZ style well, even if it is a little more. 'new wave' than previous albums. Most songs are also quite obviously faster in tempo than their older works, probably yet another move to get radio play. Although the second side still had some great tunes, the album definitely suffers from front-loading, with all its best (and most modern sounding) tracks up front. This is not say the second half isn't worth listening to, but the tracks certainly feel more like a throwback to the band's earlier sound. The Top continued down the synthesised trail for a couple more albums until they had done all they could with the sound, returning to their more traditional blues style in the early 1990s.

This is another record where I can't recall what led me to purchase the tape. I'd not heard any of their previous efforts, so can only assume the local record store had it on play when I spent many hours of my youth in. It had been decades between listens, and listening to this recently I could still partially recall the lyrics of most songs. I have nothing to compare it with on past or future releases, but this one really hit home for me. The first track is an absolute Aussie pub rock and roll classic. Moving on you will see some really cool blues licks in the guitars with Doc's pipes providing that rustic edge to the music. Other oz rock classics include 'Back Street Pick-up' - the intro is great, actually like it is for most songs on the album, 'Dogs Are Talking' involves a subject typical to the time and not something you would sing about in today's age, but considering it for what it is, a great track and 'Pushing And Shoving' - love the guitar work on this one. Overall it is a very mature rock/blues loaded release with some great guitar work and Doc, in his suit and tie no doubt, completing the landscape with his pipes.

Pearl Jam have never played by anyone's rules but their own. Sure, they love their fans and have always been known for taking care of them - but the music has always been their own. For that reason each new albums builds excitement to fever pitch, as the expectation of what the album will sound like is excruciating. The stomping irresistible groove of the title track is a grower that was a great choice for first single, even if it isn't completely reflective of the album as a whole - as like most Pearl Jam albums there are many styles on offer here. From the get-go the band shows this will be a rock album similar in style to 2020's Gigaton, with 'Scared Of Fear' launching the album. 'Wreckage' and 'Won't Tell' straddle the fence dangerously close to the radio rock, but the pumping tones of tracks like 'React, Respond' and 'Running' harken back to the glory days of the band (and their more 'alternative' beginnings). 'Upper Hand', with its soulful soloing reminiscent of 'Nothing As It Seems' in parts, starts out as almost dull with its drawn-out intro, but builds to one of the most exciting endings of the album. 'Waiting For Stevie' - written whilst literally waiting for Stevie Wonder to show up - is one of the album's many highlights, allowing Mike McCready to remind us all why he is one of the greatest guitarists in modern rock as he solos unrelentingly through about a third of the song. 'Setting Sun' starts as the usual recent Pearl Jam album closers do, but eventually builds to a magnificent finish. The band feels more like a band than on any of their albums in recent memory, and vocalist Eddie Vedder not only seems comfortable with the material, but actually happy with it. Most fans have accepted that the Pearl Jam of 'Ten' and 'Vs.' and 'Vitalogy' is long gone, and so it should be 30+ years later, but does that mean they no longer have a part to play? Not at all, as an album like this proves that although they are now different, they are still dependable and relatable - and that is all a fan really wants from their favourite bands.

As a progenitor of the death / doom metal style My Dying Bride has always worked within the guardrails they set themselves over 3 decades ago. The great thing is that they do have some space to work within - moving between death riffs and growls, and the slower plodding darkness tinged Sabbath style epics with gothic flourishes. A Mortal Binding as a whole doesn't really fit in either camp, instead alternating freely between the two, and even blending the styles on some tracks. For this reason newcomers to the band may find the album a jarring experience. It opens with 'Her Dominion', using a bold death metal style, complete with heavy riffs and growled vocals, making it quite inaccessible. Following right after is the moody 'Thornwyck Hymn' that fits right into the gothic dirge category. This continues throughout the hour long journey, which adds to the interest, as it twists and turns in ways the band haven't explored for the last few albums. The violin takes a step backward, and isn't an pronounced as some of their works. Midway is the standout 'The Apocalyptist' which combines growls with doom to great effect, and leaves an unsettled feel across the track. As always, the guitar work of Andrew Craighan is exquisite, but the versatility of vocalist Aaron Stainthorpe again steals the show. In a time when many of the original doom metal bands are heading lighter and lighter as they grow in age, it is great to see My Dying Bride staying true to their original vision of so long ago.

1994/95 arguably being the height of Australia Alternative music, there was a market saturation of so many bands, it was a challenge to keep up with all of them. One band that I believe went under the radar a little and didn't get the plaudits it deserved was Ammonia and their Mint 400 release. Forming not much earlier than this release, it has to be said that for a first release, from a new band, this a well put together solid alt-rock effort. Not to be forgotten they had legendary Kevin Shirley (Iron Maiden, Slayer) produce their record. There is a story I would love to know. You don't just get him for an unknown band. Their JJJ legacy is the lead single 'Drugs', which in all honesty is the most simplest of songs lyrically and musically. It's repetitious but for some reason very catchy and I loved it. I listened to this release for the first time in over 10 years the other day as I am now, and can recall lyrics to most songs. It's just a simple but effective catchy release. Other songs to call out are 'In A Box' & 'Suzi Q'. I'll never know why they didn't get the accolades they deserved. TheBigBlack and I have a number of times discussed bands that have nailed their first full-length, with Pearl Jam and Ten clearly at the top. I'd have Ammonia in my list somewhere for sure. I did wonder with what I thought was a brilliant first release would go onto her much more from them. But alas they tried something different on the second album and self-imploded by 1998.

Blind Melon were a band that got caught in the wave of new rock music that crashed onto the shores in the early 90s, and although they did get a bit of mainstream attention, they were not destined to be a band that would become a household name. It is hard to nail the style of their debut, with songs passing between traditional rock and the heavier alternative rock that was on the rise at the time. Regardless, it is a unique experience, with songs like the opener 'Soak The Sin' incorporating some funk groove, and 'Seeds To A Tree' even giving the listener a bit of blues guitarwork. 'Tones Of Home' could be mistaken for an early Jane's Addiction track, and songs like the mellow 'Sleepyhouse' set up a mood perfectly. The centrepiece of the album is the mega-single 'No Rain', which is nicely placed, as it gives a bit of breathing room midway. Shannon Hoon's voice isn't for everyone, and his nasally drawl can get a bit on the nose at times (no pun intended), but his voice is unique, and an asset that proved irreplaceable we he passed in 1995. It is a debut that shows a lot of promise, but for some reason that promise was not really delivered on with the follow up.

Listening to an album by Creedence Clearwater Revival is a somewhat jarring experience, as amongst the classic songs everybody knows and loves is often what can only be described as second rate filler. It isn't always that way of course, but does seem the case more often than most diehards would probably care to admit. For this reason a collection of every one of the band's best songs together on one compilation is something hard to look past. The band's swampy bayou sound it perfectly showcased here, with 24 tracks on display, starting with the irresistible 'Bad Moon Rising' and working through stomping 1950s tinged rock ' n roll like 'Molina' and 'Travelin' Band', and giving the blues a work out on 'The Midnight Special' and 'I Put A Spell On You'. At their core, what makes a good CCR songs irresistible is simple - they just make you feel good when you sing along to them. Try to get through 'Who'll Stop The Rain' or Lookin' Out My Back Door' without smiling, and something about the California sun-soaked croak of John Fogarty's otherworldly vocals make it all the more magical to experience. All in all this a wonderful listen, that like every great album, leaves you wanting more.

Following a mega-hit album like 'Diesel And Dust' was never going to be an easy task, but Midnight Oil did what they did best - made another album of their distinct Australian rock, with just enough evolution in style to push forward into the new decade, without forgetting the past one. The song 'Blue Sky Mine', written about the miners that once worked the asbestos mines of Western Australia, is a swirling harmonica filled carnival ride that sets the listener up for the album ahead. It shows that the band isn't planning on letting up on their political messages (with them even protesting at the Exxon building in New York around the time of the album's launch), but also showed there were still some fresh musical ideas in the tank. The album features a few slower (bit equally poignant tracks) than usual, and played alone songs like 'Bedlam Bridge' or 'Mountains Of Burma' are a tad too mellow - but they work within the context of the songs around them. Radio favourites 'Forgotten Years' and 'King Of The Mountain' remind us of the people and places that make our country great. The album ends on a sombre note with 'Antarctica', an ode to the planet we are slowly destroying. Whilst the subject matter may not be quite as topical today, the music will always be timeless.

Hello me, meet the real me. Coming from being completely blown away with the Rust In Peace release, as most fans were, there was the obvious question, what could ever top RiP? In short, nothing. And I get the sense Dave knew this to be the case. So just 2 years short of the masterpiece's release, we were presented with Countdown. You only need to listen to the first track to hear that the band were working had to not try RiP Part 2, but do something different. In fact, not just different to RiP, but also releases prior to RiP. Gone for the most part was the intense riffing on each song. Enter a polished, controlled song structure with the production sound most definitely upping the ante. Most songs have that undeniable raw guitar sound we all know Mustaine owns. However for the most part the guard dog is not being let off the leash and the sound is very controlled and purposeful, only escaping that entrapment when appropriate. If you listen to a single song, you might say 'Ehhh'. As a complete album, tracks 1-11, it melds together well as an enjoyable listen. Highlights for me - 'Symphony Of Destruction', 'Foreclosure Of A Dream', 'Sweating Bullets', 'This Was My Life' and 'Captive Honour' in particular having some amazing lyrics. There is a bit of 'cheese' although I hate to label it that with 'High Speed Dirt' (OK perhaps '502' revisited?), and 'Psychotron'. If you give a few listens to let it grow on you, you will come to love it. As I mentioned, it is not a RiP Mark II and nor should it be. It stands rightly on its own as a classic in the MD discography.

Hailing from Finland, Counting Hours have crafted an amazing album for their sophomore effort. Fitting nicely into the more accessible side of the doom metal genre, the band have crafted something that contains both the old atmospheric black-tinged work and the newer dark gothic rock work of Katatonia in one place, so much so that they sometimes sound like a clone of the band. This isn't always the case though, as the band does break free of the obvious influence at times, and these are the moments when the album really shines. The drums sometimes pummel in blasts, and vocally the band occasionally goes into some deep death-doom territory. Most of all though, it is about the atmosphere, with a tight and crisp production leaving the dual guitar lines almost weeping in sorrow. For better or worse (depending on your tastes), no tracks really stand out against others, instead this being an album that begs to be listened to as a whole - but one that will leave you in a melancholy mood at its conclusion.

In 1990 heavy music didn't have the multitude of genres known today. Mainstream metal fans really only knew of three styles - You either played traditional metal, anything heavier was thrash, and the newly emerging really brutal stuff fell into the death metal bucket. Pantera exploded onto the scene with Cowboys From Hell, and although it was initially marketed as a new thrash album, it didn't take more than one listen to know this was something very different - and very new. This was Ground Zero for what would later be known as groove metal, a style Pantera launched, but was quickly popularised by Machine Head, early 90's Sepultura, Grip Inc and many others. The album launches a thousand future mosh pits with the title track, showcasing not only the new style, but also the guitar wizardry of Dimebag Darrell (still known as Diamond Darryl at that point). 'Psycho Holiday' razorblades its way through the listener, and 'Domination' is great display of the exquisite and varied vocals of Phil Anselmo. The album still has its fair share of traditional head-bangers, with tracks like 'Cemetery Gates' showcasing a very 1980's metal ballad, and 'Primal Concrete Sledge' and 'Heresy' bordering on thrash. 'Shattered' and 'Clash With Reality' have some amazing guitar work, but almost come dangerously close to falling into cliche, but for the most part the songs are all rock solid. This was album number 5 for the band after all, although very few listeners knew that at the time.

Limp Bizkit were a band that slotted themselves into the mid 90's music scene with a lot of activity in place. Grunge/Nu-Metal and Metal in general trying to survive. At the time, there were two views of LB. You either loved them or you laughed at some pretentious white boy with his Adidas apparel and orange hat pretending to be a proficient rap artist. But also there were the likes of me that secretly was interested in their early sound. They had much turmoil in the years to come, importantly with lead guitarist Wes Borland who was the cornerstone of their sound, leaving the band. Thankfully he returned to record this E.P. in 2005. One thing I will say is that Durst is an intelligent lyricist and this is displayed perfectly on The Unquestionable Truth - a dark recording that covers many social issues, however it is the music/sound that is much heavier. Perfectly displayed on the intro to 'The Truth', with a heavy bass line, slowly introducing an ice splitting guitar and jungle drumbeat emerging into after a minute or so a colossal sound that matches the song as it progresses. Is a highlight song of the E.P. All up it's 30 minutes of enjoyment closed with a subdue Durst solo at the end which calms the listener down. In summary as short as it is, I see a very mature LB here, looking nothing like their 90's brat days. I was hoping we would get a Part 2 at some stage, but that is yet to eventuate.

When a band hits its 50th anniversary, you generally don't expect them to have much of a fire burning in their collective belly anymore. Judas Priest have proven that isn't always the case, with each recent album topping the one before - and Invincible Shield doesn't disappoint either. This is an album that sounds like it was made by an angry young band with something to prove, not a bunch 70+ year old men that have earned the right to slow down. It is almost unfathomable how Rob Halford can still sing the way he does at the age he is, as the entire album smashes everything in its way and leaves devastation in its wake. Opener 'Panic Attack' starts the album at a walking pace, but within a minute or so builds to a gallop, and moments later the album has already hit its top speed - and it likes to run fast. No one has reinvented anything here, and after 50 years. something about if it ain't broke? What Judas Priest does do though is use every trick in their arsenal to keep the listener nailed to their chair. 'The Serpent And The King' is a riff-fest with Halford moving through multiple vocal styles, and the title track provides many a fist-in-the-air stadium moments. The album ends on one of its (few) slower moments, with 'Giants In The Sky' plodding to a finish in a similar style to the band's 80's heyday. All in all, there is not much for a metal fan not to like here, and even if you aren't a fan of the band, it would be hard to fault the album much at all.

I started my interest in BLS when I read mostly about this amazing guitarist playing for Ozzy and his solo band. I loved his playing, which included that unique 'twang' I'll call it at certain parts in his playing (followers will know what I mean). So I delve further. A six-foot-plenty beast of a man, with tats, shoulders the length of your grandmothers height, how can he have a band of his own as lead guitar and lead singer. Joke right? Listening to this, I was slapped in the face quicker than it takes a hooker to say yes for a job. Dang this guy - he is good. Let me explain why. The opening few tracks very much cement the sound for BLS. High-paced rock/metal sound that has a certain groove to it that you can appreciate and enjoy. It's not metal 101, rather shows a unique sound out of Zakk's guitar that only he can do. The rest of the band simply complement it. There is then the vocals from him. In parts high-pitched is very Ozzy like, but he then has this drone of a voice that makes for a great mix. The tempo drops and the acoustic is bought out for the title track, which I love. If you needed any more inspiration take a listen to the track that could be argued is the highlight of the record. You just need to wait until close to the end, but it is worth the wait - 'Dead Meadow', which when I first listened was completely unexpected. It has Zakk behind a piano singing the most soulful of songs which brings his unique vocal to the fore. It just shows he is a man of many talents and if you have not taken a listen to any of his releases, this a good start but pick any in the catalogue, they will give you an idea of the talent of this man.

To say an album is a masterpiece is a big call, but every so often something is released that is so perfect, so definitive, and so ultimate - that it can wear the badge proudly. Throwing Copper is one of those albums. Although Live's debut album was hard to categorise (sounding like a clone of early R.E.M.), their second album knew what it wanted to be - not quite so mainstream to be regarded pop, but not quite so heavy to be purely alternative rock. Opener 'The Dam At Otter Creek' builds slowly to a cacophony, setting up the incredibly infectious 'Selling The Drama' to lead the way into the rest of the album. It all unfolds one great song after another, moving through 'I Alone', the mega-single 'Lightning Crashes' and even the punchy 'All Over You'. The songs are varied in style, yet wonderfully cohesive, and the album even finishes with a cowboy song, the beautiful 'Horse'. The lyrics seem to alternate between hard hitting social commentary and whimsy, but the whole album is performed with such conviction it all exudes the same power. Post this the band followed a more commercial direction, leaving this standing tall to carry on in a class of its own.

After a 19 year wait Bruce Dickinson finally unveiled his latest solo album, a concept album loosely based (is any concept album ever not loose in its storyline?) on wacky characters like Dr. Necropolis and Professor Lazarus. The story isn't clear from the album itself (you need to read the comic book series to understand it), but the album is better for it anyway, as each song stands alone nicely on its own merit. The album is big and bold - as you'd expect from the front man of Iron Maiden - but also takes some mellower unexpected twists along the way. From the hooky riff and fist punching chorus of 'Afterglow Of Ragnarok' the album signals its intent as something brash, and second single 'Rain On The Graves' has some sweet Deep Purple undertones driving it. 'Resurrection Men' sounds like the theme tune to a modern spaghetti western with its twanging guitar, and the newer (older?) version of 'Eternity Has Failed' has more punch than its Iron Maiden counterpart, probably due to its looseness. The album's big ballad, "Face In The Mirror', feels somewhat undercooked, and doesn't really hit the mark of feeling like the anthem it should be. The second ballad 'Shadow Of The Gods' suffers a similar fate, but has a lot more punch when it builds to its heavier ending. Epic closer 'Sonata (Immortal Beloved)' sends off the album wonderfully with its grandeur. It would be a shame if the world had to wait 19 more years before it hears anything solo from Bruce again, as this is the sort of music the heavy music world needs more of.

In 1994, there were so many Oz bands emerging in the alt-rock space, with different sounds surprisingly, so as a bunch of us moving on from 80's rock found a new home with bands like Regurgitator and others. Now the Gurge very much took up a left of centre approach. Not so much your straight up grunge band, nor your balls out Oz heavy metal at the time, not even the early stages of ska. Musically the 'Hamburger' release as it became known is an E.P. of 5 songs lasting about 18 minutes that quite frankly are as weird as fuck. It's all over the place track to track, mixed with heavy guitars, dub samples, chill and obscure song themes. And I love it!!!! This and the next E.P. in 1995 (New) made them a must see at a number of Big Day Out festivals for the years to come.

'The Ides Of March' announces out the gate that Iron Maiden is no longer just a pub band, but a major contender in the race. As brilliant as the first album had been, the production was somewhat primitive (and founder Steve Harris to this day still complains about it). As luck would have it, the band landed Martin Birch to produce the second album - and with a history of band credits behind him such as Deep Purple, Wishbone Ash, Fleetwood Mac, and Black Sabbath, he had nothing to prove in credentials. It was a match made in Heaven, so much so Birch would work pretty much exclusively with Maiden from here on for the next decade. In fact, the production is what carries a lot of the album, as it is lacking in consistency in places. There are obvious stand-outs (many still fan favourites today) like 'Wrathchild' and the masterpiece that is the title track, but other tracks like 'Another Life' and 'Prodigal Son' feel like they are lacking in some of this punch that a great sophomore album requires. At least half the album was made up of older songs the band had played for many years on the pub circuit when they were still finding their identity, with only a few newer compositions. The instrumental 'Genghis Khan' feels like an attempt to match the grandeur of the debut album's 'Phantom Of The Opera', but it falls flat without a lyrical narrative to carry it. It isn't all bad though, as barnstormers like 'Purgatory' and somewhat grand 'Drifter' wrap the album nicely in a bow. All in all, it is a great addition to the Maiden catalogue (and their last with vocalist Paul Di'Anno), but over the years it would usually not be remembered as one of their best albums, especially considering the quality that many of their future 1980s albums would exhibit.

I can't recall where TheBigBlack crew stumbled on Chevelle, but I'm glad we did. In the mid-2000's new music that was attractive to the TheBigBlack crew was scarce, so stumbling on the raw guitar sounds at its peak in the album and drifting into a sound supporting the vocals is a treat. The first track 'Antisaint', very much sets the scene for what you are about to listen to. High fueled music and vocals that can pull the reigns in when needed to make sure not every song sounds the same. Other highlights include 'Well Enough Alone' with Loeffler taking a deep breath before he screams his lungs out for approx. 10 seconds, then presenting a track that mixes that vocal repeated with a melodic mid-tempo vocal that encompasses most of the songs on this release. 'Straight Jacket Fashion' & 'The Fad' that follow are also other highlights of the release. I was going to avoid comparisons, but I will indulge a short opinion. For me I had a rough edged Deftones as my initial though, for what it is worth, which isn't much. They do mention Helmet as an influence that I am more than happy to agree with. They have 5 releases since this gem. I must invest some time in those. They are well worth it.

The early 1990s were a great time for rock fans, because the line between so many audiences blurred under the banner of the 'alternative nation'. Rock, indie, metal, -insert style here- all stood side by side, rubbing shoulders at festivals and all charting worldwide as albums flew out the record stores in numbers they hadn't since rock's heyday in the 1970s. Albums like the soundtrack to The Crow were a direct result of this, mixing and matching bands to capture the widest audience possible. Film-makers themselves were often hamstrung in music choices in their own films, due to back door deals to promote the flavour of the month for an associated record company. For this reason many soundtracks of the time are now long-forgotten - a mish mash of bands and styles with no coherency, and only a single track or two worth listening to today. The Crow manages to avoid this trap by carrying a strong set of songs that thematically weave together. Matching the movie's dark tone, many of the tracks are brooding and build slowly, and there is a definite industrial undertone evident throughout. Like many of the best soundtracks it also contains a bunch of unreleased tracks and features great bands like Stone Temple Pilots, Rollins Band, The Cure, and Pantera mixed with other less-known artists to create a great contrast. Shrouded in shadows, it isn't an album to listen to when you are looking to lift your mood, but it is great to carry you through a sombre day.

I'm a big RHCP fan so I'll declare that first up, although I'll admit what they produced in the 80's I wasn't exposed to at the time. As a metalhead there was so much else going on in during those years. In any case following on from 'Blood Sugar Sex Magik' in 91, I was disappointed by 'One Hot Minute' in 95. I'll be honest and admit that the commercial radio success of 'Californication' in the late 90's had me curious to listen to them again. I'd almost go as far as to say this release is quintessential RCHP with a maturity that I think they were always aiming for perhaps. I'd argue that any future release matches this song for song. The dudes have grown up, and while not necessarily rooted in their punk sound, it still maintains elements of their roots. The cornerstone always has been Flea and his bass and he intertwines his sound beautifully in most songs. The likes of 'Otherside' is a classic, if not a confronting song, but has bought them radio play as a single. There are still the cool punk elements that early fans would love, like 'Get On Top' but they don't saturate the album. I only picked this up last week for a listen as it must have been years, and I'd forgotten how good this release is.

Releasing an album 14 years after your previous one is always a dangerous proposition, but when you add to the mix that your band has been inactive during the period and the style you play has been horrendously unfashionable for the last decade, the odds are really stacked against you. Even though they had started the band incredibly young, Death Angel had always been one of the more technical of the thrash breakthroughs of the 80s, and their comeback lets their precision and impeccable musicianship shine though - but there is nothing here that strays too far from being accessible to being unlistenable. The songs are beautifully crafted and immaculately produced, working within a wide range of heavy styles (but always close to their thrash metal roots). Some songs have punk-like undertones (reminiscent of Anthrax's 'Got The Time') whilst others, 'The Devil Incarnate' being a good example, have an infectious and catchy chorus, hooking the listener in. Just to mix it up a little more, Mark Oseguda (with his immediately recognisable voice) hands the mike to others, and all but one of the group sing lead vocals on one of the tracks. Final track 'Word To The Wise', sung by lead guitarist Rob Cavestany, is a wonderful breath of fresh air to end the album, sounding more like a mid-90s alternative rock song than a 1980s-style thrash anthem - but it somehow still works.

A quick recap is necessary - I reviewed 'The Real Thing' a while back and love the heck out of this release. 'Angel Dust' kinda passed me by in 1992 due to the gluttony of great music released at the same time and the lack of reception it got. 95 was now a time where the wave of Alt/Hard Rock and even Grunge was dying off. Then enter Faith No More. Looking back, this is classic FNM. You listen to one song and you may expect the next to be similar, but it just isn't. For example the anger ridden track 2 'Ricochet' leads into a moody, passive 'Evidence' and then launches to my favourite 'The Gentle Art Of Making Enemies', with its sinister undertones, and I'll finish with a jazz inspired 'Star A.D.'. It's all over the place. It has been noted that Patton's vocal extends to another instrument in the band. I can see that in some points the songs have been arranged around his vocal thoughts on a song. I can't see how they could not be. I could honestly go on a track-by-track review. Little were we to know that there were better things to come (in my opinion anyway - perhaps another review to come).

To say the least, 'Heaven And Hell' is a masterpiece. Generally classic heavy metal albums use verbs like 'brutal' or 'fast' or 'angry' to describe them, but none of those words ring true here. The album is a thing of beauty, full of winding harmonies and stellar musicianship - a work of art that will stand for all time as a reflection of the pinnacle of heavy music of the period. With Ozzy Osbourne and his drink and drug fuelled unpredictability jettisoned for the final time, the band knew that survival would rely on them rebuilding from the ground up into something far more streamlined and modern. They had stretched their wings on the previous two albums (reasonably unsuccessfully), and now was the time to find the Black Sabbath for a new decade. A key part of this renewal would be finding the right vocalist, and Ronnie James Dio - having recently exited Richie Blackmore's Rainbow - was the perfect choice. For many fans, the voice of Osbourne was a defining piece of the band's identity, so by replacing that voice with someone infinitely more talented and professional required music that matched. The songs are sleek and full of melodies never heard before on a Sabbath album, and the production is smooth as silk - really allowing the songs to shine. Dio's vocals are sublime throughout, and he launches songs like 'Children Of The Sea' and 'Die Young' toward places Osbourne, with his limited range, would not have even dreamt of. The vocals on the title track are transcendent, not to mention the incredible solo by Tony Iommi - one of the greatest ever committed to tape. This was more than just a new album, it was an announcement of what the 1980s had in store for heavy music. The band would never make an album as good as this again, and some would say it even bettered anything they had released preceding it.

After being reminded this past week that this band was listed in the one hit wonders for a metal album list, I decided to re-acquaint myself with the release. 30 years on from this release, we know Max Cavalera of Sepultura fame has a penchant for calling up members of other bands and asking then to collaborate with him. Of all bands, he asked Alex Newport from Fudge Tunnel (yes, "who?" do I hear you say). Despite the graphic cover picture for the album, this turned out to be an enjoyable listen. Taking on a very industrial/military sound, the guitars were tuned down, the drumming was abrasive and for the most part had the general sounds any metalhead would enjoy. I say most, as unlike other bands or albums that start with some killer songs and may decline in quality as the tracks continue, for me, this one is the opposite. I actually think the first 2 songs are nothing to get excited about. From there onwards, we get to understand what the band were trying to achieve. Adding in the somewhat trend at the time of a hidden track on the last track and I really enjoyed a listen after such a long time.

In a world where every death metal band now sounds the same and plays the same it is hard to think back the glory days when the genre had an awkward birth, carefully shedding it's 'extreme thrash' skin to reveal something darker and more sinister beneath. The American's lead the charge in the mid 80's but by the decade's end the Europeans were giving them a run for their money, and when Entombed (out of Sweden) released such a watershed album so early on it almost single-handedly signalled in the next era of metal. This was ground zero for true death metal, and the albums 'buzz-saw' guitar tone is still revered today for its unique sound. Although this was the band's first album, Entombed had grown from the ashes of the proto-death metal band Nihilist, so had honed their chops for years before making it, and it showed in the intensity of the material. The title track pulverises from the moment it launches, but things get even more brutal on 'Drowned' and 'But Life Goes On'. Entombed over their next few albums would move away from straight up death metal into more of a 'death & roll' direction, and interestingly in hindsight tracks like 'When Life Have Ceased' and 'The Truth Beyond' already have a rock undertone showing through. Like most early albums of the genre, the production is ragged, but L.G. Petrov (R.I.P.) growls has way through every track, sounding destitute and anguished, and perfectly complements the tone of the production. In 1990, this was truly mind-blowing.

Looking back now, I can't believe we are 40 years on from their breakout Pyromania record. My heart does lie 4 years later with Hysteria. The record is chock full of hits, including the first track which appeals to any male ('Women'). This had them juggling the line of a pop vs hard rock record. There are other examples, including 'Animal' and 'Pour Some Sugar On Me'. The alternate side is tracks like 'Rocket', the second track that brings that stadium sound to the record and gets the hairs on the back of your neck standing up. My favourite on the record is 'Gods Of War'. A very emotional song. I will admit, the record does peter-off toward the end with tracks such 'Don't Shoot Shotgun' and the cheesy 'Excitable'. Despite this, I keep returning for a listen. Brings up great memories of 1987. Also quick mention of Allen and his first attempts at drumming with one arm. Watch him on video. Amazing.

Generally the word 'sophistication' isn't used when reviewing black metal music. It denotes a degree of finesse and even restraint the genre is not known for. Blackbraid's second album is an exception, with timing and even grandiosity that would normally fit orchestral works - but make no mistake, this is by no means an orchestral work like those of Emperor or Dimmu Borgir. The album is still straight up guitar and drums black metal (again all played by one man, the ingenious Sgah'gahsowah), but takes the listener on an immersive journey by keeping the musical themes of the album tight and repetitive. The debut album (released less than a year ago) was quite an amazing work, but II possibly tops it. It follows a similar template, using traditional indigenous American motifs buried beneath the lush wall of brutality, but does stretch its wings a little to show a greater depth. There is possibly more speed and aggression on display, with tracks like 'The Wolf That Guides The Hunters Hand' sounding closer to death metal in places, but the nemesis to this are the acoustic interludes such as 'Spells Of Moon And Earth' tearing the anger back down. Many of the tracks are long (some clocking in over 10 minutes), but they are multilayered and don't linger in one place too long. The production is top-notch, and every instrument cuts through perfectly. The album ends with an excellent cover of the Bathory's Viking metal masterpiece 'A Fine Day To Die'.

By 1989 The Cure had become a known name by music fans. They had a handful of well-known songs that had charted well over the past decade, but for the most part their albums were still very much for their fans alone. Like most bands that caught a whiff of that sweet smell of success, they chased the rainbow for a couple of long-players - and that is why Disintegration was such a shock upon release. With personnel changes (due to the usual rock n' roll tropes) band leader Robert Smith took a step (or three) backwards to more familiar territory, creating an goth-style album that would have sat easily in the band's earlier repertoire. Whether it was successful or not came down to how much of a fan you were. If you were into vintage Cure, it shone like a diamond. If you were looking for the more recent 'radio ready' version of the band, you would have spent a lot of time scratching your head. The album is draped in lush textures of majestic keyboards and reverb soaked guitar, giving it a distinct feel, somewhat akin to soundscapes rather than classic song structures - but it works beautifully, and the sound never gets stale. The lyrics on tracks like 'Pictures Of You' and 'Prayers For Rain' are wonderfully textured, and the bass driving on 'Fascination Street' and the title track is just sublime. This is an album that begs for repeat listens, but is also moody, and won't suit every time of the day. It perfectly set the band up to enter the next decade, when music like theirs would soon be dominating the charts.

As the bass player of Deep Purple Roger Glover had certainly earnt his dues in rock fan circles, being the mind (and hands) behind those driving basslines on songs like 'Highway Star' and 'Smoke On The Water'. He departed the band in 1973, and started working on his first solo work - that which would become 'The Butterfly Ball & Grasshopper's Feast'. Originally written for Deep Purple keyboardist Jon Lord, Glover eventually decided to make the album himself by using a range of well-known rock musicians to play the part of each creature attending the fictitious ball. Many Deep Purple connections can be heard such as his own replacement Glenn Hughes, David Coverdale who was the replacement for the also recently departed Ian Gillan, and Ronnie James Dio who was soon to be the vocalist for Rainbow when Richie Blackmore himself would leave Deep Purple in the near future. Among them is also a range of other great vocalists, many of which are now only a footnote in rock history, like John Lawton, Barry St. John and Glover's then wife Judi Kuhl. The results are a rich tapestry of musical styles including rock, jazz, waltz and folk (amongst others) that ebb and flow through the short songs. Slowly building out the story of the ball piece by piece. The album is tied together wonderfully by each side of the original vinyl closing with a masterpiece that include the vocals of Ronnie James Dio, the obvious star of the show - as always. This would be the first time he received mainstream exposure.

Motorhead are a band that are often accused of making the same album over and over. Released in 1983, Another Perfect Day didn't deviate much from the formula, but it was different enough that many fans rejected it - and it wasn't just about the music. Brian 'Robbo' Robertson of Thin Lizzy had joined the ranks, and replacing 'Fast' Eddie Clarke was never going to be an easy gig. His guitar lines were often filled with flourishes Clarke would have instead bulldozed through, adding a level of delicacy to the music many took umbrage to, and Lemmy himself tired of the man very quickly himself. Robertson gradually began refusing to play older Motorhead classics, and add to this his odd fashion sense (such as ballet shoes and leg warmers - on stage) meant that his tenure was short. Regardless of all that the album has stood the test of time well, and has a number of bright moments. The opening track 'Back At The Funny Farm' along with the singles 'I Got Mine' and 'Shine' opened the door to allow the band to add more melody into future music, with or without Robertson on board. It stands up and keeps its own against any of the earlier 'classic' albums, but certainly does have its own unique personality.

If you were asked to describe The Black Crowes debut album in one word, it wouldn't be hard - swagger. Full of the grooves and rhythms that made mid-period Rolling Stones albums so listenable, the album showcases the new band with punch, and was a raised middle finger to anyone who dared to say southern rock was dead. 'Jealous Again' is the epitome of a great rock song, and exudes the star power this band exhibited with ease. The band makes Otis Reading's 'Too Hard To Handle' their own, and the classic Nicky Hopkins style piano in 'Thick 'n Thin' are just perfect. At such a young age Chris Robinson's voice proves perfect for the music, drifting with a world-weary charm, and brother Rich has clearly studied the guitar greats of the era they both so perfectly emulate. Slower songs like 'Seeing Things' and 'She Talks With Angels' (eluding to the dangers of heroin) are great rock ballads, but don't quite cross that barrier into all-time classics, lacking the hook a good rock ballads needs. A good debut album is everything in rock, and The Black Crowes are perfect proof of this, bursting onto the scene with such impact that they are still around rocking today.

To say Kurt Cobain had become an icon of a generation post-suicide was a big call, but actually somewhat an understatement. His ghost loomed in hard rock everywhere, and certainly any band out of Seattle couldn't even sigh without fans clamouring to find hidden meaning in their laboured breath. It was inevitable that the flood gates of unreleased Nirvana material would pour forth to the masses quickly, but this first release (around 6 months after Cobain's death, timed of course to cash in on the Christmas market) was not what was expected - but it was certainly appreciated. Cobain's songwriting legacy to the general public was the loud/soft dynamic of so many Nirvana singles, so this album was a perfect way to help the world appreciate the subtleties of his songwriting. It also allowed him to explore some of his musical influences. MTV were looking for a set of hit singles, but what they got instead was a range of lesser known Nirvana songs stripped back (not quite unplugged, as Cobain insisted on amping his guitar still) played with a unique charm. Cobain was mostly zoned out for the performance, reportedly suffering from heroin withdrawal at the time, but every vocal moment still shines magically. Nirvana mega-fans already knew a couple of the covers played from various recent performances, but for those hearing songs like The Vaselines' 'Jesus Doesn't Want Me For A Sunbeam' (with Krist Novoselic on piano accordion) and the epic Lead Belly closer 'Where Did You Sleep Last Night?' (something Cobain had toyed with for years) these were revelations. Bowie's 'The Man Who Sold The World' was also a very welcome surprise, but the addition of The Meat Puppets playing some of their own songs was like nothing in Unplugged history. It was a move typical of Cobain, once again showing that he played by no one's rules but his own.

The 5th album in their repertoire, this album single handedly broke many hearts, but equally won new ones. 'They have sold out', was the call as the singles released hit mainstream plays. It is a consequence of the general need to feed music fans with something new, a little left of centre. The likes of AC/DC in the hard rock space were a little quiet, so too were the likes of Van Halen who had their share of radio play in the past. Equally the band were moving on from arguably their greatest release, even up to this day. When you think of it, what band would not crunch on the carrot that could provide them with the wealth they couldn't even dream of as a bunch of teens in the early 80's sharing bedrooms etc? Even to this day, there is the old school and new school who start any discussion with 'when Metallica's first release came out in 1991...' OK, let's look at the record itself. Firstly it is different from previous releases, no doubt. If we skip over the singles that opened them up to a wider audience, you uncover some smart songs, not always at full speed, but equally as nasty. 'Sad But True' is the starting point. Mid album you find some fast paced, but very measured songs that still gives us the 'Yeeaahhaa' and 'Ohhww' from Het. My favourites come at the end of the album with 'God' and 'Misery' which finally has Jasonic applying his trade by himself. Final track is what we have expected over previous albums - a fast paced end, which leaves you in thought of it you will ever buy another record from them or not. I certainly did.

This is the humble beginnings of a band no one ever expected would be any more than a blip on the radar, and indeed Nirvana's debut only sold a few thousand copies in its first couple of years of existence. Recorded over a 12 month period (although rock legend would have us believe it was in a single session) the time taken to record this motley collection certainly doesn't reflect in the cohesiveness of the songs. With mostly rough and simple compositions we see only a hint or two of the grunge-pop that would change the rock landscape two years later with Nevermind. The contrasts of The Beatles-like 'About A Girl' alongside the abrasive metal stylings of 'Negative Creep' or 'School' is perfectly sequenced, with the track running order mimicking the heavy/soft dynamics that characterised many of the band's songs. The lyrics are mostly simple and repetitive (and often odd or goofy), but they are very much in keeping with Cobain's quirky style - and some of these songs had been in his repertoire for a number of years. Jack Endino's production is flat, but like all of his work at Reciprocal, is has a razor sharp edge to it that better studios would probably never be able to come to naturally. The album ends of the melancholy strains of 'Sifting', leaving us feeling like Cobain is searching for something he just can't find - something no doubt reflected in his real life.

OK, once again I'll start a review that has me admit I was more involved in the likes of Iron Maiden, Metallica, Slayer, Megadeth and Anthrax at the time this album was released. Adding to this I hadn't purchased a single E.P. or album of AC/DC up to now. Too 'heavy' for mainstream radio, and not 'heavy' enough by those independent radio stations that just wanted to play metal when they had a chance. Such a shame now that I reflect back on this album. 'Thunderstruck' is clearly the outstanding track, but I peel the layers and look to songs like 'Money Talks', which has that bluesy type sound from the guitars with Johnson's, funny enough, razor vocals. This mix is repeated on a number of tracks through the remainder of the record which I love. At this point, Angus is still putting together some tasty solos, 30 years after he started. If I had to pick a favourite song from the album it is the title track. The somewhat haunting intro followed by an upbeat guitar and drum intro does me every time along with the moody chorus, before it picks up the tempo. Anyway I could on for ages on this.

By his own admission Paul McCartney was left feeling nostalgic when he began working on Flaming Pie, coming off nearly 2 years of working on Beatles focused music for the Anthology project. In particular he noted that The Beatles were always fast and loose when putting albums together, and never spent too much time overthinking things. He used that approach here, and the results are immediately noticeable. As one of the greatest song writers of popular music history McCartney has still managed a large number of stinkers sitting alongside his zingers, but for the first time in a long time fans agreed that Flaming Pie somehow managed a level of consistency throughout - and it was quickly elevated to the status of one of his best ever albums very soon after release. The production is modern and crisp, and after quarter of a century still holds its vitality, but more importantly - it's the songs that matter. 'The Song We Were Singing' starts the album on a slow note, but before long the big chorus kicks in, and it's the song we were all then singing. 'The World Tonight' and 'If You Wanna' have some great rock punch, reminding us that McCartney was once in the rock 'n' roll game. 'Young Boy' is the single only a member of The Fab Four could write, but we are also reminded of just how great McCartney always was at the gentler moments on tracks like 'Calico Skies'. Jeff Lynne of ELO is on board here to give the album a lift, but we also see old friends like Ringo Starr and Steve Miller helping out, and Paul's son James even plucks a guitar string or two. and just to really bring back that nostalgia - the fifth Beatle himself, George Martin, even scores some orchestra. All in all, the albums strength isn't what it is - but what it isn't. It doesn't try too hard to be anything in particular, giving it a wonderfully organic and natural feeling. But what is a Flaming Pie? Only John Lennon could tell you that.

Press play, immerse yourself for 29 minutes, and at the end you will be asking the number of the train that just hit you! Forming in the late 80's, they cut their chops in those early years on numerous Big Day Out appearances and even clinching a support gig for Nirvana. Their 'commercial success', if you can call it that, getting airtime on Triple J, resulted in a leap in their audience base and the release of 10% Weird in 1994 and hit the mark perfectly for where they were on their musical journey at the time. Some raw Alt/Punk Rock with in your face 2 or 3 minute songs. They shared the limelight with the likes of Tumbleweed, early Spiderbait and Magic Dirt to some extent - however these guys were always the ones causing trouble at the back of class while those bands were shining. I certainly don't have a problem with that. Uniquely, the band don't take themselves too seriously on this release. Apart from '10% Weird', there are catchy tracks like 'Conan', 'Smack Bottom', and 'Corpse In Love'. Essentially a very catchy record to sing along to after a few listens if you like this type of music. What was the number of that train again?

A great compilation can showcase every strength of an artist, and it is a testament to the musicianship and song writing skills of many bands that they can even fill a double album with classics. The original INXS are one of those bands, and with the 41 one tracks on the album (in chronological order) you can follow their journey - hit after hit. The earlier years are covered by new-wave styled classics like 'Just Keep Walking' and 'Stay Young', and we move through their classic years with charting songs like 'Don't Change', and 'I Send A Message' until we find the late 80s mega hits of 'What You Need' and 'New Sensation'. The second disc is full of the band's 90s outputs, and although it could be argued that their albums weren't a strong by that period, the singles on display here remind you that they were still a force to be reckoned with. 'Bitter Tears', ' Taste It', and 'The Strangest Party' all being great examples of where the mature band landed toward the end. All in all, a great compilation that reminds us that INXS were worthy of all their successes, and what a great talent we lost when Michael Hutchence left us.

I'm wracking my brain about how I came to be playing this record at full tilt in my parent's lounge room when no-one was home, in 1989. Growing up in the country, there was no radio exposure. Must have been my Hot Metal mags that lead me to them. Well, what can I say about this classic release? It introduced the world to the vocal extremes of Mike Patton (from Mr. Bungle fame). It has everything. From your classic alt-rock anthem that is 'Epic' - the first track, shifting to the in your face, fasted paced 'Surprise, Your Dead', quirky 'Zombie Eaters' and the moody title track. It's a heck of a soundscape from the 5 of them. Even, yes OK, 'Roddy Bottum and his keyboard work which hangs it all together. If you get a chance to watch their live sets back in the day, you see the characters that bring us such a unique sound. Bordin with the dreads, the camp Bottum, Patton looking as though he has walked off as an extra in a Miami Vice recording, down to the coolest looking guitarist at the time in Martin. Big hair, red sunglasses with a cigarette hanging out of his mouth. Oh did I mention the incredible cover of 'War Pigs'? Love this release! Love this band!

Alice In Chains are one of those bands that are able to make an album that is immediately obvious as them, and yet every album is distinctly different from the ones prior. From the opening notes of 'The One You Know' this is obviously them, but this one is nastier and darker than the last (The Devil Put Dinosaurs Here). Jerry Cantrell again shows his amazing ability to weave heavy riffs into a fabric that also allows brighter moments to seamlessly stand alongside. 'Rainer Fog' and 'So Far Under' sound like vintage AIC, whereas 'Red Giant' and 'Drone' grind along in ways only the post-Layne version of the band can. The Cantrell / DuVall vocal harmonies are used heavily again, but not as extensively and obviously as previously, giving the songs some more breathing room. 'Maybe' sounds like it is straight off a Cantrell solo album, whereas 'Never Fade' is DuVall's chance to vocally shine. Overall, this is possibly the best 'reunion' album Alice In Chains have released to date. As a side note, this was the last album recorded at Studio X, previously Bad Animals, in Seattle before its doors closed. Not only had AIC recorded there previously themselves (their self-titled album in 1995), but other legendary albums from the alternative rock genre were also recorded there by Soundgarden, Pearl Jam, R.E.M., TAD, Hole and even Jerry Cantrell solo during the 90s.

This marks the 3rd release from the Iowa band. Following on from the first 2 full-lengths, the band had the confidence to move on from the shock-metal (yeah I made that up) years that had them belting their instruments (all 8 of them) as hard as they can, questionable song titles and Corey growling like the devil. On this record, you need not look further than listening to the first minute of the opening track to be aware you were in for a treat. A new experience that had the band growing the balls to start off with an emotional, but angry ballad. Absolutely brilliant. But don't let that fool you - they drop right back into the aggressive pit, which gave us such gems as Duality and Vermillion. Add in the genius of dedication a song to their fans (the Maggots) with Pulse Of The Maggots and you have an incredibly attractive and mature release from the band. Still to this day their best release.

The idea behind Bob Dylan's 1975-76 Rolling Thunder Review Shows was simple. Get a bunch of early 1960's folkies together on the road in a throwback to the old troubadour shows of the 1920's. It was a great idea, and the eventual outcome was just under 60 shows with the likes of Joan Baez, Joni Mitchell, Jack Elliot, and Roger McGuinn. Even beat poet Allen Ginsberg was along for the ride. The music was (deliberately) wild and free and the artists reinterpreted their songs from soft folk to rollicking rock 'n' roll. Those looking to hear Dylan in his 1960s guise would have been surprised by the white faced minstrel they saw on stage, stomping around and barking lyrics like a hoarse shaman. 14 CDs in length, the box contains all known recordings of the 1975 leg, nestled snugly between two of Dylan's masterworks, Blood On The Tracks and Desire. We start with 3 discs of loose rehearsals showing the fun (and sometimes directionless) nature of the tour, and then get 5 complete concerts of the Dylan segment of the show from various stops. As fans of most bands would know, a number of shows from one tour is just needless repetition - but that is never the case with Dylan, who morphs and changes his performance every show. The sound quality and mixing is superb, and the only thing that would improve the experience would be visuals to go with the music, to really show the passion every musician puts in. The package wraps up with a single dis of random oddities from various stops on the tour, and whilst it isn't as essential as the other discs, it is a nice bookend to an amazing boxed set.

2007 was during a period of a few years looking for new things to listen to. When music fans choose something to listen to, sometimes this is based on your mood. For some reason, when I listened to Halmstad for the first time, I knew I'd be drawn back to many listens. It's not pleasant in its music. I have comparisons I could make but that isn't worthwhile. The lyrics are Swedish so I don't know what is being sung. I can tell you that the translation of the title of the first track is 'Yet Another Step Towards Complete Fucking Isolation', so you will start to get the point on the theme of this album. Musically, sharp walls of guitar sounds, leading into incredibly moody parts where you have a slow drum beat and an almost silenced guitar. I'll call it an incredibly depressing release, but if you can manage it, equally as beautiful in its execution.

U2 had been slowing climbing to success for a number of years, and the recent studio & live combo album Rattle & Hum had positioned them at the top of the pack for the new decade. Their music now oozed with Americana charm, and it seemed obvious what would come next - and this is why the music world was left stunned when the first single 'The Fly' hit the airwaves. Reinvention is common in bands, but reinvention is about stripping back to the basic parts and rebuilding. This new U2 felt like none of those basic parts had ever existed. That first single, and the album that followed, was light years from anything the band had done before - and just about as far from anything else being played on the radio at the time. Be it by expert design or by total fluke, Achtung Baby positioned U2 at the forefront of the alternative movement that was about to flood the airwaves. The album sampled songs and sounds, it compressed and altered the instruments, it used odd song timings and arrangements, and Bono used his voice in ways he never had before. 'Zoo Station' bolts from its pen, its brazen overwrought guitar signalling like a warning of what is to come, and even mega hits like 'One' are produced to within an inch of their lives, deliberately removing any trace of the band that existed in the 1980s. 'Mysterious Ways' is so groovy you just need to move with it, and that is what makes the soul of the album - building a set of songs that regardless of how many overdubs are put on them, you can still hear the greatness of the tunes beneath it all. The Edge truly shines here, with tracks like 'Ultra Violet (Light My Way)' really showing his versatility. The album ends with some sombre moments, closing with 'Acrobat' and 'Love Is Blindness', ending a damn near perfect album.

Porcupine Tree's 2002 album In Absentia was an unexpected runaway success for the band, and fans worldwide eagerly awaited the next album to see where they would take the music next. Deadwing, released three years later, was certainly similar in style - but this was still a whole different animal. Porcupine Tree had again emerged transformed into something new, but not so unfamiliar as to be alienating. The title track opens the album with the big guitar crunch that made In Absentia a winner, and the big hooky feature riff quickly drags the listener in. The band has chosen to stay close to their prog roots, and the songs twists and turns unpredictably through multiple verses that have no chorus to break them up. It somehow works, and when the big stadium rock riff of 'Shallow' fills the speakers you are nothing short of hooked. This song doesn't leave anyone wanting, and not only features the biggest riffs of the album, but it also has a fist pumping chorus. If any song on the album is going to be called 'metal', this is it. The barrage lets up for the soft ballad 'Lazarus', which once under your skin proves itself to be a true highlight of the album, with its weaving piano pattern wonderfully integrated with the lyrics. The production on the album is pristine, with every instrument shining, and every note crisp and clear. Steven Wilson's vocals are perfectly levelled to compliment the harshness and/or subtleties of the music. King Crimson's Adrian Belew provides solos to a couple of songs, including the slinky 'Halo', another album highlight. Opeth's Mikael Akerfeldt also makes an appearance, adding a solo and vocals to 'Arriving Somewhere But Not Here'. It isn't until track 6 ('Mellotron Scratch') that the album starts to stray into the more progressive side of the band, and this track could easily have fit on one of their earlier albums with ease. In fact, from here on most of the tracks are less accessible to a casual listener. If one compliant could be made about the album as a whole, it's that it is 'front loaded' with the punchier songs. It isn't that the tracks on the second half aren't up to the quality of the first, they are just far less memorable overall, meaning that the album doesn't really end on a high note. 'Open Car' is possible the best of the later tracks, with a few great riffs driving the song along. Everything ends on a quiet note with 'Glass Arm Shattering', and the ride is over. Deadwing adds another new dimension to the already wide range of Porcupine Tree, and again shows why the band is one of the best in the modern prog playing field.

Replacing a fallen band member is always difficult in the eyes (and ears) of your fans, but it makes it even harder when that person is considered a legend of their craft. The first new album from the band in nearly 15 years was highly anticipated, and they made the right move of touring extensively with new vocalist William DuVall firmly in place before recording a note. This meant the fans had mostly accepted him when new music did arrive, and the first single 'A Looking In View', although not particularly radio friendly, was a great lead-off due to its vintage AIC style. Also being a guitarist (and songwriter) Duvall wasn't as front and centre as Layne had been previously, instead sharing vocal duties (and guitar lines) almost 50/50 with Jerry Cantrell. The result is an album with some amazing highs (and a couple of lows), and Cantrell ensured enough of the songs connected with the classic version of the band to allow fans to feel like this was still the hard and heavy band they knew ('Check My Brain', 'Take Her Out'). Other tracks ('When The Sun Rose Again' and 'All Secrets Known') branched out in new directions, allowing the band to continue to grow. The album could have been flat (as many 'come-back' albums are), but instead acted as a reintroduction to the world, showing that great things were still to come.

Devin Townsend has never been one to take it slow or keep it simple. His prolific writings swing from brutal metal to ethereal mood music, and sometimes all on a single album. He inspires and challenges, as every great artist should. As eclectic as his works can be Casualties Of Cool is one that still stands out beyond the others. Teaming up with fellow Canadian musician Che Aimee Dorval, Devin created an album that relied more on mood and chic than the actual songs themselves. That is not to say the songs aren't any good, because there are some here that of exceptional quality - but the album relies on an odd haunting (out of time?) feeling and country melodies to take the listener on a truly unique journey. He leaves the majority of the vocals to Che, but still uses his voice when necessary to move the listener to the next place in his landscape. Che's voice is perfect for the arrangements, and their duets on songs like 'Mountaintop' are so infectious you never want them to stop. In fact the, whole album ends leaving you feeling like aren't finished yet, and you just want more - but much like Devin's earlier one-off project Ocean Machine, this one is probably best left to one single album of lightning captured in a bottle.

Appreciation of art is a very personal thing, and by extension what is even considered art at all will vary between individuals. Music of course is a form of art, and a lot of art is extreme because it is often created not to purge emotion - but to incite it. The second wave of black metal introduced a new abrasive style of metal, that even today is a difficult listen for the uninitiated, and the first Burzum album led the charge of this new metal style. The music isn't an easy pill to swallow, and in 1992 even seasoned metalheads used to listening to Exodus and Slayer may have found the vocals and lo-fi production of this one-man-band to border on the side of too extreme. The riffs are deliberately cyclic and repetitive, taking an almost hypnotic form, and along with the grating treble-heavy production the album grinds on the nerves as each note is played. The tortured vocals are still to this day like no other human voice ever recorded, as they leap from the songs more as wrath-like banshee cries than vocals. All of this comes together to bring a coldness and agony to metal that had never been heard before, and decades later is still relatively unmatched.

I have thought of a number of ways to address this review. Loving, accepting, scathing? I'm in the middle of the latter 2. There is very little I like about this release and a lot I don't like. 'Lux Eterna' is a killer track and deserves a place on any record from them up until now. Additionally, across most songs, A-plus rating to Kirk and his solos. The best as a collective I have heard for a long time. What I don't like - why was Rob not given an opportunity to shine, present an intro or something like he has in the past? Very disappointing. As for Lars, apart from 'Lux Eterna', he's hardly asked to move out of second gear. Useful I suppose if they play into their 80's. He'll have no trouble. Finally I read about the maturity and sincerity of James' lyrics and how personal they are. I have never listened like a Rhodes scholar into the meaning of his lyrics. That's not the reason I listen to music for. His singing of the chorus on a number of songs is cringe worthy. The title song is sloppy with his singing of Wrath of man in the chorus. He has never sung like that!! Finally a 11 minute song at the end when we are already 66 mins in. And it's not your typical Metallica last track. Slow paced and boring (apart from Kirk which as I said is the star of this record). Quality over quantity please. I've come to accept that I loved Hardwired ...To Self-Destruct so much, particularly it's variety per song, that this record is a step down and for the most part is a rock band playing stock music. Never thought I'd say that.

30+ years is a long time between drinks, but from the instant the razor blade guitar of 'No More Room In Hell' kicks in there could be no other band but Possessed that could make these sounds. Picking up where a band left off in 1987 would not be an easy thing to do for any musicians, and sole remaining member Jeff Becerra toured this new line up for a number of years before writing and recording to ensure the DNA of the early songs were imprinted on the new ones. It certainly paid off, with the spirit of those original albums shining through on every note. Arguably the world's first death metal band, those 80s albums were (and still are) hugely important to future generations of metal artists, and unlike many other reunions the new music has expanded and enhanced their legacy rather than diminish it. The riffs on 'Abandoned' and 'Omen' and straight from 1985, whilst other songs like 'The Word' seamlessly integrate more modern feeling influences. Possessed has shown than age doesn't necessarily mean you need to slow down, so let's hope the next new music takes less than 33 years to reach our ears.

In the late 1980's if you had long blond hair, an unbuttoned shirt, and played hard rock music - you were guaranteed to have a hit record. Often talent wasn't even particularly important, but a few bands - Disneyland After Dark being one of them - actually managed to release an album that was worthy of its successes. It wasn't the band's first album (and certainly wasn't their last), but it was the album where everything worked - and the inclusion of the baritone guitar lead lines through many of the songs gave it an extra edge that no one had ever heard before. They'd done similar on previous albums, but nailed it on this one. 'Sleeping My Day Away' was the perfect radio friendly first single to introduce the world to Denmark's best kept rock secret, and follow up singles like 'Girl Nation' and 'Jihad' really drove home their commercial, yet still edgy style - with infectious choruses that couldn't be ignored and the occasional barnstormer to get you bouncing around the room. Much like any bands of this style at the time, their quality didn't drop, but their audience did, and the band was mostly unheard of again, although they have continued to churn out albums of reasonable quality.

On reflection, while this is one of the last times we would hear Layne sing and I hate that we never heard his unique voice on a recording again, have to be incredibly thankful that this evening eventuated. I don't have much to say apart from that. Songs picked were perfect for an unplugged session. Some not that all familiar and I understand they wanted to play more, but ran out of time. So cool to hear Layne interact with the audience in his cheeky way (LL Cool Jay video's? will now play for the rest of the concert - ha ha). Jerry is just a gem and his support vocals are spot-on. He is such a rock for that band. Big callout to Sean on drums and what an unplugged session can uncover in terms of the complexity of the sound he contributes to the session. I'll leave you with the absolute need to listen to 'Sludge Factory'. This is Layne at his best!

Over his lengthy career Dave Grohl has time and again proven himself to be full of surprises, but none probably turned heads more than Probot. At a time when the Foo Fighters were heading into their most consumable and radio friendly music yet, Grohl decided to record a metal album. Originally for fun, but later growing into a full project, Probot as a concept was simple - Grohl would write the songs, and invite his favourite metal vocalists from the 80s to feature on them. What takes the album to the next level is Grohl's ability to perfectly mimic the styles of music the guest vocalist are known for. 'Shake Your Blood' featuring Lemmy on vocals is the song Motorhead should have recorded, whilst 'Red War' sounds so Max Cavalera in style that it is uncanny. 'Sweet Dreams' featuring King Diamond is an 80s metal masterpiece that never was. The album was hyped upon release, but quickly disappeared to no more than a foot note in Grohl's repertoire - but that is unsurprising considering his audience were probably scratching their heads at voices like Cronos of Venom and Snake of VoiVod. One song has seemed to endure though - a hidden track called 'I Am The Warlock' with Jack Black front-and-centre explaining how he is going to destroy the listener's life, in the way only Jack Black can.

In some of my reviews I start with understanding why a band and their release became so popular in the years to come. 1992 was a tough year for any band to release something that would catch the attention of anyone listening to Rock, Metal and now Grunge. RATM doesn't fit into any of these so how/why? I challenge anyone likely to be in their teens or early 20's to identify that RATM is essentially a protest band. I certainly didn't. It wasn't about the lyrics back then, it was the infectious, uniqueness of Morello and how he massaged his guitar to make some sounds that are quite obscure but captivating. Encourage anyone to look up some vids on how he plays. Then you have the angry man Zack. And he is angry. He can play the peaceful, sorrowful, worrying, merciful vox. Next he has built up the rage, anger, spite, revenge type vox. If you read the lyrics, their protest is real - Zack a descendant of those involved in the Mexican revolution and Morello with a Kenyan father that was involved in their uprising in the 1950's and ended up being Kenya's first ambassador to the UN. Anger is a Gift. In any case if there is a poll on best first releases for a band, you have Pearl Jam (Ten) up there and RATM wouldn't be far down the list in my view.

Although the term didn't really exist at the time, the first handful of Sepultura albums were deeply rooted in death metal, and were hugely influential to later bands in the genre. But 1989's 'Beneath The Remains' the band were largely ensconced in a genre that had been named - thrash. Much like the rest of the Brazilian metal scene at the time the band still made their metal with intensity, rather than melody, and straight out the gate (after a short acoustic interlude to introduce the album) the track 'Beneath The Remains' bulldozers its way through the listener's eardrums. 'Inner Self', with its great double time chorus, has slowly become a no-holds barred 80s metal classic, and it is followed by another strong track in 'Stronger Than Hate' straight after. Although thrash by nature the album is still extreme, and at times the pummelling riffwork and drums are unrelenting on tracks like 'Slave Of Pain'. The band's follow up album 'Arise' is arguably a better album, but 'Beneath The Remains' keeps just enough of the primitive early sound of the band in place against the backdrop of better production to make this a truly unique and satisfying album that will be known as a classic of the genre.

Back in the day, living country South Australia, anything outside Top 40 didn't hit the local record shop. Thank God for ABC RAGE, that did make local TV - and you know where I am heading here - 'Jesus Christ Pose'. It was played every week as I was finishing Year 12. Blew me away. I can safely say, outside of thrash metal music, this was the first record I purchased (via a trip to Adelaide), loved, and turned into a huge fan. There are two simple but valuable elements to this record - the gritty, nasty, and in parts ear piercing, guitar sound form Thayil and Cornell, and then of course the brilliance of Cornell's vox. Incredible! He is rated with his peers at the time, with Eddie Vedder being a worthy comparison. Different sounds but equally brilliant. I'd put Cornell at the top. He had amazing range - listen to 'Slaves & Bulldozers' as an example. Oh, the other thing to mention is the lyrics - he wrote or had a hand in most of the tracks on the record. Shout out to Matt Cameron on his drum work. His timing to cover the different tempos in this is amazing. Just realised in re-reading I used past tense for Cornell - continue to R.I.P., my friend.

My Dying Bride is band that is hard to describe, but the term 'brutally beautiful' comes to mind. The band's music is both elegant and harmonious at the same time as being extreme and discordant. Generally their albums contain large sections of pure gothic misanthropy, but 'A Line Of Deathless Kings' took the band in the opposite direction. This album is still firmly planted in the destitute graveyard of doom metal, but gone are the long passages of sorrowful yawl - instead replaced with death metal intensity that is unusual for the band post their early demos. From the onset of the opener 'A Line Of Deathless Kings' it is clear this is a heavier album than usual, and even tracks like the tale of forlorn love 'L'amour Decruit' still have a massive doom sound rather than the soft passages the band is known for. In fact there is very little on the album that doesn't hammer its way into the listeners ears, and ending on the massive double hit of 'Deeper Down' and 'The Blood, The Wine, The Roses' is one of the best album closers of the era, or any era really.

I thought it was time to have some fun by reviewing a band that impersonates and mashes up such classic bands as The Beatles and Metallica. Yes that's right, Metallica singing Beatles songs mashed with Metallica songs. And let me tell you the mash up is absolutely brilliant. Brought to us by Jaymez Lennfield, Grg Hammerston, Kliff McBurtney and Ringo Larz. Some very creative minds behind this band in general and more-so this release which I think is the pinnacle of their talent. Up to this they had a couple of E.P.s to test the waters I guess before this being their first full length. Starting a listen to the first track which is the title track, you hear Lennfield kick off which is a brilliant parody of Hetfield's vocal style. It's a quick 2 minute song which is the case for half the songs on the record. I'm not going to do track by track so you get a sense of the track names and the melding of the title between Beatles and Metallica songs. Simple to say it is incredibly creative. I do have to pick out a few tracks that are my favourite. 'Blackened In The U.S.S.R.' - starts with the Blackend intro which is brilliant, then takes a Beatles turn singing to Back in the USSR. 'Sandman' very similar in the intro, then turns into the 'Taxman' type sound. Brilliant. 'A Garage Dayz Night', which you can guess which Beatles song this is linked to, with a short reference to 'Wherever I May Roam'. 'Anesthesia (I'm Only Sleeping)' where you have to ask in what right mind would you link this classic Cliff solo to the 'Happy Birthday' song? You have to hear it to believe it. My favourite on the record is clearly 'Hey Dude'. This is the flip where a Beatles song is the base for the song and Jude is changed to Dude. Thy rhyming lyrics in the song are genius. Extremely clever work. 'Remember that metal is in your heart, then you can start, to become a shredder.' There has been some releases since but with less to work with compared to a 2007 release where they had 30 years of Metallica to work with, they haven't been as creative as this release. Take a listen if you still want to hear from your favourite bands but not in a corny way.

Pearl Jam's debut 'Ten' was a landmark album that still stands up today as one of the greatest debut albums of time. Following an album like would never be easy, and the obvious route to take is to make something similar for your sophomore. Pearl Jam, true to their style, did the opposite. Putting themselves in unfamiliar surroundings with half-finished songs and a deadline that was tight, they reproduced nature - making a diamond under great pressure. Whilst the debut was polished and focused and had a strong grounding in classic rock, 'Vs.' instead was intentionally jarring and felt more like the songs were organic. 'Go' leapt out the gate, shaking off the last of the band's comparisons to dinosaur rock of the 70's, instead looking to The Sonics and Fugazi for inspiration, and although songs like 'Daughter' and 'Dissident' have gone on to become radio standards, these songs were like nothing else at the time. On 'Animal' and 'Blood' Eddie Vedder pours out venom, with social commentary at the fore, yet the same voice of the 90's then penned the lyrics to a touching masterpiece like 'Elderly Woman'. Never a band to be satisfied, Pearl Jam morphed into something different again on their next album, freeze-drying 'Vs.' as a perfect snap-shot of the state of alternative rock in 1993, and 30 years on it still goes head to head against anything released by any band today. and easily wins.

Let me guess - anyone in their right mind that experienced 'Ten', 2 years earlier, were chomping at the bit on what these twenty-something, raw behind the ears misfits were going to trump us with next. Their answer is emphatic and a one-up on their debut. Possibly the best sophomore release I have ever heard. 'Go' is simply a perfect intro to pick up from where they left off with 'Ten'. Fast-paced and challenging you to not only listen, but keep up with the tempo. The next set of songs simply drag you into their lair with 'Animal' and 'Glorified G' bookending a classic in 'Daughter'. 'Dissident' brings you back to that 'Animal' type tempo - desperate, cry calling lyrics. And we are only at the halfway point. The remainder has quirky songs in the fast paced 'Blood' (c'mon keep up!!!) and 'Rats'. In the middle is the mid-tempo classic 'Rearviewmirror'. I'll finish with acknowledging 'Elderly Woman' - how Eddie can write such classics as 'Go', and put his head into a space where he can write the ballad 'Elderly Woman' I have no idea. The man is a genius with the world at his feet at this point. 30 years old this October, this puts current rock/alt bands to shame. Such an amazing release. Is it better than 'Ten'? Let the debate begin.

For 10 minutes in the 90's Oasis were without a doubt the biggest rock band in the world. '(What's The Story) Morning Glory?' is a perfect example of why. Often known for their offstage antics, the brothers Gallagher were not the most likeable characters at the time (and still aren't), but it would have been interesting to see how much bigger the band could have become if they had treated their fans (and each other) a bit better. Many of these songs have gone on to reach rock classic status, and deservingly so. 'Don't Look Back in Anger' and 'Champagne Supernova' are effortless in their balladry, whilst rockier songs like 'Roll With It' and 'Morning Glory' are loud and raucous, but still keep a radio friendly edge. The band were often compared with The Beatles, and although there is no direct connection - there is a hint of Lennon/McCartney buried deep, especially in the perfect way the songs are structured to hook. In fact there is nothing really new here at all - this is just straight up rock played with a mischievous swagger - but the songs are so damn good they can't be ignored. Try to find anyone anywhere that has not been in a late night sing-along of 'Wonderwall', even if they don't like the band.

The term 'supergroup' is often overused in music, but often when a bunch of big name musicians get together it is hard to describe them as anything less. Throwing Soundgarden's Kim Thayil, Soundgarden / Pearl Jam's Matt Cameron, Nirvana's Kurt Novaselic together with a few other lesser knowns promised an interesting experiment, and the first album doesn't fail to intrigue. Most of the music is actually pretty mellow, and the twin harmonised female voices are not what is expected, but the songs are consistently catchy. The album opens acoustically with 'Rhythm Of The Ride', setting the scene for the sprinkling of acoustic tunes throughout, with 'Winter Solstice' being a stand out. Moments of Soundgarden shine through on the louder tracks, with Thayil's distinct guitar tone and playing style evident, especially on tracks like 'I Choose Me'. The pop sensibilities on many of the songs leave the listener with a feeling of 'do I know this song?', and overall this is really pleasant and easy listen. You won't hear any Nirvana or Soundgarden heaviness here, but there are flashes of the grunge noise that made all these guys famous.

'World Painted Blood' had something of a messy birth, and it reflects throughout the album. The band admitted they weren't prepared to record (and even wrote in the studio), and they parted ways with long term producer Rick Rubin soon after. The proceedings start off with a slow burn in the same way 'South Of Heaven' did 20+ years earlier, and builds into some massive riffs. 'Hate Worldwide' and 'Psychopathy Red' are classic vintage Slayer, whilst other tracks such as 'Human Strain' and 'Americon' sound more like the band we heard in the late 90s. If any complaints can be made about the album it is mostly in the production. The guitar tones are thin, and rubber band like in places instead of the thick rich wall of guitar Slayer is known for, leaving the album feeling somewhat underdeveloped at times. The drum sound luckily carries the album, and this was the last album to feature the recently returned Dave Lombardo. Also worth noting, it was the last album to feature guitarist Jeff Hanneman before his death in 2013. 'World Painted Blood' is far from being a Slayer masterpiece, but it does have personality and charm to boot, and this tends to carry it through the patches of mediocrity it occasionally touches on. All in all it is a great listen, but just not a 'Reign In Blood' for the new millennium that reunion album 'Christ Illusion' from 3 years earlier hinted it was capable of possibly aiming for.

Richie Blackmore, having been the axeman for Deep Purple for close to a decade, had already cemented himself as a rock legend when he formed Rainbow. His vocalist on the other hand, a fresh-faced American named Ronnie James Dio, hadn't yet broken the big time. Whilst 1975's debut album showed promise, this is the album where both vocalist and guitarist really locked together to bring out each other's best. With proto-metal in abundance here, songs like 'Tarot Woman' and 'Starstruck' really shine, and Blackmore's solos feel like he really is invested in this music. The vinyl side B opened with the orchestrated monster 'Stargazer', setting alight the minds of heavy music fans everywhere, and showcasing Dio's amazing soulfully powerful vocals like no other track. Rainbow slowly became mostly 'commercial' after this release, with Dio unfortunately only hanging around for one more album, but there was little chance of them ever besting this masterpiece anyway.

Firstly I have to stop myself from writing an essay on this release. It IS brilliant. Opeth released Deliverance and Damnation 5 months apart. It seemed a deliberate attempt to highlight to fans that future releases will not be full of heavy death metal vocals and that Mikael will truly embrace is love of Prog. Nothing wrong with that - we knew that would eventuate. This is an amazing piece of work from Mikael. For some reason, from first listen I loved it. His vocals perfectly match the music composition, which itself doesn't deviate to far from song to song. I do have to point my favourite song 'Closure' which has that middle eastern sound from the middle. Listening today still brings back the same memories from my first listen. Incredibly bold release, and it worked for the band, given the acclaim it has received.

It probably goes without saying, but this is an album about loss. The death of Taylor Hawkins in March 2022 would have left a large hole in the band, but this isn't the first time Dave Grohl has had to work through grief with music - He had to do the exact same thing almost 30 years prior. He is an older (and arguably wiser) man now, and the songs target his thoughts, but often not through an open outpouring of emotion. Many lyrics are veiled references disguised as odes to lost loves or losing direction. An album highlight, 'Hearing Voices', is more direct in its messaging whereas something like the brilliant opener 'Rescued' is more alluding to the pain of needing to be supported through chaos. Musically the album suffers from a bit of a slump in the middle, but overall this is the best album the band has produced since its early days, and playing it alongside the classic 'The Colour And The Shape' reveals a lot of stylistic similarities between them. The album closes on a sombre note with 'Rest', really nailing home the dark themes overall, and musically using passages from the album opener. Powerful stuff.

German band playing black metal turned to a thrash metal band in the late 80's and gave us a landmark effort in Agent Orange in 1989. However this review focuses on the next effort Better Off Dead. I have no idea how I found this band to listen to, however listening to this today, I still love the true German thrash metal that it is. If you had Millie from Kreator singing then you would hardly notice the difference. Now that is not to suggest that Tom isn't a killer singer. More-so the respect this band should have in German thrash metal. And of course no other band could write arguably the most evil song known in 'The Saw Is The Law'. Some might say a cheesy name, but the lyrics depict a great story. If this doesn't get you up and singing your lungs out to each word, then you aren't alive. What I mostly like listening back to this effort is the album carries your interest all the way through. 'Bloodtrails', the title track, through to the last track 'Stalinorgel' which is a brilliant ending. A couple of covers respectfully executed well and we have a great release. Should have got more credit than they did in such a thrash laden period for metal music.

Considering the number of years they had behind them Iron Maiden continued to prove they had more to offer when in 2010 they released 'The Final Frontier'. The three previous albums ('Brave New World', 'Dance Of Death, and 'A Matter Of Life And Death') set the benchmark incredibly high, and the band managed to keep the quality and consistency - but still add a whole bunch of new techniques to their arsenal. The lengthy 'Satellite 15.' opener builds tension with a moody sci-fi soundscape before the arena-chorused 'The Final Frontier' bursts out in typical IM opener style. Obvious singles 'El Dorado' and 'Coming Home' drive the album, and open up some space to allow a bit more room to stretch out and experiment on tracks like 'Isle Of Avalon' and 'The Man Who Would Be King'. Little did we know at the time that these longer tracks, where the band really spread their wings, would actually become the norm on future albums.

Back in the heyday of TheBigBlack crew searching for something new to listen to, we discovered Volbeat. At a time where metal wasn't offering anything new, these young guns from Denmark hit our ears and instantly struck a chord (or two) with us. Lead singer Poulson at the time was marked as the 'Elvis of Metal'. He does have a unique voice and very much contributes to the overall sound of the album. Apart from that the music itself is hard to capture - kinda a Rock/Metal rockabilly that has you banging your head with a little jump in your step. The chainsaw guitar is very cutting in each song. This lifted the band to global acknowledgement and from here they have gone on to be a big band on large festivals in Europe.

By the late-90s bands like Green Day and Blink-182 would help the new generation of pop-punk explode onto the charts and take the music to the masses, but in 1994 punk was still less than mainstream. With labels now looking for the next 'grunge', bands like Bad Religion and Pennywise were starting to cause a swell, and The Offspring were lucky enough that someone at Epitaph Records (founded by Bad Religion's guitarist) decided they were worth pushing. 'Smash' was an album made for the time, overflowing with angsty lyrics and crunchy guitars, but with just enough commercial appeal that every 15 year old got a copy on CD from their grandparents for their birthday that year. Songs like 'Nitro (Youth Energy)' and 'Genocide' exhibited old-school punk chops and credibility alongside the more modern sounding 'Come Out And Play (Keep 'm Separated)' and 'Gotta Get Away'. There was cross-over appeal also, with alternative and metal audiences hearing something in here that they could relate to. Although The Offspring have had a number of good albums over the years (ignoring the last couple), 'Smash' will likely always be seen as their greatest musical statement.

With this week marking 20 goddam years since the guitar master Darrell 'Dimebag' Abbot left this word in horrible circumstances, it seems fitting to review some of his work. I'd expect the majority of Pantera fans would agree that this band became the biggest thing since sliced bread in the groove metal space with the release of Cowboys From Hell. They in fact had 4 releases prior to this in the 80's which didn't go very far and to be honest, I couldn't name a single song from those efforts. In any case the collaboration of Dimebag, his brother Vinny (the groove master) on drums, Rex on bass and the irrepressible Phillip H Anselmo carrying the vox duties, broke new ground with this release and became a big influence on the metal scene in the years to come. I can't sing the praises of this record enough. From the self-titled first song on the record, there is no mucking around re what they want the lister to experience for the next hour or there abouts - unrelenting, brutal, tight, wizardry that has its ups and downs. By that I mean they can get the listener going crazy when listening to the likes of 'Primal Concrete Sledge' and then only a few songs later bring soulful, and now bona fide classic such as 'Cemetery Gates', which brings us some of Dimebag's greatest work. Forever a legend of a man and forever a legend of a band.

Like him or not, no one can deny Iggy Pop is a legend of the music industry. This album is one of the reasons why. It was pretty much Iggy with a hired backing band at this point as the original Stooges had parted ways, and the man was out to make a statement. Raw Power is aggressive proto-punk with all the hallmarks of the style long before the Sex Pistols or even Ramones. The production is terrible (produced by David Bowie, who stated he was given a twenty-four track tape with everything recorded on only two of the tracks), the overblown mix red-lines its way through the 8 powerhouses, rarely giving the listener a moment to take a breath. 'Search And Destroy' opens, and is a letter of intent to the listener, warning them to stay low or be pummelled - and although the album immediately changes gears with the acoustic driven 'Gimme Danger', the aggressive mix still makes this a moment of nervous energy and explosive power. Side B opens with the title track, and it is every bit as brain shaking as side A. Everything about this album was ahead of its time, and it isn't hard to hear why so many list it as an influence - even if you will likely be deaf after only a couple of listens. One thing of note, if you do find the mix challenging - check out the remix made in 1997 (apparently from the actual multitrack masters). It does a good job of keeping the urgency of the music, whilst removing the treble heavy toxic noise of the original.

''Down my stomach. Here come Banana''. Track 3 opener. Take note of the razor guitar sound, before the bass line kicks in (credit to the great Rob Trujillo who plays bass on the album) and off the song goes. Now what you will notice is 'Cyco' Mike trying to sing a melody. A what?? I'm a huge fan of the likes of 1987 release 'Join The Army' - 'Possessed To Skate' being legendary and picked up by any self-respecting Red Bull skating promotion. But this release is very different. Is that a good thing? The response is mixed. It is often referenced as their 'experimental' record. However 5 records in (over 7 years, mind you) they've decided to make a change to the punk/metal fusion saturated songs and put together a mature set of songs that do still offer the punk side of them ('Capt'n Stupid', 'Which Way To Free'), but some very mature songs such as 'Monopoly On Sorrow' and 'I Hate You Better'. Funnily enough they quickly returned to their punk roots which I don't mind with 'Freedumb' in 1999 being a classic (for another review perhaps).

Compiling an album posthumously will always be a tricky endeavour, as who knows what the artist's final vision may have been? A number of attempts have been made over the years to compile Jimi's final recordings into the album he was working toward. The first (and best known) was 'The Cry Of Love' in 1971, and although it is an amazing album in its own right, greed ensured it was not the double album that was planned, with key tracks held off for future releases. Another well-known version was the 'Voodoo Soup' album from 1995, but to most this came out feeling more like an interpretation or reimagining. To my ears. I think this is by far best possible representation, constructed from multiple hand written notes from the man himself. The sound quality is amazing, and the song writing is light-years beyond 'Electric Ladyland'. In the two years since the recording of that album there is no doubt from these recordings that Hendrix was now at his best in a studio - laying carefully constructed overdubs over overdubs. Songs like 'Night Bird Flying' reveal where his mind and soul were taking the music, sounding more like a guitar orchestra than one man with a Fender Stratocaster. There is rock a-plenty here with songs like 'Izabella' and ' Ezy Rider' grooving along, and some funk and soul also buried in the mix with songs like 'Freedom' and 'Earth Blues'. Although some feel the soul of the music is a little lacking here due to the studio gimmicky, the songs themselves - and the immense talent of the man - still can't be denied.

Charlie drum intro on the first track. Frankie kicking in with that bass. It's 'thick' once you bring in Scott and Dan before you have Joey introduce himself on point with the tempo. You only need to indulge in the first 30 seconds of the first song to realise that, within 2 years, they have matured immensely from the 'State Of Euphoria' era. This band means business and they take every opportunity, in just over an hour of music, to make this point. No 'Not Man' or any other comic suggestions. No kicking out the jams and SK8'er references or behaviour. These guys had something to say to the world in the early 90's and did a hell of a job doing so. Highlights for me are the lead track 'Time', 'In My World', 'Gridlock', 'H8 Red', 'One Man Stands'. The last 2 being at the end of the album which says a lot to the quality of the music on this record. This recording is easily in my all-time Top 5.

From the moment 'Twist Of Cain' starts to play my head starts to bob, and there is nothing on this album that stops it. Debut albums are an interesting beast. Bands aren't burdened with expectation of fans and record companies, and therefore they can just be whatever they want to be, and have fun along the way. Sure, Glenn Danzig already had the legacy of the Misfits and Samhain behind him (although they weren't really 'legendary' yet), but this was still like a whole new start for him - and it shows. The music isn't particularly up tempo, and it certainly isn't technical, but it moves along with a swagger that most bands would never ever get close to. Every word that drips from Glenn's mouth feels like it is sung with a mischievous smile, and on tracks like 'She Rides' and 'Am I Demon' he really opens up, and let's not forget to mention the greatest track in the Danzig repertoire - 'Mother'. I think the thing that constantly draws me back is that on the surface it all feels a bit. tongue in cheek, and yet you still feel some underlying menace. I bit like discovering your kind old next door neighbour is possibly a genocidal war criminal in hiding.

Indulge with me for a moment. Growing up in country S.A. in the 80's we had the privilege of two American journalists exposing to us the greater world at the time. Warner Wolf on sports and Casey Kasem on music. Casey's Top 40 was broadcast on the local AM channel on Saturday afternoons, where myself and the family would have the show loud on the radio in the backyard. I started to listen in 1985 when this guitar sound in Money For Nothing was simply mesmerising at the time. I bought the tape without knowing much more about them. As it turns out this single, which rewarded them with millions, is not the pick of the album. Don't expect this to be a rock album based on this single. It is very much a contemporary recording which you need to heavily invest in the lyrics sung. I think most would have heard Walk Of Life and So Far Away, however the songwriting maturity of the last half of the record is outstanding, including the last track Brothers In Arms, having a very poignant subject behind it.

In his own words, Blonde On Blonde is the 'thin wild mercury music' Dylan heard in his head in the mid-1960s. It is a proclaimed masterpiece by many music fans, and whilst it isn't my favourite album of his from the period, I can't deny the scope and depth. Dylan effortlessly switches between rock, folk, blues, ballads, and even Dixieland jazz on this eclectic double album - in fact the first double album ever released in popular music - and his third released in a year. Songs like the soppy 'Just Like A Woman' and the up-tempo 'I Want You' would be become radio standards of the 60s, but I don't think anything on this album reached the heights of his previous album opener 'Like A Rolling Stone'. 'Visions Of Johanna' does come close though, and 'Stuck Inside Of Mobile With The Memphis Blues Again' is a great representation of his music from the period. All in all a great listen.

Aussie alternative scene was now huge mid-90's. So much so that Government funded broadcaster JJJ put together the 'Unearthed' concept, where the 'weekend warriors'/'garage bands' had the opportunity to submit an original song with potential stardom awaiting. The very first one in 1995 saw Lismore locals Grinspoon win the competition. Some cash and a recording contract. The side note to this competition is arguably they were the best product of this competition over the years. A couple of E.P.'s later and we have Guide in 1997. Fist pumping, neck snapping, in your face not so much heavy rock. It's more than that. They get called post-grunge. Reality is it's 16 tracks in 42 minutes of thick/crunchy guitar, with some tasty solo's, heavy-handed drumming and then there is Phil's sometimes deranged singing style, covering all the important topics such as DCx3 (Dead Cat x 3) and of course Sickfest, that won them 'Unearthed'. In 1998 they signed to a record label in the States and off they went. Heck of a ride in under 4 years of existence. I think Kylie Minogue is still trying to make it in the States.

It's hard to believe, but in the 1970s The Beatles were old tired news, and apart from a couple of blips on the radar in the form of average reissues and live albums, there wasn't much interest. By the 1980s however, with the advent of the compact disc, fans started asking when The Fab Four were going to be released on the format. This happened in 1987 (unfortunately to mixed results), and a slow revival began. EMI realised by the early 1990s that anything they didn't release on CD some bootlegger would, and the first thing to do was to stop the steady stream of BBC bootlegs by getting an official release out. For Beatles tragics (like myself), the double CD 'Live At The BBC' album was earth shattering. Not only did it give us over 60 unreleased tracks (in mostly top quality - mainly due to one woman who recorded close to every one of the hundreds of broadcasts on her home tape machine), but the majority of the songs were new songs never before released by the band. The reason for this was simple: with only a handful of their own songs released at the time (mainly 1962-1964), and sometimes doing two (or more) BBC shows a week, they had to revert back to covers of songs they played in their early days in Hamburg and the Cavern Club. Chuck Berry, Little Richard, Carl Perkins, The Everly Brothers, and Elvis Presley (amongst many others) get a work out, and the small interludes of conversations between the boys and the hosts transport the listener all the way back the 60's. An amazing piece of musical history.

Going solo (or at least creating a new band identity for yourself) after being in a ground breaking genre-defining band is always going to be tough. People like Paul McCartney and Robert Plant realised this, and struggled to find a new norm amongst their established audience. Johnny Rotten knew that post Sex Pistols his fans wanted to see him become more Rotten than ever, which is why he did the opposite - he became himself. Re-emerging as John Lydon, he introduced the world to PiL, a post-punk art-rock anomaly, that many fans were left confused and alienated by. There are shades of his former band buried here, but more in attitude than style. There are acerbic buzzsaw guitars, but they create atmosphere rather that riffs, and the spoken word poetry of Religion was likely too much for most mohawked glue-sniffers in 1978. There are still some 'real' songs here, with tracks like Annalisa and Public Image pumping out rock greatness, but for the most part this is an album (and band) designed to make you think, rather than pogo.

Speed metal with just a touch of black has been getting quite a following across Europe in the last few years. Hellripper is a one man unit out of Scotland that leans a little more on the black side than most, rasping away though these blazing songs like a demon on a motorcycle. The guitar tones are tasty, with a 80s feel (but a modern sounding production), and the whole album makes you want to throw your horns up in the air and shout the dark lord's name. There is plenty of vintage Slayer and Megadeth here, but it also drips with a dark swagger that only bands like Darkthrone can usually pull off. It isn't just old-school worship though as so many other more recent bands like Warbringer also come to mind. The solos shred and are reminiscent of the leads on faster Maiden, and if this doesn't get your metalhead ass out of the chair leaping around the room - nothing else will.

With band members all around 60 years old a band could be forgiven if they decided to start taking it easy. Metallica have many roads available to them when they create music these days, and it felt like they had settled into a nice comfy pattern of 'not too heavy, not too light' with Hardwired To Self-Destruct. Turns out they still have a surprise or two in them yet, as 72 Seasons is the heaviest and most unrelenting album they have ever created. This is a dark album, and as each song rolls by you appreciate the many layers of texture this band have become the masters of laying down. For the most part it is pedal-to-the-floor fast, with little room for air between the songs and riffs, leaving a feeling of suffocation or even claustrophobia that Metallica don't normal conjure. There isn't a ballad or even a clear guitar, but did we need one? Slayer or Exodus never looked back and wished they had written 'Nothing Else Matters', because sometimes you just want intensity when the subject matter calls for it. Standouts for me are '72 Seasons', 'Crown Of Barbed Wire', and 'Room Of Mirrors'. There are riffs everywhere, and the only low points here are a couple of repetitions too many on the slower songs. This will probably not be the album some people wanted or expected, including me - but now that it is in my ears I couldn't imagine anything else I'd want more from Metallica circa 2023.

In 1994 Bush took a lot of unnecessary criticism for apparently being a Nirvana clone. To be fair, in 1994 - every band was Nirvana clone. With Sixteen Stone they took the angst of grunge and wrapped it up in a big ball of English optimism, and made a dirty distorted sound that was very much their own. Whereas Kurt Cobain was all about telling us how shit his world was, Gavin Rossdale wrote more positive lyrics, and their big hooky choruses left you feeling good about things. Songs like 'Everything Zen' and 'Little Things' had a alt-rock crunch, but they were still radio friendly enough to get plenty of airplay, and how could 'Glycerine' not become a classic ballad of the 90s (even though no one has any idea what it is about)?. It isn't a perfect album by any means, and there a couple of low spots ('Bomb' is a mess), but for the most part this is one of the best debuts of the post-grunge 90s. It's a shame Bush never made an album this good again.

Tool's 'Aenima' is still one of my favourite rock albums of all time, and each subsequent album released since has had moments that I have enjoyed, but ultimately I have been disappointed overall. They lacked the fire the first couple of albums did, instead replacing it with mood. 'Fear Inoculum' was the album that finally broke through for me. 13 years in the coming, this album is everything a grown up version of Tool is known for, but the moodiness and soundscapes are far beyond anything the band has done before. It is a slow burner, with all but one track between 10 and 15 minutes long, but every song slowly unfurls like the petals of a new flower, and the band finally does what it says on the packaging - it transcends and eclipses all previous albums with very little effort. It twists and turns, and you are brought along for the journey more as a witness than a listener. Will it ever be my favourite of theirs? Probably not. Do I think it is their best album? Possibly so.

Let's provide some perspective here. At the time of releasing this record, band lead and vocalist Millie was 19. Ventor, long stay in the band as drummer was 20. Up to this point they had already released 2 albums! So excuse me if I spend a moment to say I am blown away with how influential this band already was in the Thrash Metal mid 80's movement, importantly a German influence on the genre, at such a young age. I absolutely love Millie's rough German tinged English vocals. His singing is captivating which contributes heavily to the sound of the record. Apart from Ventor lending vocals to Riot of Violence which is equally amusing with the German accent. There isn't much more to say apart from again re-iterating their age in producing such a mature album. The stage is set for fans at his point to indulge in their releases to come over the next 5 or so years, which are equally captivating.

Iron Maiden have never been a band known for shock value. They stand solid like a British institution, unwavering and unchanging. Sure, they have had a couple of vocalist changes and sometimes we see an unexpected twist or two in their music, but for the most part - you always know what you are going to get. And therein lies both the strength and weakness of most late period Maiden albums. The predictability level is always quite high (there will be multiple epics, with the slow bass introduction, building to the soaring chorus), and on first listen I tend to feel disappointment that this all sounds a bit too familiar - yet something still draws me back for more. Once it all sinks in you see there are still some brilliant songs on display here. On disc 1 the title track opener broods and builds to a massive war epic, and 'Stratego' and 'Days Of Future Past' harken back to the 80s. 'The Writing On The Wall' has a western flavour, and 'The Time Machine' sounds like something from the 90s era. Disc 2 heads into more of the epic territory with only 4 songs, but there are some surprising moments hidden in there. Even at close to 50 the band still has the magic, but there is certainly some bloat that could be removed. Not every song needs to be an epic after all - but which ones would I possibly trim.?

Think 1988. Think all the happenings and maturation of the Heavy Metal Scene at that stage - Iron Maiden, Metallica, Slayer, Megadeth, Anthrax, Kreator etc. In addition, if you are not pinned to the ground with heavy metal, you were starting to experience the likes of Suicidal Tendencies which is more the modern punk scene. I mention ST as they formed half of the thrash band that became Uncle Slam. Now the title of their debut says it all in terms of North American slang, being a call to a contestant in a fight to submit. Well I wasn't ready to until I listened to all 35 minutes of this debut record. There is plenty of fast riffing, fast lyrics that are hard to decipher in parts and a bunch of songs that focus on topics that are questionable at best - 'Weirdo Man' and 'Ugly Dude' for example that lead off the record. All these years later, I still listen to this regularly when you're after something not so serious - just great thrash metal.

Dave Mustaine was on a mission with Megadeth's 1985 debut album - to crush Metallica. They were already two albums in at this point, and were already forging the way ahead for the burgeoning thrash metal scene, so he know he'd have to aim high. The original version of Killing Is My Business is arguably one of the better debuts from any of the thrash greats, and could have been up there with Metallica's album - but what it lacked was punch. We all know the stories of what the production money was spent on (so no need to recap that here) but clearly Megadave has never really felt at peace with the album, as The Final Kill is the second remix of it. 2002's attempt was not bad, and did bring out some highs that were otherwise buried, but The Final Kill really is the definitive version of the album. This isn't a new mix to reinvent anything, so there is nothing here that detracts from the original album - it is more like lifting the carboard box that was sitting over the speakers off. It is crisp and sharp, and the separation on every instrument is clean. The guitars have a bucket-load more punch, and instead of snapping like a piranha, they now bite like a shark. 35 years on, and this is the album we all knew was always in there somewhere. We are unfortunately stuck with a 're-recorded vocals' version of 'These Boots' due to legal reasons, and a bunch of average sounding live tracks from each song on the album give a bit more context to the songs - but are particularly necessary. Lastly, we get yet another remaster of the original 'Last Rites' demo from 1984, which serves a perfect ending to the album, and a perfect ending to this chapter of the band.

1987's 'Appetite For Destruction' set the rock world on fire, and reminded as us that rock 'n' roll could still be dangerous, long after The Rolling Stones had been measured up for wheel chairs. It was a fierce, in your face musical assault - but if one (very small) complaint can be made, it would be the lack of variation. It must be one of the most famous rock albums in history - and yet doesn't contain the diversity of any ballads or acoustic moments. We now know that was by design, and a few months later they showed us another side with the 'GNR Lies' E.P., but it still in no way prepared us for the epic size of the 'Use Your Illusion' albums 3 years later. These albums didn't reinvent rock, but they certainly reinvented Guns n' Roses, allowing them the room to produce 2 albums worth (4 album in the old school vinyl days) of every variety of rock ever performed - and with a massive budget to allow them to stretch their wings in new and different ways. The hard hitting songs were still here, some of them written pre Appetite even, but alongside them were sprawly ballads bigger than anyone had ever attempted before. The 30th anniversary remaster is crisp and clear, but to honest - did the original need any tweaking? A new mix has been made of November Rain (introducing a real orchestra rather than synth), but that didn't mean anything to me - as it is the only song I never really cared for. There are two entire live concerts included, and they are a great listen. Axl is firing on all cylinders, and Duff and Slash play pretty loose (as they were probably quite drunk.). The shows still aren't the band in the absolute late 80s prime before the bloat of fame and insane mind of Axl had started to corrode them from within, but they still show the greatness of the band just before they came unstack and headed into autopilot. Is it a shame this was the last original material the classic line-up ever released, or was there no better way to drop the mic and walk away?

If I asked you what is the most important piece of music in heavy music history, you are probably going to say the opening bars of Sepultura's 'Roots', or the solo in Black Sabbath's 'Heaven & Hell', or maybe even the moment the wall of guitars crash in at the start of Metallica's 'Battery' or when Tom Araya lets out his blood curdling scream on Slayer's 'Reign In Blood'. They are all good tries, but you are wrong on every count. The correct answer is (of course) the last four minutes of Opeth's 'Deliverance'. Every wonderful moment of those four minutes sums up everything early Opeth and these two albums were about. Both amazingly beautiful and damagingly heavy at the same time, and perfectly executed in syncopated progressive glory. It is debatable whether these albums needed to be remixed for this package (especially the lighter touches of Damnation), but Deliverance is certainly presented here with more punch and clarity, and packaging them as a singular album as originally intended is great. This is Opeth in their prime - able to switch from brutality to whimsey within moments, and Akerfeldt's voice is just sublime, whether singing or growling. The musicianship and song writing are exceptional as always, and it could be argued that they were never this heavy (or wonderful) ever again.

There isn't a broad range of things you can do within the context of traditional black metal, yet some musicians are still able to do something quite amazing with a style that has seemingly close guardrails. Blackbraid (actually just one man named Sgah'gahsowah) is a native American influenced black metal project that has taken the template to places fresh and new. Not only does it feature lush acoustic passages played with traditional native American instruments spread throughout the otherwise raw black metal chaos, but the lyrical themes follow historical events relative to the history of the native American people. Many modern black metal albums whisk by, not really enveloping the listener from start to finish, but instead grabbing attention with circular riffs amongst the over-produced wall of sound. This album on the other hand is one of the rare breed that captivates from start to finish.

A band that exploded on the Aussie alt/rock scene mid 90's after the Grunge period had started to settle, Double Allergic is their Sophomore release after Parables. It had considerable radio play on Triple J and produced classics such as D.A.F, Pick You Up, Living Type. When new Oz rock was at its peak at this time (The Living End being the most notable), these guys stood above the pack with their clever song-writing, not to mention a hell of a front man with a voice you fall in love with. They went onto make some memorable releases, but this release is a genuine watermark in their career. They nailed it and come the spoils for another 5 releases over the next 13 years. The fact that in 2023 there are still calls for them to reunite speaks volumes about their legacy.

As great of a time as it was in 1986 to be a fan of thrash metal, it always felt slightly untouchable. The titans of the genre like Metallica and Slayer were well established and were playing music that seemed otherworldly - because they were just so far from me geographically. Mortal Sin brought that feeling of isolation to a sudden halt when 'Mayhemic Destruction' started filtering through the underground. Sure, the production was pretty flat (apparently the album was recorded as a demo, but got released to save money) - but this was thrash that was as dark as Slayer and as well-crafted as Metallica, and it was right out of the land down under. Songs like Liar and Lebanon thundered along, the dull lifelessness of the drums actually propelling the songs further into darkness, and Blood Death Hatred and Into The Fire were as good as any U.S. or German act were putting out. And do I smell a whiff of early Death Metal in the title track?

One thing I really miss from the early times was E.P.'s/compilations from the early years of Anthrax. We had the Armed And Dangerous E.P. which I could write another review on. Then we had early 90's where the full length Persistence Of Time was released a year earlier. B's was released without any fanfare, but along with some offsprings from Persistence, it contained some darn brilliant covers from the likes of S.O.D., Public Enemy (with no other than Chuck D himself 'bringing the noise'), Kiss, Discharge and Trust. And a new track to not appear anywhere from the boys themselves in 'Starting Up A Posse' (can we call Scott a bona fied lead singer?). Anyway, in summary this release is a heck of a lot of fun, particularly the return to I'm The Man, with new lyrics 5 guys in shorts, who gives a shit YEEEEAAARR!!!!

The influence on the second wave of black metal (mostly out of Norway) is often documented to include three bands in particular - early Venom, early Bathory, and the period of time when Hellhammer morphed themselves into Celtic Frost. One band that is often only mentioned as a side note is Sodom. Early recordings such as their demos and the 'In The Sign Of Evil' mini-album were hugely important to the development of the style, but possibly due to the band's later correlation with the big 4 of German thrash their unholy black metal beginnings are generally overlooked. Aggressive and dripping with evil, both in the lyrics and production, this a lo-fi masterpiece of early extreme metal, and the band never really returned to this style in later years once the thrash craze really took hold. The young musicians aren't the most advanced, with Witchhunter sounding like he could completely lose the drum beat at any moment, but Angelripper's voice already has that unique quality that would always set Sodom apart.

Arguably the band that was responsible for the term 'Nu-Metal' in the mid to late 90's. Heavily down-tuned and singing about personal sufferings and some songs being outright childish, they divided the metal community with their early releases. When I bought 'Untouchables' on day one, I thought I was listening to a different band. The lead song Here To Stay' seems to be a very deliberate response to the metal community that, despite the haters, they aren't going anywhere. Four albums in they were ready to grow up and be more experimental, and perhaps more precise in their song structures. The soundscape is very much made all that better by Davis's equally soulful/hateful singing. You can't help but be captured by his emotion. I love their first four releases but I'd argue that this is their best effort, considering the steps they took. They turned around with another album just over 12 months later before things went pear shaped and the original line-up split. I do think future releases since 'Untouchables' in some way tie back to the song writing on this record.

How the hell 4 misfits from Illinois who had just broken through into mainstream grunge with Siamese Dream in 93, would two years later have the balls to put together a 28 song double album masterpiece is mind-blowing. And they did it with rave reviews. Billy (William) Corgan confirmed for many of us that he is a master (somewhat query) songwriter. I'll counter that comment for now with a very brief highlight on 'We Only Come Out At night' which is a quite horrible example of when Billy waning himself through a song, would send rats down a sewer hole. I'm being harsh in picking out one song out of the 28 that grates. The experience before and after should still keep a smile on your face. We have classics of 'Tonight, Tonight' Which includes all the orchestra loadings possible, down to 2 tracks later we have a dark, heavy song like 'Zero'. I could go on. I return to my first couple of sentences - we have seen a maturity of a band we were hoping to take that next step. I just wasn't expecting a masterpiece such as this at the time.

1997's 'Time Out Of Mind' is often labelled as the great Dylan comeback album. With a number of years passed since his last (mediocre) albums of originals many fans had low expectations, but were pleasantly surprised when he unveiled the late career masterpiece. This Bootleg Series instalment focuses solely on the album (for its 25th anniversary), and has a few great surprises. A complete new remix of the original album removes the swampy and atmospheric production of Daniel Lanois that has divided critics and fans alike for over two decades, and in its place we get a fresh clean sounding version of the album revealing many highlights I'd otherwise missed in the murky mix. There are also three discs of demos and outtakes (although one whole disc is made up of tracks from previous Bootleg Series entries). My only complaint is the quality of the disc of live tracks from the era - Sounds good in principle, but the recordings are reasonably poor unfortunately.

Books like the excellent 'Choosing Death - The Improbable History Of Death Metal & Grindcore' by Albert Mudrian remind us what a hugely influential album this was to thrash and death metal. It is raw and abrasive, and demands your attention in ways only hardcore can - but it is (unintentionally) bordering on bursting from the hardcore label into early speed metal. It is dripping with the typical D.I.Y. low-fi sound, and the barked lyrics are simplistic. In many ways the fast-paced riffs are also - but they are so well crafted that they grab you and don't let go until the 28 minute ride is over. Oddly the band went from hardcore punk to a glam metal style for their next album, so apart from a handful of E.P.s this is all we have of the original band. I'll note that many many metal bands have covered songs from this album, including Anthrax, Napalm Death, Machine Head, Metallica, Arch Enemy, Brutal Truth, Soulfly, Prong, and Neurosis. That lists speaks for itself in terms of influence.

My first decent listen to a FF record in 10 years. I'm a huge fan of their earlier work and haven't given them a fair listen for about 10 years. Considering this is the final record with Burt in charge of vocals, it deserves a good listen. I'll be honest in saying I have only given it a few listens. My first opinion is that it is very 'mechanical' with the music, which has been their footprint since the start, but song after song is not the norm. Timings, breakdowns etc. This is very much Dino though, so I shouldn't be surprised. Burt's clean voice is as it sounded 30 years ago, which I do like. I note they have added a keyboard into the mix, which is very evident in places. Not a fan of that. I'll keep listening, but not a classic in their catalogue. ILYOSBTYNS! Is all I can say, which won't come as a surprise.

Obituary is band unlike any other in the death metal genre. They grind out their simplistic riffs with sludgy swamp-like determination, and vocalist John Tardy growls and gurgles his way through his unintelligible lyrics like no one else. This is band's first album in 6 years, and the wait has been worth it - as this is easily some of their best songs of the last two decades. 'Barely Alive' beats the listener into submission from the moment it starts, and 'The Wrong Time' slows everything down to the most sludgy groove you will ever hear. The title track is vintage Obituary, sounding like it is straight out 1989, and closer 'Be Warned' slows things down to a Melvins-like crawl to end it all. The production is top notch and the songs are infectious as hell. Occasionally a young metal fan will proclaim older bands should retire - this album proves some of the older bands can still outplay the ones half their age.

With 30+ years of history behind it death metal rarely offers anything new these days, but somehow An Abstract Illusion has given it a facelift. The album is full of brutal unrelenting machine-like drumming and guitar artistry alongside beautiful passages of orchestration, piano, and voice. 'The Behemoth That Lies Asleep' opens the album sleepily, before exploding into a cacophony of violent sound with 'Slaves'. The progressive elements are the key to holding the listeners attention, and tracks like 'Prosperity' move seamlessly through various tempos. There are some quieter moments, and the haunting 'Blomsterkrans' would be out of place on any other death metal album, but on this one - it works. The last two tracks close the album in epic style with 'In The Heavens Above, You Will Become A Monster' clocking in at almost 15 minutes in length, and 'This Torment Has No End, Only New Beginnings' at almost 10. The musicianship on offer is unmatched. For some this may be stretching the definition of death metal too far in some places, but the genre needs bands like this to push the style in new directions - it just won't be for everyone.

This edition looks at a new release from a band I have loved since a teenager. We have had our differences along the way with releases. Now is time to review their latest offering. I am still only a month and a dozen listens into this one. So it's not like I am reviewing Rust in any way, so here we are with my first impressions. Overall, the best release they have delivered for a long time, and I'm talking over 15 years ago. My main concern is Dave relies a lot on spoken word instead of his usual singing tone. For example in middle part of 'Life In Hell'. Mind you this is a killer guitar riff happening at the same time. A favourite track. 'Night Stalkers' with Ice-T's influence makes you stand up and listen, as always with Ice. Him returning the favour from Mustaine's involvement with last Bodycount release I expect. Oh and that bass line toward the end - I'm in love. Another great track. Some great guitar work follows in tracks such as 'Sacrifice' and 'Soldier On'. 'Psychopathy' is the only track I can see is a waste. Ticking in at just over a minute I don't see the point. It ain't no 'Dawn Patrol'. And a very close pass for 'Mission To Mars'. Dave, they are some lame lyrics right there. Likely the best track on the record is the last track 'We'll Be Back'. Damn this is fast and catchy. Love it. I can't say for sure but it is interesting that this release marks the longest they have had between records for a long time (6 years in fact). I would love the quality over quantity into the future Dave.

Continuing on their winning streak from Dystopia (2016), Megadeth proved once again they still have what it takes on The Sick, The Dying. And The Dead. Loaded with plenty of old-school style thrashing (keeping the Droogies happy), the album bristles with energy, aided by the perfect production. The album starts slow on the title track, but quickly finds its feet with the lightning fast 'Life In Hell'. Frontman Dave Mustaine's voice is in fine form (although the snarl of old seems to be all but a memory these days), and the solos from him and guitar lead Kiko Loureiro are amazing with standouts like 'Dogs Of Chernobyl' exploding with trade-off shredding. It isn't all smiles, as there are more than a couple of cringy-worthy lyrics ('Mission To Mars' is a great example), but for the most part the album is packed with excellent songs, with tracks like 'Soldier On!' and 'Night Stalkers' smashing out vintage-sounding Megadeth riffs. Album closer 'We'll Be Back' is one of the best Megadeth songs of the last 20 years, and Dave's way of making it clear that he isn't going anywhere anytime soon.

The first edition of Gravelling's provides a brief review on one of the most important debut records from an Aussie rock band that has become an institution in Australian rock history. I can't recall how I heard of the band when this record came out in 1991. Triple Y in Whyalla must have played some songs. That's the only way I would have heard the music before I went to the local record store and it had it there for sale. First track 'C'Mon' blew me away. 'Better' is the single that is still played on rotation today and for that reason it has become a song I don't like so much. If you have a close listen to the record, there are some gems in addition to those two tracks. 'Starting out' is a catchy track. 'Blue Sashes' buried in the second half of the record is a real call to arms, and I absolutely love this track. But is has to be 'Shine On' that is the true measure of how a ballsy pub rock band can put together a 'ballad' if you want to call it that (a slow song). It is catchy and a great song to sing. A great Aussie band that went onto smack out some more records that back up their first full-length.