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Smashing Pumpkins - Aghori Mhori Mei (2024)[Alternative Rock] 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? Review Date: 7 September 2024 Piah Mater - Under The Shadow Of A Foreign Sun (2024)[Death Metal (Progressive)] 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? Review Date: 27 July 2024 Cavalera - Schizophrenia (2024)[Thrash Metal] 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. Review Date: 6 July 2024 Exodus - British Disaster, The Battle Of '89 (Live At The Astoria) (2024)[Thrash Metal] 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. Review Date: 22 June 2024 Slash - Orgy Of The Damned (2024)[Hard Rock] 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. Review Date: 1 June 2024 Kerry King - From Hell I Rise (2024)[Thrash Metal] 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. Review Date: 25 May 2024 Morgul Blade - Heavy Metal Wraiths (2024)[Heavy Metal] 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. Review Date: 17 August 2024 Pearl Jam - Dark Matter (2024)[Grunge Rock] 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. Review Date: 4 May 2024 My Dying Bride - A Mortal Binding (2024)[Doom Metal] 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. Review Date: 27 April 2024 Jebediah - Oiks (2024)[Alternative Rock] 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. Review Date: 24 August 2024 The Black Crowes - Happiness Bastards (2024)[Rock] 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. Review Date: 31 August 2024 Judas Priest - Invincible Shield (2024)[Heavy Metal] 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. Review Date: 16 March 2024 Bruce Dickinson - The Mandrake Project (2024)[Heavy Metal] 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. Review Date: 1 March 2024 Counting Hours - The Wishing Tomb (2024)[Doom Metal] 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. Review Date: 30 March 2024 Bob Dylan - The Complete Budokan 1978 (2023)[Classic Rock] 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. Review Date: 20 July 2024 The Jimi Hendrix Experience - Hollywood Bowl (August 18, 1967) (2023)[Classic Rock] 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? Review Date: 10 August 2024 Blackbraid - Blackbraid II (2023)[Black Metal] 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'. Review Date: 20 January 2024 Foo Fighters - But Here We Are (2023)[Alternative Rock] 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. Review Date: 1 July 2023 Metallica - 72 Seasons (2023)[Thrash Metal] 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. Review Date: 22 April 2023 Hellripper - Warlocks Grim & Withered Hags (2023)[Speed Metal] 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. Review Date: 29 April 2023 Bob Dylan - The Bootleg Series Vol. 17, Fragments (Time Out Mind Sessions 1996-1997) [Deluxe Edition] (2023)[Classic Rock] 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. Review Date: 2 February 2023 Obituary - Dying Of Everything (2023)[Death Metal] 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. Review Date: 21 January 2023 Guns n' Roses - Use Your Illusions [Super Deluxe Edition] (2022)[Hard Rock] 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? Review Date: 18 March 2023 An Abstract Illusion - Woe (2022)[Death Metal (Progressive)] 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. Review Date: 14 January 2023 Megadeth - The Sick, The Dying. And The Dead! (2022)[Thrash Metal] 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. Review Date: 7 January 2023 Blackbraid - Blackbraid I (2022)[Black Metal] 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. Review Date: 4 March 2023 3rd Secret - 3rd Secret (2022)[Grunge Rock] 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. Review Date: 22 July 2023 Eddie Vedder - Earthling (2022)[Grunge Rock] 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. Review Date: 21 September 2024 Iron Maiden - Senjutsu (2021)[Heavy Metal] 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.? Review Date: 1 April 2023 Tool - Fear Inoculum (2019)[Alternative Rock] 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. Review Date: 8 April 2023 Bob Dylan - The Rolling Thunder Revue (The 1975 Live Recordings) (2019)[Classic Rock] 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. Review Date: 21 October 2023 Possessed - Revelations Of Oblivion (2019)[Thrash Metal] 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. Review Date: 9 September 2023 Alice In Chains - Rainier Fog (2018)[Grunge Rock] 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. Review Date: 28 October 2023 Megadeth - Killing Is My Business... And Business Is Good! (The Final Kill) (2018)[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. Review Date: 25 March 2023 Opeth - Deliverance & Damnation [Reissue] (2015)[Death Metal (Progressive)] 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. Review Date: 11 March 2023 Casualties Of Cool - Casualties Of Cool (2014)[Progressive Metal] 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. Review Date: 23 September 2023 Iron Maiden - The Final Frontier (2010)[Heavy Metal] 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. Review Date: 24 June 2023 Slayer - World Painted Blood (2009)[Thrash Metal] '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. Review Date: 15 July 2023 Alice In Chains - Black Gives Way To Blue (2009)[Grunge Rock] 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. Review Date: 30 September 2023 My Dying Bride - A Line Of Deathless Kings (2006)[Doom Metal] 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. Review Date: 11 August 2023 Death Angel - The Art Of Dying (2004)[Thrash Metal] 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. Review Date: 10 February 2024 Probot - Probot (2004)[Metal] 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. Review Date: 25 August 2023 INXS - The Years 1979-1997 (2002)[Rock] 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. Review Date: 4 November 2023 Opeth - Blackwater Park (2001)[Death Metal (Progressive)] 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. Review Date: 15 June 2024 Jimmy Page & Robert Plant - Walking Into Clarksdale (1998)[Rock] 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. Review Date: 18 May 2024 Paul McCartney - Flaming Pie (1997)[Classic Rock] 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. Review Date: 11 November 2023 Jimi Hendrix - First Rays Of The New Rising Sun (1997)[Classic Rock] 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. Review Date: 3 June 2023 Oasis - (What's The Story) Morning Glory? (1995)[Rock] 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. Review Date: 29 July 2023 Mad Season - Above (1995)[Grunge Rock] 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. Review Date: 14 September 2024 Bush - Sixteen Stone (1994)[Post-Grunge Rock] 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. Review Date: 15 April 2023 The Beatles - Live At The BBC (1994)[Classic Rock] 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. Review Date: 13 May 2023 Nirvana - MTV Unplugged In New York (1994)[Grunge Rock] 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. Review Date: 25 November 2023 Live - Throwing Copper (1994)[Alternative Rock] 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. Review Date: 9 March 2024 The Offspring - Smash (1994)[Punk Rock] 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. Review Date: 17 June 2023 Various Artists - The Crow (Music From The Original Motion Picture) (1994)[-Various-] 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 i 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. Review Date: 17 February 2024 Metallica - Live Shit, Binge & Purge (1993)[Thrash Metal] 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. Review Date: 29 June 2024 Pearl Jam - Vs. (1993)[Grunge Rock] 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. Review Date: 4 August 2023 Blind Melon - Blind Melon (1992)[Alternative Rock] 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. Review Date: 20 April 2024 Burzum - Burzum [Darkness] (1992)[Black Metal] 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. Review Date: 16 September 2023 U2 - Achtung Baby (1991)[Rock] 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. Review Date: 14 October 2023 Creedence Clearwater Revival - 21st Anniversary, The Ultimate Collection (1990)[Classic Rock] 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. Review Date: 13 April 2024 Pantera - Cowboys From Hell (1990)[Groove Metal] 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. Review Date: 23 March 2024 Entombed - Left Hand Path (1990)[Death Metal] 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. Review Date: 27 January 2024 Midnight Oil - Blue Sky Mining (1990)[Rock] 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. Review Date: 6 April 2024 The Black Crowes - Shake Your Money Maker (1990)[Rock] 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. Review Date: 2 December 2023 Joe Satriani - Flying In A Blue Dream (1989)[Rock] 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. Review Date: 8 June 2024 Sepultura - Beneath The Remains (1989)[Thrash Metal] 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. Review Date: 18 August 2023 Nirvana - Bleach (1989)[Grunge Rock] 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. Review Date: 18 November 2023 The Cure - Disintegration (1989)[Alternative Rock] 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. Review Date: 13 January 2024 D.A.D. (Disneyland After Dark) - No Fuel Left For The Pilgrims (1989)[Hard Rock] 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. Review Date: 2 September 2023 Danzig - Danzig (1988)[Metal] 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. Review Date: 27 May 2023 Jimmy Page - Outrider (1988)[Rock] 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. Review Date: 13 July 2024 The Angels - Live Line (1987)[Hard Rock] 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. Review Date: 3 August 2024 Mortal Sin - Mayhemic Destruction (1986)[Thrash Metal] 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? Review Date: 25 February 2023 Sodom - In The Sign Of Evil (1985)[Thrash Metal] 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. Review Date: 18 February 2023 Motorhead - Another Perfect Day (1983)[Hard Rock] 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. Review Date: 16 December 2023 ZZ Top - Eliminator (1983)[Rock] 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. Review Date: 11 May 2024 Discharge - Hear Nothing See Nothing Say Nothing (1982)[Hardcore Punk] 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. Review Date: 28 January 2023 Iron Maiden - Killers (1981)[Heavy Metal] '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. Review Date: 24 February 2024 Black Sabbath - Heaven And Hell (1980)[Heavy Metal] 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. Review Date: 3 February 2024 Public Image Ltd. (PiL) - Public Image (First Issue) (1978)[Post-Punk] 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. Review Date: 6 May 2023 Rainbow - Rainbow Rising (1976)[Classic Rock] 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. Review Date: 8 July 2023 Roger Glover And Guests - The Butterfly Ball & The Grasshopper's Feast (1974)[Classic Rock] 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. Review Date: 6 January 2024 Iggy And The Stooges - Raw Power (1973)[Punk] 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. Review Date: 10 June 2023 Bob Dylan - Blonde On Blonde (1966)[Classic Rock] 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. Review Date: 20 May 2023 |
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