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Reviews

Metallica - 72 Seasons (2023)

[Thrash Metal]

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.

Megadeth - The Sick, The Dying. And The Dead! (2022)

[Thrash Metal]

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.

Fear Factory - Aggression Continuum (2021)

[Metal (Industrial)]

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.

Serj Tankian - Elect The Dead (2007)

[Metal]

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.

Beatallica - Sgt. Hetfield's Motorbreath Pub Band (2007)

[Comedy]

This review is aimed to be fun. A parody review of a Beatles vs Metallica mash-up band that take lyrics and music from both bands. It is incredibly impressive. These guys - Jaymez Lenninfield, Ringo Lars, Kliff McBurtney and Greg Hammeston are great musicians in their own right. From the very open of track 1, the title song, I gotta say they have pulled it off with Hetfield's sound. Brilliant. Of course you need to be familiar with both bands to appreciate this. Highlights for me are 'Blackened In The U.S.S.R.' - which starts with the 'Blackened' intro from Metallica and then shifts into the Beatles sound for their classic song. 'Sandman' where there again is a typical intro except for the bass, you know that is going to turn into something else 'Cashman'. There is a playoff with lyrics between to the two songs which is very smart. Also lyrics not related to each band such as 'For Horseman' where Larz needs to get more beers. They even include a mash of Cliff Burtons classic Anesthesia, with then turns into 'Birthday'. The highlight has to be 'Hey Dude' which talks about starting to be a shredder and to avoid posers, with callouts to 'Kip Winger' and 'Diamond Header'. Brilliant! Add a few more Lenninfield 'Yeehaahh's' and this is a release you will have you grinning from ear to ear.

Shining - V, Halmstad (2007)

[Black Metal]

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.

Chevelle - Vena Sera (2007)

[Alternative Rock]

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.

Khold - Krek (2005)

[Black Metal]

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.

Volbeat - The Strength, The Sounds, The Songs (2005)

[Metal]

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.

Nine Inch Nails - [With_Teeth] (2005)

[Rock (Industrial)]

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.

Limp Bizkit - The Unquestionable Truth (Part 1) (2005)

[Nu Metal]

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.

Slipknot - Vol. 3 (The Subliminal Verses) (2004)

[Nu Metal]

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.

Black Label Society - Hangover Music Vol. VI (2004)

[Heavy Metal]

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.

Black Label Society - The Blessed Hellride (2003)

[Heavy Metal]

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.

Opeth - Damnation (2003)

[Death Metal (Progressive)]

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.

Korn - Untouchables (2002)

[Nu Metal]

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.

Silverchair - Diorama (2002)

[Alternative Rock]

The fans who were there for Frogstomp, celebrated a tasty sophomore release in Freakshow, then progressed to Neon Ballroom where 'the kids aren't alright' (mostly Johns) started to build the nerves of a band that within 4 years was on the verge of self-destruction, we land 3 years later with Diorama. Now that is a fans view. The experts paid to review releases, saw it as a continuing step in maturity for the band. For some reason adding a trumpet or strings into what used to be a Grunge band is a sign of maturation. At the time, I invested a lot of time in listening to this wanting to know it. I appreciate fans will be put off by the first track. Following that, there are 4 songs that would fit in with Neon Ballroom. Others are a little more complex and not your standard menu item for a Silverchair release. If you do block that out however, they are songs to enjoy. However the writing is on the wall here and we know what happens from this point.

System Of A Down - Toxicity (2001)

[Nu Metal]

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.

Something For Kate - Echolalia (2001)

[Alternative Rock]

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).

Red Hot Chili Peppers - Californication (1999)

[Alternative Rock]

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.

Suicidal Tendencies - Freedumb (1999)

[Thrash Metal (Crossover)]

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.

Grinspoon - Guide To Better Living (1997)

[Alternative Rock]

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.

Powderfinger - Double Allergic (1996)

[Alternative Rock]

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.

Alice In Chains - MTV Unplugged (1996)

[Grunge Rock]

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!

Metallica - Load (1996)

[Thrash Metal]

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.

Edge Of Sanity - Crimson (1996)

[Death Metal]

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.

Smashing Pumpkins - Mellon Collie And The Infinite Sadness (1995)

[Alternative Rock]

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.

Ammonia - Mint 400 (1995)

[Alternative Rock]

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.

Faith No More - King For A Day... Fool For A Lifetime (1995)

[Alternative Rock]

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).

The Meanies - 10% Weird (1994)

[Alternative Rock]

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?

Regurgitator - Regurgitator (1994)

[Alternative Rock]

Slightly different approach on this review as I am reviewing 2 E.P.'s that are so close in their content, a single release would be epic. Regurgitator's 'Regurgitator' (1994) and 'New' (1995). As you can see, released within 12 months of each other. If you listened to the 'Regurgitator' (The Hamburger) release and was turned off then I can understand why. It is essentially cluster-phuck of songs with each song being as out there or even more so than the previous one. I'd like to take you through track by track as I have spent a lot of time with these E.P.'s. Full of samples, questionable song topics, including a quite alternative use for an empty bucket of KFC in the opening track of the S/T, through to some 2-3 min Alt Rock classics, both E.P.'s end before you get a chance to catch your breath. Band lead Quan has been a questionable character but he plays a mean guitar. While I think he brings most of the weird, his main man, partner in crime and bassist Ben encourages this approach. You can imagine these guys in their garage laughing crazy at what they have written. Re the songs themselves over both E.P.'s highlights for me are immense. There are 5 tracks also on 'New'. If I were to pick 1 song as a favourite of the two I will pick 'Hang Up' from the S/T. Has a cool but disturbing sample behind some fast passed rock. In the middle, there are some extremely cool breakdowns which I love and can listen to again and again. Since these two E.P.'s, which lead to Big Day Out festival appearances, they quickly grew a following and have a built a successful career. While the music they release these days is not as weird/quirky as their E.P.'s, I cannot deny that they nudged their way into Australia's Alternative Rock scene in the mid to late 90's, which is a credit to them.

Nailbomb - Point Blank (1994)

[Thrash Metal]

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.

Pearl Jam - Vs. (1993)

[Grunge Rock]

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.

Tool - Undertow (1993)

[Alternative Rock]

I won't dwell on the metal/alt music scene of the early 90's. You've all had the history lesson. During this time it was a challenge for non-alt/grunge music to stand out. I introduce to you Tool from LA., who with little fan-fare and a small following put together an E.P. in 1992 and fast tracked to their first full length, Undertow, a year later. Again, in the myriad of other music filling the scene and such genre's as thrash metal being challenged, a young Maynard J Keenan and his band very much kept metal music relevant. In a different way however with a very dark, moody approach. The majority of the songs having a large focus on the back-stop of the band. In particular Paul and his bass work introducing a number of tracks, backed by Dana and his complex drum work. Married with Maynard's desperate-like vocals and you have a heck of a first release. Two years later, their sophomore release Anima would elevate the band even higher in popularity and again keep that metal flame alive. Indulge me some lyrics. brilliant! "I am a worthless liar / I am just an imbecile / I will only complicate you / Trust in me and fall as well / I will find a centre in you / I will chew it up and leave / I will work to elevate you / Just enough to bring you down"

Rage Against The Machine - Rage Against The Machine (1992)

[Alternative Rock]

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.

Megadeth - Countdown To Extinction (1992)

[Thrash Metal]

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.

Suicidal Tendencies - The Art Of Rebellion (1992)

[Thrash Metal (Crossover)]

''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).

Helmet - Meantime (1992)

[Alternative Rock]

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.

Iron Maiden - Fear Of The Dark (1992)

[Heavy Metal]

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.

Soundgarden - Badmotorfinger (1991)

[Grunge Rock]

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.

Red Hot Chili Peppers - Blood Sugar Sex Magik (1991)

[Alternative Rock]

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.

Metallica - Metallica (1991)

[Thrash Metal]

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.

Anthrax - Attack Of The Killer B's (1991)

[Thrash Metal]

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 Screaming Jets - All For One (1991)

[Rock]

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.

Sodom - Better Off Dead (1990)

[Thrash Metal]

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.

AC/DC - The Razors Edge (1990)

[Hard Rock]

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.

Anthrax - Persistence Of Time (1990)

[Thrash Metal]

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.

Pantera - Cowboys From Hell (1990)

[Groove Metal]

Let's summarise quickly - A band nobody really cared about for the previous 4 releases. Change from a glam band into a heavy band. No record company wants to invest, except for 1. It's 1990 with a wave of other big band releases happening or due soon, and some-the-fuck-how these guys manage to open their shoulders and walk their way into the room and demand we better take a listen. And so we have Cowboys From Hell, a new version of the band that metalheads will come to love over the next decade. Dimebag showing us just what he is capable of executing with his guitar (there would be a better superlative but I can't think of one to describe Dimebag). He goes onto bigger and better magical efforts on future releases. This is just a taste. Vinny being the solid back-stop with his drumming. Rex solid with his bass. However for me, as much as this an arrival for the band, it is Phil on vocals bringing the aggression that had people scared to join the circle pit in the years to come. Imagine the riot 'Primal Concrete Sledge' would deliver to the pit. Then have everyone pull out their lighters for the start of 'Cemetery Gates'. This is a band for the fans. In the early 90's we had the short demise of Metal in general. We had the uplift of Grunge and Alternative and then we had Pantera. Enough said!

The Angels - Beyond Salvation (1990)

[Hard Rock]

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.

Faith No More - The Real Thing (1989)

[Alternative Rock]

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!

Uncle Slam - Say Uncle (1988)

[Thrash Metal]

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.

Kreator - Terrible Certainty (1987)

[Thrash Metal]

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.

Def Leppard - Hysteria (1987)

[Hard Rock]

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.

Dire Straits - Brothers In Arms (1985)

[Rock]

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.

Men At Work - Business As Usual (1981)

[Rock]

A lost classic, yet a number of songs still get air time on local radio. I was a young'un when this came out and of course was due to the 'Down Under' single that will live in eternity in the fabric of Australiana. However if you have the time to absorb the album itself, it reveals the magic of Colin Hay as a song writer. He has gone on to be a successful solo musician, but his roots lie here. It have been a very long time between listens to the whole album, however listening now, it seems like last week. Something you don't easily forget. Unlike many bands releases these days. Picking highlights from the album include the lead track 'Who Can It Be Now' - a classic simplistic verse/chorus/verse song, but it just works, not just as a song, but the story itself (albeit a little quirky) again kudos to Hay and of course 'Be Good Johnny' which is a great story in itself and Hay portrays the story perfectly. ''Well you sure are a funny kid Jonny, but I like you''. Finally 'Down Under' - my mind frizzles at the amount of royalties they must continue to recent each time this song is played these days - from the America's Cup win in the 80's to the recent Australian Olympics campaign, but it is just deserved for this song and the band. I encourage you to listen to more than these 3 songs as I am sure you will enjoy.

Pink Floyd - The Dark Side Of The Moon (1973)

[Classic Rock]

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.