TheBigBlack's Rock Top 10 |
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The Cure
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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. |
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Joe Satriani
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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. |
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Mudhoney
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Motley Crue
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D.A.D. (Disneyland After Dark)
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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. |
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The Mark Of Cain
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Bob Dylan
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Soundgarden
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Nirvana
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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. |
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Faith No More
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TheBigBlack's Rock Honourable Mentions |
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Mother Love Bone
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Neil Young
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Roy Orbison
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Skid Row
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Aerosmith
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TheBigBlack's Rock Dishonourable Mentions |
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A.S.a.P. (Adrian Smith and Project)
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TheBigBlack's Metal Top 10 |
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Deliverance
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Carcass
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Obituary
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Testament
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By 1989 thrash metal had hit its commercial peak, and what once a small number of bands was now a torrent of second and third wave opportunists poorly imitating their heroes. Testament understood this all too well, and with album number three took their band into unknown territory to ensure they stayed ahead of the pack. Still undeniably thrash, Practice What You Preach was somehow different. It was compact and streamlined, showing a modern attitude and also a new maturity to the band's lyrics. From the moment the title track launches, this is apparent, as the song grooves rather than pummels. Gone are the lyrics of dark entities and demonic tales, and instead frontman Chuck Billy barks a rebuke at the self-righteous. If the listener wasn't hooked yet 'Perilous Nation' will certainly draw them in. A tale of the dangers of patriotism, it is one of the catchier tracks on the album, and although it also contains some of the fastest riffs it is infectiously listenable. Billy growls lyrics throughout, showing real conviction to his words, further strengthening the connection to the listener. Many of the songs are mid paced, and noticeably simpler than the previous albums, leaving the whole album feeling efficient. That doesn't mean the musicianship is sacrificed, and Alex Skolnick and Eric Peterson again proved themselves as two of the best axemen in thrash metal. 'Greenhouse Effect' follows the trend at the time of songs about environmental damage, and the band even goes out on a limb to include a full-blow ballad (imaginably named 'The Ballad') which is a cry for help after losing someone. Quirky instrumental 'Confusion Fusion' ends the album, and 45 minutes has just pasted by in no time at all. The performances are loose in a way that many of the groove metal bands of the next decade would mimic, forgoing absolute precision for a more live feel. Although this makes the album feel organic, it does mean some of the dynamics of overdubs are missing, and the whole thing sounds rather one dimensional. Generally seen by fans as a 'safe' album by the band, it is rarely called a favourite, but it is certainly far from a bad album in any way, perfectly filling a whole for many headbangers upon its release. |
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Mortal Sin
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Believer
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Sepultura
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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. |
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Morbid Angel
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Kreator
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Exodus
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TheBigBlack's Metal Honourable Mentions |
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Annihilator
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Atheist
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Carcass
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Coroner
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