Operation: Mindcrime (Queensryche)

To close out the month of April, I thought I'd write my two cents on what is considered to be the best metal concept album of all time. Released in 1988, much of the album's subject matter and atmosphere reflects the axiety of the time period with its themes of social change and revolution. The three main characters of the story include Nikki, the story's protagonist and brainwashed assassin; Dr. X, the story's antagonist and Nikki's employer; and Sister Mary, a prostitute turned nun who serves as Nikki's love interest. The album also shines musically with its great riffs, soaring vocals, occasional orchestration, and sound effects thrown in that add to the story. To sum it all up, this album is pretty much everything Green Day's "American Idiot" wishes it could be... (spoiler alert...)

I Remember Now: We are treated to a very unique opening track. The "song" basically just consists sound effects of hospital chatter and a humourously bitchy nurse ("Sweet dreams, you bastard..."). Then, Nikki talks to the listener and tells them that "[he] can't remember how it started" and just remembers "doing what they told [him]..." Thus, the album's story is told in flashback (kinda brings to mind "Fight Club").
8 out of 10

Anarchy X/Revolution Calling: This is where the album truly begins and my God does it begin! We are introduced to Nikki, who is highly dillusioned by the American society in which "the holy dollar runs everybody's lives." Musically, the introduction is well done, as are the chorus and riffs. One of my favorite tracks on the album.
10 out of 10

Operation: Mindcrime: Now we are introduced to Dr. X, who calls Nikki and brainwashes him to join his "underground revolution in overtime." we also go into Nikki's past and learn that he used to be a skinhead who often got into trouble with the law (my own interpretation anyway...). Musically, the song is similar in structure to "Revolution Calling" but without the fancy introduction. It also features a darker tone and a nice spoken introduction...
9 out of 10

Speak: After a few mid-tempo numbers, we finally get to hear some speed on the album! By this time, Nikki has become a lethal assassin out to "preach the new beginning" and massacre political and religious leaders to benefit Dr. X's revolution. I'd say this song has the most intense lyrics on the entire album, especially in the last verse. "The system says that we're equal under law, but the streets are reality. The weak and poor will fall. Let's tip the power balance and tear down their crown. Eradicate the fascists, we'll burn the White House down!" Let's see Green Day top that!
9 out of 10

Spreading the Disease: We are treated to another fast, heavy number musically. We are also introduced to Sister Mary and the lyrics describe her past as a whore doing "live S&M shows." Much like the last track, the last verse goes a little off-topic with some good ol' fashioned political rambling. Hey, that's what this album is about, isn't it?
9 out of 10

The Mission: The album now takes on a slower pace and has an almost ballad feel to it, but it is still pretty heavy. The introduction starts as a sermon by a TV preacher who is presumedly Nikki's next target... By this time, Nikki has established a relationship with Mary, who provides Nikki with drugs (perhaps to keep him motivated) and the only love he had ever known. Also, vocalist Geoff Tate sings beautfiully on this song and hits some nice low notes. I do wish he'd sing lower more often. Most of his singing may be a little too high pitched for some to handle...
9 out of 10

Suite Sister Mary: The dark direction even deeper in this ten minute epic, as does the storyline. Nikki has grown closer to Mary than Dr. X has predicted, and Dr. X orders Nikki to kill her ("and get the priest as well"). Although he manages to kill the priest, Nikki cannot bring himself to kill his love. He now decides to confront X and tell him that he wants out of the organization. Along with the song length, the song goes into epic measures with dramatic sounding choirs, some nice dialouge in the beginning, and passionate vocals delivered by Tate and special guest Pamela Moore as the voice of Sister Mary.
10 out of 10

The Needle Lies: This is arguably the fastest track on the album as well the shortest (not counting the interludes). At this point of the story, Nikki comes to Dr. X and tells him that he wants out of the operation. Dr. X assures him that he can't walk away. Eventually, Nikki's drug addiction overpowers him and Nikki warns the listener to never "trust the needle..." The musical highlights include another spoken introduction, some fast riffs, rapid vocals, and a catchy chorus (although nearly all of them are).
9 out of 10

Electric Requiem: Although there are about 2 other interludes on this album (see "Anarchy X," "My Empty Room," and "Waiting for 22."), this one deserves its own spot as it is probably the most unique song on the album. Musically, it is dominated by some electric effects and a nice drum beat (both courtesy of drummer Scott Rockenfield). Nikki has returned to the church in hope of finding comfort from Mary. Instead, he finds her dead, hanging by her own rosary...
8 out of 10

Breaking the Silence: With this song, we return to the slightly more commercial direction the first few songs took, although it has a darker tone. At this point, Nikki begins to succumb to insanity as he longs for Mary and goes through drug withdrawal. At the end of the song, it appears that he has found and arrested by the authorities...
9 out of 10

I Don't Believe in Love/Waiting for 22: As Nikki is arrested and locked up, he still has only Mary in his mind. Now, he tries to forget her and denies that he is in love with her. It is, of course, a shallow facade. The music on this one continues the mid-tempo formula of the previous with some nice verse sequencing and a nice chorus.
9 out of 10

My Empty Room: We now get to another unique interlude before the grand finale. The lyrics on this one are pretty much the same as before and describe Nikki's longing for Mary.
8 out of 10

Eyes of a Stranger: This may be the best track on the album and one of Queensryche's best songs. The lyrics end the story as Nikki is locked away with no chance of freedom (or so we are led to believe...). The chance of a sequel is also left open as the question of who killed Mary is never answered (of course, a sequel did come out in 2006...). Musically, this song is about 6 or 7 minutes long and filled with a spoken intro and outro, some nice lyrics, well done vocals, and a catchy chorus.
10 out of 10

Overall, the album gets 117 out of 130, 90%, and 4.5 stars. Queensryche had never done anything like this before in their career and never will. It's a great buy, but it may raise excessively high expectations for the rest of the band's material...

Edge of Thorns (Savatage)

After the release of 1991's metal opera "Streets," Savatage had quite a bit to follow up to on this album. Also adding on to the challenge was the departure of vocalist Jon Oliva. He has been replaced by Circle II Circle vocalist Zak Stevens, whom I believe is more skilled technically. I'd describe his style as a combination of Black Sabbath's Tony Martin, Queensryche vocalist Geoff Tate, and a touch of Jon Oliva himself. Despite not doing vocals on the album, Jon still plays piano, which I believe to be his best talent. This is also the last album featuring guitarist Criss Oliva (Yes, he's Jon's brother), as he was killed by a drunk driver shortly after the album was completed. Perhaps as a prophecy of the future, the album's music greatly centers on Criss's guitar playing, which is similar to Randy Rhoads in its classically inspired delivery.

Edge of Thorns: The album opens with a beautifully done piano introduction. While this song has the structure of a power ballad, it definately packs a punch with its great riffs. The lyrics are a delivery to a former lover declaring that they're not missed.
10 out of 10

He Carves His Stone: A pretty varied song from its dark opening introduction, mid tempo but rapidly delivered verses and choruses, and an incredibly thrashy closing part.
8 out of 10

Lights Out: This is probably the fastest track on the album. It seems to have a bit of hard rock and kinda sounds like Van Halen in a way. The verses are rapid and it has a nice main riff.
9 out of 10

Skraggy's Tomb: If I ever manage to open my own metal record store, I may name it after this song (unless there really is a place called Skraggy's Tomb...). The lyrics on this one are an ode to alcoholism, which Jon was known to suffer from in the late 80's. The music on this one is mid tempo though nothing amazing.
7 out of 10

Labyrinths: A short instrumental focusing greatly on Jon's piano talents. It is a beautiful track, although I may have to take off a star for sounding a bit too much like the introduction to "Gutter Ballet."
8 out of 10

Follow Me: This may be the weakest song on the album, but it's not bad. The chorus is a little awkward and it's a little overlong.
7 out of 10

Exit Music: Another piano instrumental. It's pretty similar to "Labrinyths," except for that it's about 1 minute and a half longer...
7 out of 10

Degrees of Sanity: This may be the heaviest track on the album. The tone of the song is particularly dark with its heavy riffs and the grittier tone in Zak's vocals. The lyrics are also great and are filled with dark imagery. "And in the dark, I lay awake, so I can watch you drive your stake..."
10 out of 10

Conversation Piece: Another heavy track, though not as hard-hitting as the previous song. This track is also a bit more subtle in its delivery, especially in its chorus. The lyrics describe self-mutilation, but hardly sound emo at all...
9 out of 10

All That I Bleed: I think this may be my favorite track on the album. It is a largely piano driven ballad with some passionate vocals and a strong chorus. The lyrics are also great, and seem to foreshadow the lyrics on the opening track.
10 out of 10

Damien: Not to be confused with the Iced Earth song of the same name (although this one came first...). This is one of the more theatrical tracks on the album, especially its larger than life chorus. The lyrics on this one seem to either be about the child in "The Omen" or about a homeless person the speaker knows.
9 out of 10

Miles Away: The vibe of this song seems to be quite similar to "Best I Can" by Queensryche. The tone of the song is very optimistic and the music is quite upbeat. The chorus is well done on this one and the main riff is really great as well.
9 out of 10

Sleep: The album ends with a nicely done accoustic ballad. The feeling is very laid back and relaxed. The lyrics seem to be a call to end war in the world and begin the spread of peace. It sounds kinda dull but the feeling of the song is rather eerie given that this is the last Savatage song featuring Criss's guitar playing.
9 out of 10

Overall, this record gets 112 out of 130, 86%, and 4 stars. The album is a strong Savatage effort and is certainly worth the low price you may find it for (along with most other Savatage albums...). I found my copy at FYE for only $9.99!

The Dark Saga (Iced Earth)

By the mid-1990's, Iced Earth seemed to finally gain some stability in the band's lineup. This is the second album to feature vocalist Matt Barlow, who would stay in the band for 2 more albums until his departure until 2003. The focus of this album musically seems to be the development of his voice, which may be one of the best in metal today.
This album also marks a style change musically. The thrash-laden epic sound of the first three albums is almost gone, and has been replaced by simpler songs with more structure. While this style has been viewed as the beginning of the end for Iced Earth, I think it is well done on this release.
Like the second album "Night of the Stormrider," the lyrics on this one form a concept album. The story of this album is based upon the comic character Spawn. While I'm not much of a comic reader, I'll try to explain the story using my own interpretation and what little I know about the series...

The Dark Saga: A bizarre choice for an opener, given the previous openers such as "Burnt Offerings" and "Angels' Holocaust." It is a dark plodder with a strong bass presence. The vocals are well done and the riff at the end of the song is awesome, but I think the chorus is a little awkward.
8 out of 10

I Died for You: This may be the first ballad of Iced Earth's career and one that set the predictable path of (most of) the ones to follow. The lyrics on this one are well done and describe Spawn coming up to Earth to see his wife and finds out "she's happy and in love with [his] best friend..." Certainly a topic I relate to. Musically, the vocals are emotional and the chorus is catchy.
8 out of 10

Violate: We now go into thrash mode, but it still keeps a mid tempo like most of the album. The riffs in the verses kinda sound like a variation of "Pure Evil." Yea, Schaffer has a thing about recycling riffs... The chorus is also a little awkward as well. The lyrics on this one describe a "demonic clown" called the Violator who will "beat you with your spinal cord" and "rip your heart out of your chest [and] watch it beat as you cry." Still a great song, despite its flaws.
8 out of 10

The Hunter: One of the true classics of the album. The lyrics describe an "angelic force" who is out to destroy the forces of evil. The riffs are fast, the chorus is catchy, and the solo seems to have a Zakk Wylde influence to it.
9 out of 10

The Last Laugh: This song keeps up the fast pace though it doesn't exactly blow your brains out. In this portion of the story, Satan himself is talking to Spawn and telling him that "God won't save [him, and his] soul's been sold..." The bridge is interesting.
9 out of 10

The Depths of Hell: Another ploddy number but with some nice riffs thrown in. The lyrics on this were written by Al Simmons, who is the alias of Spawn himself. Whoever wrote the lyrics has written them about an atmospheric battle between good and evil. The track mainly serves to make atmosphere, but it's well done.
7 out of 10

Vengeance is Mine: We now return to thrash mood. The verses are well done and the chorus is unique. This one's lyrics seems to describe the general plights of Spawn or another character.
9 out of 10

Scarred: The final three songs create a trilogy known as "The Suffering" (no, not the Coheed and Cambria song...). The first two verses of the song are ploddy and much like the opener, the chorus is upbeat and heavy, and the solo section is quite thrashy. The lyrics describe Spawn's longing to break free from the Devil's Deal.
9 out of 10

Slave to the Dark: The first verse of this song is similar to the first part of "Scarred." The rest of the song is done in a faster pace. The structure of the verses brings to mind "Vengeance is Mine..." The lyrics on this one describe Spawn's role is " forever damned a slave".
9 out of 10

A Question of Heaven: If this isn't the best Iced Earth song ever written, it is certainly in the top 3. This is another ballady track, only it's not structured as "I Died For You" or any of the other ballads in the future. The lyrics on this particular one are especially significent to me, and while they are about Spawn being denied of inner peace, they always brings to mind the move between Williamston and Valpo... The vocals on this one shine of both Barlow and the angelic female vocals delivered by his sister Kate Barlow. I'm pretty sure I cried the first time I listened to this song...
10 out of 10

Overall, it gets 86 out of 100, 86%, and 4 stars. While there are certainly better IE album sout there, this is probably a good album to get for people who are new to the metal scene. It certainly beats the shit that's out there today...

...And Justice For All (Metallica)

As Slayer were slowing down their tempo and Megadeth was losing half of its lineup and Anthrax was doing God knows what, Metallica also seemed to be going through changes in 1988. Bassist Cliff Burton tragically lost his life in 1986 due to a bus accident and was replaced by Jason Newsted of Flotsam and Jetsam the following year (Primus bassist Les Claypool was amongst those who auditioned...). Unfortunately, Newsted's arrival wasn't one of much acceptance within the band. He was constantly hazed on tour and was often overlooked until his departure in 2001 (he has since joined the band Voivod). Most noticeable on this album is the purpose lack of bass, resulting in a dry sounding production. The production has turned off several people but the songs themselves are some of Metallica's best. Much like Anthrax, Metallica seems to have taken a much more progressive sound musically with longer song lengths and more complex structures (apparently, it's too hard for the band to play nowadays...). Lyrically, this is Metallica's angriest album and focuses greatly on politics.

Blackened: The song opens with a soft riff that crescendos to one of the heaviest tracks on the album. The song has a strong flow with strong verses, choruses, and the bridge (which taught me several new words when I first listened to it...). The lyrics are about the destruction of planet Earth and the beginning of a second Ice Age.
10 out of 10

...And Justice For All: Like the two albums beforehand, the second track is the epic title track. At above nine minutes, this is easily the most epic title track yet. The main riff is well done, the political lyrics are hard hitting, and the chorus is great as well. The only flaw I'd say is that it may be a little overlong.
9 out of 10

Eye of the Beholder: A slightly slower track, it still keeps a speedy tone to it. The chorus on this one may be one of the catchiest on the album, although Metallica never really was a band about catchy choruses. The lyrics on this one question the Constitution and the conformity people go through despite having freedom. An underrated gem with some well done lyrics.
9 out of 10

One: The "ballad" of the album, a major fan favorite, the band's first music video, and easily one of the best on the album, if not the best. The lyrics, based on the book/movie "Johnny Got His Gun," describe a wounded soldier who is being kept on life support. As always with the Metallica ballad formula, the first half is slow and melancholic and the second half is fast and relentless. As always, it kicks ass...
10 out of 10

The Shortest Straw: One of the faster tracks on the album. The lyrics seem to be about injustice in general. The chorus is amazingly done and the verses are rapid fire.
9 out of 10

Harvester of Sorrow: Another one of the big fan favorites, although it's one I had to listen to a few times to really get. The lyrics are highly debated among fans and seem to be about abuse or something along those lines. Musically, it is a slight plodder with an interesting echo effect in the chorus. One of the riffs in the introduction reminds me of "Sanitarium."
9 out of 10

Frayed Ends of Sanity: This is may be the weakest track for my personally. The lyrics on this one deal with insanity and losing one's mind, a favorite topic of such bands as Annihilator and Hallow's Eve. It is another fast number musically but not too much stands out about it besides the chorus. I will say that the "Wizard of Oz" chant in the introduction is probably the best part of the album...
7 out of 10

To Live is to Die: In the tradition of "Master of Puppets," the second to last song is an epic instrumental. At almost 10 minutes long, it is the second longest song Metallica has written in their career, second only to "The Outlaw Torn." This song also features musical contributions and a short poem by Cliff Burton. The overall feeling is both emotionally and musically heavy.
10 out of 10

Dyer's Eve: Much like "Puppets," this album closes out with the fastest song on the album. Much of the album's power relies on the faster riffs and well done verses. The lyrics on this one are an interesting departure for Metallica, and are about vocalist James Hetfield's contempt towards his parents. It's a little immature, but it's better than the lyrics Simple Plan comes up with... This song also has an ironic feeling once you realize this would be the last thrash metal song Metallica would ever write...
8 out of 10

Overall, the album gets 81 out of 90, 90%, and 4.5 stars. While the album is brought down by some stale production, the album is still worth you purchase. Hopefully, Metallica will remaster their albums sometime soon. This and "St. Anger" could really use a remaster...

War of Words (Fight)

After vocalist Rob Halford left the classic metal monster Judas Priest (but returned in 2003), many metal fans were devastated and wondered what the Metal God would do without the twin guitar duo of KK Downing and Glenn Tipton. His answer: kick ass...
He formed Fight in 1993, inspired by the youthful team behind him (including Priest drummer Scott Travis...) and the modern (at the time) American metal scene. Musically, I'd describe the band as a combination of Judas Priest, Pantera, and Metallica. Lyrically, it takes on topics Halford never would do in Priest such as gun control, freedom of speech, and religion. To quote a fellow from the Metal Archives, the album is a little one dimensional but it's one helluva dimension!

Into the Pit: The album begins on an extremely thrashy note with what may be the best song on the album. It's also the fastest, heaviest, and probably the most misleading as the rest of the album doesn't exactly match the opener. The lyrics are about power struggles and have big fancy words in the verses...
10 out of 10

Nailed to the Gun: Another strong song, though it may a few listens to like. The lyrics on this one are about America's obsessions with guns and violence. It is another thrashy number though not as heavy as the opener. It's definately interesting (in a good way) to hear some death grunts in the background. I for one never associated Rob Halford and death grunts together...
9 out of 10

Life in Black: The album is slowed down slightly but still retains some heaviness. The formula to this one is pretty basic but it's still a good song. The lyrics deal with a relationship where one person is using the other (sounds familiar...). You know, after Halford came out of the closet, I bet these love songs took on a whole new meaning...
8 out of 10

Immortal Sin: The pace is brought back up, though only to a mid tempo. The first few seconds of the introduction have an almost "party" sound vibe to them. The lyrics on this one are about prejudice and being "damned by a righteous spear."
8 out of 10

War of Words: One thing I find the most interesting about this song is the fact a vocalist originally from Britian is talking about the First Ammendment... The lyrics are also unique on this one as they do not really rhyme that much. Musically, it is another slightly ploddy number with a nice main riff.
7 out of 10

Laid to Rest: Much like "Life in Black," this is another slower, more depressing number. It also is similar in theme as it discusses another relationship gone wrong and one person leading on the other. A good song though a little too similar to the previously mentioned track.
8 out of 10

For All Eternity: Just to prove that they can do more than plod along and occasionally thrash, the band decided to include an accoustic ballad on the album. Of course, the chorus is still heavy and I'm pretty sure this is the first chorus that has more than one line in it... The lyrics on this one are about a child's struggle to be recognized as an individual to their parents. I haven't had this problem but I'm sure my fellow suburbanites would relate to it...
8 out of 10

Little Crazy: There is something about this song I don't like, but it is so catchy that I have to give it an extra star. The lyrics on this one are basically about people messing with you and all that.
7 out of 10

Contortion: While this song is another slightly ploddy number, it is aided by more of the death grunts and an actually memorable riff. The lyrics on this one are about mankind's "money sucking greed" and the destruction of the environment.
9 out of 10

Kill it: We now return to the faster style shown on the album's first two songs and boy is it good to be back! The verses and choruses are quite heavy and the lyrics have a theme of relgious deception.
9 out of 10

Vicious: Similar to the previous track, the theme is one of religious deception. It also carries on a faster style. The most memorable thing about this song is the chorus, which is a chant of the phrase "Vicious, Vicious! Fucker, Fucker!" It's incredibly boneheaded and not unlike the work of cavemen, yet it's so damn catchy...
9 out of 10

Reality, a New Beginning: We now return to the slower style. I do not mean it as negatively as it sounds, as this is a great album. The lyrics on this one seem to look back upon Halford's long career with Judas Priest and sounds optimistic for his career with Fight and his future projects. Kinda sounds like "Tears of the Dragon" by Bruce Dickinson lyrically, though nowhere near as heartbreaking...
8 out of 10

Jesus Saves: The album ends on a bizarre note that has left several metal listeners gagging. Musically, the quality sounds like a rough demo recording and the lyrics are sung in an inhumanly high pitched voice that hardly sounds like Halford. The lyrics themselves are similar to "After Forever" by Black Sabbath and described a speaker's conversion to Christianity, although both songs seem rather sarcastic to me...
8 out of 10

Overall, the album gets 108 out of 130, 83%, and 4 stars. It is a great listen and it shows that like Bruce Dickinson, Halford could survive without Judas Priest backing him up. Unfortunately, Fight released only one other album after this one and split up in the mid-90's. It's a hard album to find. I actually had to download it off of iTunes in order to listen to it...

Headless Cross (Black Sabbath)

By the mid-80's, Black Sabbath had reached a point of severe instability and was pretty much seen as dead to the world commercially (dead to America, anyway...). The band seemed to have a miniture revival in 1989 with the release of this album. This is the second album to feature vocalist Tony Martin, whose service in the band is surpassed only by Ozzy himself, and the first to feature the late Rainbow drummer Cozy Powell. Also, the music and lyrics take a sinister turn and provide one of Sabbath's darkest albums.

The Gates of Hell/Headless Cross: Opening the album is the eerie minute long keyboard opener that seemed to be on every Sabbath album since "The Mob Rules." After that comes the classic title track motivated by an awesome guitar riff, a rather cliched drum pattern, and some great vocals. The lyrics are about a plague that hit the town of Headless Cross, England (where Tony Martin currently resides...) a few centuries ago. Unsurprisingly, a slightly cut version of the song was released as a single...
10 out of 10

Devil and Daughter: One of the fastest tracks on the album and the album's second single. It is greatly carried by the speedy riffs. Like much "Digital Bitch" off of "Born Again," the lyrics describe former Sabbath manager Don Arden and his daughter, best known (and hated) as Sharon Osbourne...
8 out of 10

When Death Calls: My favorite song off the album and one of the best songs of the Tony Martin era, maybe even of Sabbath's entire career (blasphemy, I know...). Musically, it has a ballady beginning, heavy choruses, speedy solo section (featuring a solo by Queen guitarist Brian May, a friend of Iommi's), and a final chorus. This is one of Martin's greatest performances and the bass introduction at the beginning is also great. The lyrics describe dying and while some of the lines are a little silly ("Don't laugh in the face of Death or your tongue will blister..."), they do have some emotion in them.
10 out of 10

Kill in the Spirit World: One of the more bluesy numbers, this is one of the weirder tracks of the album. There's not that much to really say about it, but it's a good song.
7 out of 10

Call of the Wild: Originally, this song was called "Hero" but was changed due to Ozzy having a hidden track of the same name on his album "No Rest for the Wicked..." While the rest of the album describes Satanic rituals and attacks of the Devil, this song seems to describe fighting against the forces of darkness. Musically, it has an anthem feel to it with an almost upbeat verse (that sounds similar to the previous track) and a catchy chorus. The chorus's vocal layering is forunately done in good taste...
8 out of 10

Black Moon: Musically, this song seems to be a mix of bluesy verses and an almost power metal choruses. Other than that, there's not too much to say about it.
8 out of 10

Nightwing: Closing out the album is a strong epic. The lyrics basically describe owls, bats, and all those other flying creatures of the night. The song has an almost ballad feel with strong vocals, accoustic guitars, and a strong keyboard presence.
8 out of 10

Overall, this album gets 59 out of 70, 84%, and 4 stars. It is underrated, well done, and well worth the cheap purchasing price. Hell, I got my copy for $3 at a Sam Goody in Arizona that was going out of business (although it seems like they're all going out of business...).

South of Heaven (Slayer)

After releasing 3 albums' worth of the fastest, heaviest metal of their time, Slayer seemed to finally slow down in 1988 with this release. My personal theory is that Slayer realized that they had reached their speed apex with the 1986 monolith "Reign in Blood," and began to focus more upon heaviness and some actual songwriting. The lyrics have also changed as well. While the first 3 albums' lyrics were full of hail Satans and cartoonish gore (they are fun topics...), they begin to take a more serious note and describe everything from war to abortion.

South of Heaven: The riff that opens this song sounds like a prototype of the next album's "Dead Skin Mask." The song mostly takes a slower pace in the beginning, mid tempo in the verses, and thrashy choruses. I will say that this is the first time I've heard the word "cunt" used as a verb...
9 out of 10

Silent Scream: The ending of the opener fades into the thrash monster known as "Silent Scream." While it's not as thrashy as say "Angel of Death," it is certainly worthy of headbanging. The lyrics are about abortion. While the band often includes acts of blasphemy in their lyrics, it's good to know that they're pro life...
9 out of 10

Live Undead: I'm assuming that this song is after the previously released live album of the same name, similar to AC/DC's "If You Want Blood, You Got It..." Musically, the song takes several twists and turns but still keeps a fast pace.
9 out of 10

Behind the Crooked Cross: This is another fast paced song, though not exactly at a thrashy one. The vocals on this one are interestingly done and the chorus has a unique feel to it. The lyrics on this one deal with soldiers fighting on the side of the Nazis in World War II. While the band has been accused of Nazism before (see "Angel of Death"), the band is truly against it and this song warns against mindless conformity. Although the "crooked cross" is meant to represent the Nazi swastika, it could be argued that it may be about corrupt religious figures...
9 out of 10

Mandatory Suicide: Closing out the first epic is the song I may consider to be the best on the whole album. It is another mid-tempo number with an almost dance-able groove to it. I never thought I'd dance with a chick to this song. That Slayer show was an interesting night... The lyrics are about war and people sent to die in combat. Also, the poem spoken at the end of the song is an amazing standout and show a new side of shouter/bassist Tom Araya's voice...
10 out of 10

Ghost of War: This is probably the closest Slayer gets on this album to their faster days. The beginning is interesting as the opening riffs have an almost demo quality to them. The lyrics on this one tell another tale of war. Great song, though nothing mindblowing.
7 out of 10

Read Between the Lies: Much like the previous album's "Jesus Saves," this song is another critique of Christianity. This time, they pick the cliched topic of the televangelist. While the riffs are good, they do seem a little directionless. The lyrics aren't really that unique. If you want a good anti-televangelist song, go check out Testament's "Practice What You Preach" and Metallica's "Lepper Messiah."
6 out of 10

Cleanse the Soul: Another fast number in the vein of "Ghost of War." While it is a good song, it is nothing we haven't heard before...
7 out of 10

Dissident Aggressor: Yes, this is a cover of the Judas Priest song of the same name. For my take on the original song, read my review of "Sin After Sin." While I believe the original is done better, Slayer does add a few interesting touches to it. The riffs sound much better than the original and thankfully Araya doesn't try to hit the high notes originally done in the song. Overall, this version doesn't match up to the original, though it is still pretty good...
7 out of 10

Spill the Blood: The album closes on an extremely rare note (for Slayer) with an accoustic guitar introduction. The rest of the song is another one of the ploddy style. Overall, it feel kinda weak and Araya seems to be straining in his delivery...
7 out of 10

Overall, the album gets 80 out of 100, 80%, and 4 stars. While it is nowhere the level of such albums as "Reign in Blood" and "Seasons in the Abyss," it is a great album and worth the purchase just for the godly A side. Is it me, or do a great majority of artists include all their best songs on the A side of an album? If I get to make an album, maybe I'll just put all the filler material in front to get it out of the way...

Waking the Fury (Annihilator)

For those of you who only know Annihilator through their most recent efforts with vocalist Dave Padden, you are in for a plasant surprise... I certainly was when I heard this album. Everything about this is just so much better. While there is a slightly annoying static sound in the guitars, the riffs are amazing and highly original. The lyrics aren't exactly thought provoking, but they're delivered by a vocalist, former Overkill guitarist Joe Comeau, whose voice doesn't sound like that of a whiny little boy... Best of all, the band's lineup actually has a full ranking instead of just guitarist/bassist Jeff Waters, a vocalist, and (maybe) a drummer... The result is, of course, a modern day thrash metal classic.

Ultra-Motion: The album begins on that ever-popular fast and heavy note. The riffs are amazing and the chorus is incredible. The only flaw I'd say is that the echoing effect during the verses is a little pointless, but it's certainly forgivable...
10 out of 10

Torn: A mid tempo number that still keeps a thrashy pace. The style of the vocals on this number seems quite similar to that of Judas Priest's Rob Halford. The lyrics on this one are about breaking free from the guilt you may have.
9 out of 10

My Previous Lunatic Asylum: Don't let the slighty goofy title fool you, this song is an absolute monster. While the lyrics carry on a classic Annihilator theme of schitzos and insanity, the song's spotlight is truly on the music. The riffs are heavy as Hell and the solo section is absolutely amazing...
10 out of 10

Striker: Now we are treated with the fourth thrasher in a row. The chorus on this one has a unique feel and the riffs are well done on this one. Also, the random drum solo comes out of nowhere in the solo section is quite odd but is done with good taste.
8 out of 10

Ritual: Similar to the second track, only not really as heavy. This song seems to take a slightly classic metal direction. The riffs are good and the chorus is nice, although nothing amazing. The riffs on this one critique organized religion.
8 out of 10

Prime Time Killing: This is one of the tracks that people seem to dislike the most. The song takes on a groove metal pace that seems to be a warning of the future's sound. I think it is still a good song with a unique verse and a strong chorus.
7 out of 10

The Blackest Day: Another slighty groove number. The verses have a nice flow between them, the chorus is well done, and the break at the end of the last verse seems to surprise me every time. The lyrics on this one describe the ever-popular topic of global destruction, a sure sign of classic metal.
8 out of 10

Nothing to Me: This is another song that seems to be getting people's panties all in a bunch. Musically, this number reflects Annihilator's hard rock influences and sounds quite similar to AC/DC, right down to Comeau's attempts to imitate Bon Scott (although it sounds more Overkill's Bobby "Blitz" Ellsworth...). The lyrics are of the break up kind, and actually have some nice attitude in them. Totally different from the bitchiness that lay ahead...
9 out of 10

Fire Power: This is the slowest song on the album and quite possibly the heaviest. The lyrics on this are the basic "badass war machine" type. The song is made memorable by its thundering main riff and a classic chant of "Hail! Fight!" (or something like that) during a particularly moshy part. Of course, what thrash band doesn't have a song with a nice, moshy chant?
9 out of 10

Cold Blooded: I'd consider this to be the heaviest track on the album. The verses, choruses, and solo are intense as hell. The lyrics on this are basically about a serial killer.
8 out of 10

So, this album gets 86 out of 100, 86%, and 4 stars. This is one of my top Annihilator albums and shows that any band can make a powerful album so late in their career. Unfortunately, it is their last album with Comeau. What the hell is he doing these days anyway?

In Absentia (Porcupine Tree)

With their brand of infectious metal-laced progressive rock, Porcupine Tree has provided us with a refreshing opus. Opeth fans should be familiar with vocalist/guitarist Steven Wilson, who has collaborated often with the band and even wrote the lyrics for the Opeth song "Death Whispered a Lullaby." Much like the average Opeth record, the album's sound is best described as bleak, subdued, and melancholic. Of course, the things that make Pocupine Tree unique are the lack of death grunts and a stronger focus on a pop sensibility...

Blackest Eyes: A nominee for my favorite tracks on the album, with an Opeth-like introduction, a great main riff and a catchy chorus. The lyrics on this one are some of the creepiest on the album and seem to describe a serial killer with such lines as "I've got people underneath my bed" and "It's so erotic when you're make up runs." What's really creepy is that this is delivered in such a mellow tone...
10 out of 10

Trains: While the album has a strong focus on accoustics, it is nowhere near a ballad. In fact, I may consider this to be the most upbeat tracks on the album. The vocal harmonies are well done, as are the guitar parts. The hand clapping segment is also interesting. The lyrics seem to reflect a theme of childhood memories through a love of trains.
10 out of 10

Lips of Ashes: A nice spacy track with some hypnotic vocal patterns and some trippy sound effects. This track is also one of the more subdued sounding on the album and makes one feel as though they've been sedated...
7 out of 10

The Sound of Muzak: This is another nominee for best track on the album. Even if the music was crap, the song would have to get a high rating due to the absolutely amazing lyrics. The concept of this song is the shallowness of the music industry and the general public apathy, stating that "one of the wonders of the world is going down." There is also a sense of sarcasm felt in the lyrics and even invokes some imagery not unlike "1984." Ironically, it has an almost commercial feel to it musically with rapidly flowering verses, a nice accoustic focus, and some layered vocals in the chorus.
10 out of 10

Gravity Eyelids: This song has a ballad-ish first half and an almost instrumental second half. Highlights include some nicely done vocal harmonies, some erotically vague lyrics, a cool main riff in the second half, and some interesting keyboard effects.
9 out of 10

Wedding Nails: To close out the first half of the album, the band has provided us with a nicely done instrumental. While it is not as strong as some of the top tracks, it has a nice groove to it with some well done riffs.
9 out of 10

Prodigal: I'd consider this to be one of the "true" ballads on the album. Musically, it has a somber tone with nice verses and choruses. The lyrics on this one are some of the bleakest on the album. They describe a man who is suffering from depression and the methods he uses in his attempts to make it subside, such as religion, drugs, and television.
9 out of 10

.3: Much like the third track, this track relies greatly on its spacy atomsphere musically. The lyrics are vague (and consist of only 4 lines...) and seem to describe the dropping of a missile on an unsuspecting people.
7 out of 10

The Creator Had a Master Tape: This is probably my favorite track on the album and one of the more accessible songs. Musically, the song features an incredibly infectious bass line, some interesting vocal effects, and a healthy amount of distortion. The lyrics on this one seem to be about a serial killer who "captured and collected things" and "raised a proper family so he could tie them to a bed..."
10 out of 10

Heart Attack on a Lay-By: This may be the most depressing song on the album. It is a ballad with a space and subdued atmosphere. The lyrics are about a man who has a heart attack as he is driving, hinting that he was on his way to an ex-girlfriend's house to make up with her.
10 out of 10

Strip the Soul: Without a doubt, this is the heaviest track on the album. It has a heavy fixation of distortion on both guitars and vocals. The serial killer concept is carried on here, and the lyrics read like the hostile attitude of a movie such as "Deliverance."
8 out of 10

Collapse the Light into Earth: A beautifully done, piano driven tune closes out the album. The song seems to have an uplifting and relaxed tone to it. The vocal harmonies on this one are also great and there is also an almost symphonic presence in the song's background.
9 out of 10

Overall, the album gets 108 out of 120, 90%, and 4.5 out of 5 stars. I'd highly recommend it to fans of bands such as Opeth, Dream Theater, Pink Floyd, and even Radiohead. I got the CD for only $11.99 at Borders. It's also a nice way to prepare for the release of the band's album, "Fear of a Blank Planet," which is supposed to be coming out in the next week or two...

The Crusade (Trivium)

Trivium seems to be a band that just can't get respect in the eyes of the metal community. Since the start of their career, the band has been damned in the underground for their rather generic metalcore song structures and horrible yells courtesy of guitarist/lyricist Matt Heafy. In 2006, the band seemed to undergo a great change on this album. The metalcore sound of the past seems to have mutated into an almost poppy thrash sound, bringing to mind such bands as Metallica, Annihilator, and Dream Theater. The lyrics are still rather immature, (let's face it, Heafy is a crappy lyricist...), but there are more thoughtful topics on here such as police brutality, honor killings, and even Chinese folklore. Most controversially done are the vocals. Heafy's scream is nearly absent on the album, though it shows up from time to time, and has replaced with a bark that is almost exactly like that of Metallica vocalist James Hetfield's... It is gotten several cries of sell-out (much like Metallica), but you know what they say, imitation is the sincerest form of flattery...

Ignition: This song sets a dark, forboding tone for the album both musically and lyrically. While this isn't a concept album, the lyrics of this song seem to warn the listener of the album's tales of "homophobia, racism, [and] sexism." Musically, the song is pretty catchy overall with some repeating verses and all that stuff. I will say the chorus is kinda girly... The ending of the song is also interesting as the guitar parts kinda sound like a cross between the introduction to "Diary of a Madman" by Ozzy Osbourne and something from "The Nightmare Before Christmas..."
8 out of 10

Detonation: The mystic accoustic parts of the previous song then crash into this ploddy riff. While the last song dealt with the end of the world, these lyrics deal with the grisly fate of those who survived "the sound of humanity melting away." Musically, the song goes from the ploddy beginning to a thrashy middle section (with a Slayer-esque solo thrown in...) to a lighter second half.
8 out of 10

Entrance of the Conflagration: This is the song that I heard from the album that got me interested (of course, I also wanted to see what the band sounded like without screaming...). The lyrics are about the life of Andrea Yates, who infamously drowned her children in a bathtub 6 years ago after "hallucinating Satan" and was found not guilty by reason of insanity (funny, "insanity" has the same number of letters as "bull shit!"). Musically, the backing vocals will determine whether or not you can tolerate this song, as the rest of it is relatively well done with a rapid pace throughout and a catchy chorus.
9 out of 10

Anthem (We Are the Fire): While the rest of the album brings out the band's Metallica influences, this song seems to be a sleazy almost hair metal vibe to it. I'm assuming this is the Skid Row/Motley Crue song on the album the band was referring to. Lyrically, it is a call of unity to "turn your back on your enemies and let those motherfuckers rot in their jealousy..." The whole thing is rather silly and the vocal harmony at the end doesn't really work and it is better suited for vocalists like Bruce Dickinson. While I hate to like this song, it's just so fricking infectious...
8 out of 10

Unrepentant: Lyrically, this song explores the sexism aspect of the album, as it describes "a poor man with four daughters" by the name of Nazir Ahmed, who slit the throats of his daughters and step-daughter to restore honor to his family after his oldest daughter (the stepdaughter) supposedly commit adultery. Musically, I'd consider to be one of the best on the album as it is catchy without being overly obnoxious and keeps a fast, thrashy pace.
9 out of 10

And Sadness Will Seer: The lyrics on this one are about the aspect of homophobia, and describe a man named Matthew Shepherd, who was beaten to death in 1998 because of his sexual orientation. Musically, the song is another plodder with a slightly ballad feel to it. Overall, it's good though nothing amazing.
7 out of 10

Becoming the Dragon: This is probably one of the most interesting tracks on the CD. Looking at the title, I thought it was about the movie "Red Dragon..." The lyrics are a homage to Chinese folklore and describe a Dragon King's transformation "from koi into a beast." Musically, it's another ploddy number with some interesting vocal efforts and the bridge's lyrics are delivered in that scream that we came to hate so much on the last few albums. Overall, it's good though it never seems to really pick up.
7 out of 10

To the Rats: This song is probably the closest thing to the old Trivium sound with its thrash intensity and the extremely immature lyrics. I do have a questions for the band about the lyrics...
1) What the Hell is a "skullfuck?"
2) You say you'll "break every bone in [our] face[s], if [we] mess with [your] life." How many bones are in my face?
3) You claim that you'll "come to where [we] work and fucking tie [us]." What about those of us who are unemployed and live in our mother's basements?
8 out of 10

This World Can't Tear Us Apart: This song seems to be an unofficial sequel lyrically to "Dying in Your Arms" off of the previous album. The speaker has gone from a bad relationship to a good one and declares that "this love is forever." While that is an EXTREMELY niave thing to say (trust me, I know...), it can be argued that it's actually suited for the band's fans (much like "Nothing Else Matters" by Metallica...). I didn't really want to like this song given that it basically is filler, but the riffs are so well done and it's rather catchy...
7 out of 10

Tread the Floods: I may consider this track to be the best song on the album. The riffs on this one are great with a strong pre-chorus and chorus. The lyrics are basically about stressing out and are one of the rare occurances of true rhyming structure in a Trivium song...
10 out of 10

Contempt Breeds Contimation: Here is the racism portion of the album, as this song is about the death of Amadou Diallo, a black man who was shot to death in 2001 by NYPD, who mistakenly thought he was about to pull out a gun. Turns out, he was only about to show his ID, and of course, the officers were acquitted... Musically, this is another song that isn't too noteworthy...
6 out of 10

The Rising: Much like "Anthem," the lyrics on this one are a call to all Trivium fans to "sing this song of unity." The difference is, this song doesn't have an infectious main riff or a catchy chorus. This is pretty much filler without a somewhat okay chorus. Odd choice for a single...
6 out of 10

The Crusade: Much like their idols Metallica and, to a lesser extent, Testament, the band decided to close the album out with an 8 minute instrumental. Quite frankly, it doesn't really work that well. Some of the riffs are well done and have good imagery, but the whole thing feels like some kind of "cut and paste" job the band did with the riffs they had leftover. I swear I hear a riff from Annihilator's "Both of Me" somewhere in here...
7 out of 10

Overall, the album gets 100 out of 130, 77%, and 3.5 stars. If the last 3 songs were taken out, this would've been a much better album. Of course, it leaves the listener with one question when it's all over: What metal style will Trivium try imitating next? I'd love to see them try to do stoner metal...

Accident of Birth (Bruce Dickinson)

As his former/current band Iron Maiden seemed to be quickly falling into obscurity, Air Raid siren Bruce Dickinson seemed to be ascending back into the heart of the metal community with this well-done effort. This is a great return to form to metal for Dickinson, as his last few albums experimented with alternative rock and were deemed terrible by many critics and fans. Although the sound is very similar to Maiden, it has a slightly modern touch and experiments with accoustics on a few tracks. It also greatly benefits having producer/Tribe of Gypsies guitarist Roy Z and Maiden guitarist (and main writing partner) Adrian Smith in the ranks. Also, a plus is artist Derek Riggs, creator of Maiden's mascot Eddie, contributing the album's cover artwork.

Freak: The album opens on a strong note with a heavy, speedy number. The main riff shines and the chorus is interesting. The lyrics are about a friend of Roy Z's, who sounds like a rather interesting person. I like the track a lot than I did on the first few listens, but there are better songs on the album.
9 out of 10

Toltec 7 Arrival/Star Children: "Toltec 7 Arrival" is basically the 37 second intro that goes into "Star Children." Musically, it is a slower, heavier number that seems to resemble doom metal. Science fiction is the subject of this album, describing an extraterrestrial as a metaphor for Death.
8 out of 10

Taking the Queen: This is the first accoustic number on the album, though it's not quite as ballady as the other accoustic tracks. The lyrics mirror the story of Sleeping Beauty, and tell of a queen who has fallen under a spell and whose kingdom has "follow[ed her] into [her] room." The verses are nicely done and the chorus is heavy. The last few seconds of the song flow into the introduction of the next track...
8 out of 10

Dark Side of Aquarius: ...which happens to be the best track on the album and one of the best songs Dickinson has recorded in his career. The lyrics describe the Four Hellriders of the Apocolypse (whoever those are...) and has references to "The Silver Surfer" comic series. Musically, it has a pattern of atmospheric introduction, a fast, clean section of the first two verses and chorus, a section similar to the introduction with an almost misty feeling in its imagery, and returns to the fast pace. Towards the end, Bruce's vocals take on a style similar to that of his early 90's era with some healthy gang vocals thrown in.
10 out of 10

Road to Hell: If there is any track on the album that resembles Maiden the closest, it's got to be this one. With the exception of the vocal distortion during the verses and the lyrics, it sounds like it could've been a Maiden out-take. It even makes ironic reference to "Brave New World." An excellent song with great riffs and chorus.
9 out of 10

Man of Sorrows: The second ballad of the album, it describes the life and times of legendary occultist Aleister Crowley (better known by Ozzy Osbourne fans as "Mr. Crowley."). I've read that the song was originally written for a never finished movie titled "The Chemical Wedding" (also the title of the following Dickinson album...). The music itself is a little too predictable, but it has a great deal of emotion and some interesting symphonic elements.
8 out of 10

Accident of Birth: In terms of heaviness, this song may be only second to "Star Children." The dark riffs perfectly suit the lyrics and provide some creepy imagery, especially in the introduction. This time, the lyrics are about a man who never should've been born. It's been said that around this time, Dickinson's mother had told him that he was the result of a failed abortion (maybe that's why I'm pro-life...). The lyrics also make mention to the fact that "[he] might've have a brother," a statement that I personally relate to, for those of you who know me.
9 out of 10

The Magician: Another fast number similar in feel to "Road to Hell" and is another song with a vibe similar to Iron Maiden. This is the second track using Mr. Crowley as a subject. Instead of treating him as a tragic hero, this time it seems to poke a little fun at him and describes how he "kicked the sand in Satan's face [and] put Jesus in his place..." The verses and well done and the chorus is incredibly catchy.
9 out of 10

Welcome to the Pit: This is another heavy number that seems to hint at the musical direction the band would take on the following album. The lyrics on this one are about some kinky sex, a rare topic for Dickinson to take up, and can only be described as interesting... It kinda makes me want to take a shower after listening to it, a feeling I'd normally associate with gangsta rap or AC/DC's "Dirry Deeds Done Dirt Cheap..."
7 out of 10

Omega: The album finishes with two accoustic ballads, each a part of a science fiction concept. This is the first part and seems to describe the end of the world. I find it interesting as Armageddon lyrics are often accompanied by heavy as hell riffs (Megadeth's "Set the World Afire," for example...). Having said that, it does provide dark imagery and the chorus on this one is great. It did take a few listens to really like.
9 out of 10

Arc of Space: The closing song on the album is another ballad and the second part of the closing concept. This time, it seems to describe some kind of cult seeking attention from the reaches of space. The song is particularly significent for me, as it always brings to mind those that I've lost and have been taken away from. Musically, it features some beautifully done Spanish guitars, effective synths, and fantastically emotional vocals delivered by Dickinson. This may be the other nominee for my favorite song on the album.
10 out of 10

Overall, the album gets 96 out of 110, 87%, and 4 stars. It is a well done effort that is comparable to some of Maiden's albums, but still distinctly unique. It is better than what Maiden was doing at the time, and the album seemed to be the catalyst that led to his return to Iron Maiden. Of course, he didn't go back without doing one more masterpiece...

Powerslave (Iron Maiden)

Just when you thought I wouldn't be reviewing another Iron Maiden album...
I'd consider this to be one of Maiden's most underrated albums and one that shows the band at the peak of their career. This is the first Maiden album without a single lineup change, which was probably a factor in the album's success. It also shows a greater rate of input in the songwriting from other members besides bassist Steve Harris, with vocalist Bruce Dickinson writing and co-writing four of the album's tracks (two of them co-written by guitarist Adrian Smith). The duo's writing power can only be described as the Lennon-McCartney of metal.
Musically, the album seems to be the bridge between the raw sound of their first four albums and the progressive (and often synth soaked) sound of the two following albums. Lyrically, the album takes on unique subjects such as fencing, air combat, and the supernatural, which perfectly matches the album cover's Egyptain imagery.

Aces High: The album opens with one of the best openers of the band's career, perhaps second only to the "Ides of March" and "Wrathchild" one-two punch of "Killers." The riffs shine valiently and Dickinson hits some incredibly high notes in the chorus, perfectly fitting his title of the Air Raid siren. The song's lyrics are about dogfighting during World War II.
10 out of 10

Two Minutes to Midnight: Like many recent fans, I became interested in this band and album after hearing this song on the "Grand Theft Auto: Vice City" soundtrack. It does have a slightly commercial sound but the main riff is excellent as is the chorus. Also, the solo section is one of the best on the album. The lyrics are based upon the Doomsday Clock, which calculates how close the world is to midnight (Armaggedon). As of April 2007, we are five minutes to midnight... 10 out of 10

Losfer Woods (Big 'Orra): As of 2007, this is the only instrumental released during the Bruce Dickinson era(s) and the last one Maiden has ever performed. Personally, it may be second to "The Ides of March." As always, the riffs are well done and keep a strong pace.
10 out of 10

Flash of the Blade: One of the two songs written entirely by Dickinson, this song's lyrics deal with his passion for fencing. Apparently, he got an offer during the 80's to join the English Olympic fencing team, but he declined due to his commitments with Maiden. The song certainly isn't a slouch with another catchy chorus, strong bass presence, good solo section, and an introduction that makes me think of the theme of the movie "Halloween."
9 out of 10

The Duelists: Another song about fencing, only this time, the composer is Steve Harris. The main riff has a similar feel to that of the instrumental, but it has a unique feel to it. The vocals on this one show a great deal of range, going from the slight rasp to a high note in a split second.
8 out of 10

Back in the Village: One of the faster songs on the album. The lyrics are a basic sequel to "The Prisoner" from "The Number of Beast," and deal with him attempting to escape from the village. I hate to say it, but this probably is the weakest song on the album, but it's a great song. One thing I like about it is when Dickinson declares that "[he] sees sixes all the way," you can hear six-six-six echoed in the background if you listen hard enough. Perhaps a nice way to poke fun at the album burners...
8 out of 10

Powerslave: The song begins with the sounds of ghostly wails, a heartbeat, and an evil laugh (presumably from Eddie...). I'd consider this to be one of the more overlooked songs of the band's career, especially in terms of title tracks. The lyrics on this describe the rise, fall, and promised resurrection of a dead pharoah (perhaps hinting at the music industry...). Musically, it has an unusually dark main riff bringing to mind imagery of a damp tomb, a strong chorus, and one of the best solo sections of the band's career.
9 out of 10

Rhyme of the Ancient Mariner: What can be said about the longest song of Maiden's career? The word "boring" certainly comes nowhere near my mind in the decision. The song is based upon the famous opem of the same name and even manages to quote a few times to add to the effect. The basic theme of the album is the importance of nature and the consequences that occur if you mess with the balance. Musically, the song is much other epics, only it never goes into any ballad type of styles. The main riff brings to mind "Flight of Icarus," the fast parts are relentless, the middle part is full of dark, foreboding imagery, and the second fast part brings to mind the main riff of "The Number of the Beast." Overall, it is an incredible magnum opus and it has achieved greater significence when we read the poem in my English literature class last year (and got to listen to it after we finished reading it...)
10 out of 10

Overall, the albums gets 73 out of 80, 91%, and 4.5 stars. This is one of my favorite Iron Maiden albums and is one to go to if you're a newbie interested in hearing the best of the band. You won't be disappointed.

Tempo of the Damned (Exodus)

When this album came out in 2004, it was the first album Exodus had released in nearly 11 years. Like many bands at the time, they had fallen from grace and split up in the mid 90's. Their Second Coming is inspired by and dedicated in the memory of first Exodus vocalist Paul Baloff, who had performed on the classic "Bonded by Blood" in 1985 and a live album in 1997. He was originally going to be appear on this album but succumbed to a stroke that rendered him comatose in 2001. The band re-hired vocalist Steve "Zetro" Sousa (who originally replaced Baloff in the 80's...).
Musically, the modern Exodus style seems to mold the groove of the previous album "Force of Habit" and the speed of their 80's material. Lyrically, the style is more juvenile (courtesy of guitarist Gary Holt), but it certainly matches the angry guitar riffs, pounding drums, and the Bon Scott inspired snarls.

Scar Spangled Banner: The album opens on a strong note with the song that got me interested in this album. The introduction is classic, the verses flow well, the chorus is well done with some gang vocals thrown in for good measure, the solo is well done, and the bridge is also successful in its attempt to slow things down yet making the song heavier. The song's lyrics are basically an attack on American policies and "the flag of hate, of violence, and porn." The red, white, and blue wordplay they use is interesting but the word "Hate-triot" is one of the most rediculous rhymes I've ever heard in a metal band...
10 out of 10

War is My Shepherd: The next song is one that is also fast and heavy, though not as relentless as the opener. The opening guitar riff kinda sounds like a riff from Anthrax's "Subjugator." The lyrics are satirical (we hope), descrbing someone who basically holds war in a regard one would hold for religion...
9 out of 10

Blacklist: This song has a much slower pace but retains a heavy tone and much more of a groove than the previous tracks. The lyrics are the standard "don't talk shit about me" stuff that has made been used before in the band's career ("A Lesson in Violence" for instance). The main riff is awesome and the verses and choruses are well done.
9 out of 10

Shroud of Urine: Beginning with the awesomely done bass introduction, this is one of the more well known songs on the album. The tone is similar to the previous track in heaviness, but seems to go at a faster pace (faster as in mid tempo...). As usual, the introduction, verses, and chorus shine on this track. The solo section on this one is one of the best on the album, and seems to have a Judas Priest influence towards the end. The lyrics are basically of your anti-religious fare and while they are full of venom, they're not exactly original...
10 out of 10

Forward March: This is one of the ones that gets the most criticism. The lyrics to this song were written by Zetro, and are basically about someone who won't let anything get in his way. The vocals are delivered in an almost rap fashion and are a big source of controversy. Overall, I enjoy this song, but the solo is slightly overlong.
8 out of 10

Culling the Herd: Another mid-tempo track similar to "Shroud of Urine," but not quite as heavy. Much of its focus seems to be on the lyrics, which are basically about a hypothetical practice of killing those that are "inferior" such as the weak and poor so that society can flourish. An incredibly vile statement that I find myself feeling rather guilty sympathizing with, even though I'm probably one of the first people they'd go for. The verses and chorus are once again at their catchy best and the solo on this is particularly well done on this one as well.
9 out of 10

Sealed With a Fist: I've heard that this song and the next one were originally done in an obscure project by Gary Holt known by War Dance. It does have a feel that is different than the rest of the album although at the same time it also has a rather plain feel to it. The chorus is a little awkward and the song mainly relies on its strong groove. The lyrics are basically about a woman who was abused by her newlywed and shot him with "sixteen rounds (in case she missed)..."
8 out of 10

Throwing Down: I'd consider this to be the most unusual track on the album. This is the second track originally done by War Dance. The lyrics on this one are extremely vague (written by a guy named John Miller) but seem to be about someone who is fighting the world. The riffs are pretty catchy and the vocal harmonies are the best on the album. Weird but really catchy. . .
9 out of 10

Impaler: This song was written while Paul Baloff and Kirk Hammett were still in the band in the early 80's (one of the riffs was infamously used on Metallica's "Trapped Under Ice") and is a last addition to the album. Originally, there was going to be a song called "Crime of the Century" (which is a slam on Century Media, the band's record label), but it was ditched in favor of this track. While I'm curious as to how good "COTC" was, this is another great song that stands out in its old school approach.
8 out of 10

Tempo of the Damned: The closer I hate to admit is the weakest track on the album. It manages to keep a nice pace and the structure of the chorus kinda makes me think of Testament. The lyrics seem to be another anti-religious attack.
7 out of 10

Overall, the album gets 87 out of 100, 87%, and 4 stars (you know, I really do love the albums that have just 10 songs. They're so much easier to calculate...). I'd consider this to be another one of my personal favorite albums and one that I'd recommend if you can handle immature lyrics, weasely vocals, and heavy as hell riffs...

Spreading the Disease (Anthrax)

Much like their peers in Metallica, Anthrax went through a great period of change between the release of this album and the previous "Fistful of Metal." Most noticeable are the initiations of bassist Frank Bello (replacing Nuclear Assault/Brutal Truth bassist Danny Lilker) and vocalist Joey Bellodonna (replacing Deathriders vocalist Neil Turbin). While I believe that Turbin was a great though controversial vocalist and a good lyricist, Belladonna was a much better fit for the band. Lilker is certainly missed as well, though Bello is a worthy replacement who has stayed with the band to this day (probably because he is the nephew of drummer Charlie Benante). The band has also come out of their shell musically and lyrically, with more unique music influences and more unique lyrics than the "death and destruction" lyrics of "Fistful of Metal." The result is an another example of classic thrash metal.

A.I.R.: The acronym in the title stands for "Adolescence in Red." Yeah, Anthrax had a thing around this time to include cute little acronyms in their song titles (I'll have to try it sometime...). Lyrically, the song is basically a motivational teen anthem. Musically, the verses are done in a call-and-response fashion with a nicely done chorus.
9 out of 10

Lone Justice: A track that may take a few listens to really get into. The verses are a little awkward at first, but they have some interesting layering effects throughout. The chorus on this one may be one of the best on the album as its not really of the obnoxiously catchy variety. The lyrics are inspired by the Gunslinger from Steven King's "Dark Tower" series.
9 out of 10

Madhouse: The most known song on the album and the one that got me interested in the band after hearing it on the soundtrack of "Grand Theft Auto: Vice City" (along with every other band on there...). The lyrics on this one are basically a light hearted version of "Welcome Home "Sanitarium" (although that came along about 2 years later...). Musically, it is one of the poppier songs on the album but it has an incredibly pre-chorus/chorus with an interesting siren-like main riff. Also, the spoken introduction at the beginning is classic...
9 out of 10

S.S.C./Stand or Fall: The acronym on this one stands for "Suck Some Cock." Like "A.I.R.," the sng is basically a motivational teen anthem, but it's a bit more paranoid this time around. Musically, it is extremely erratic and rapid to match the lyrics. The Arabic sounding introduction is also nicely done.
9 out of 10

The Enemy: This song takes a slower pace but still retains its heaviness. This time, the lyrics portray the exploits of Adolf Hitler and the Nazi party, though not as graphically as Slayer's "Angel of Death." The song has a particularly strong pre-chorus but it's another song that may take a few listens to get into.
8 out of 10

Aftershock: Basically, this is the standard "end of the world because of nuclear war" song that every thrash band seems to have. The song is another thrashier number with a strong chorus, though I may have to take off a star for sounding a little too much like "Stand or Fall."
8 out of 10

Armed and Dangerous: Previously featured on the EP of the same name, this is probably the best track on the album and one of my personal favorite Anthrax songs. The song starts out as a ballad and then into uber-heavy mode through the rest. The vocals shine on this one and hit some pretty high notes. The lyrics, one of the two songs on the album co-written by Neil Turbin and Dan Lilker, are another motivational tune but this one seems to apply to anyone who feels imprisoned and ready to be set free. A simply amazing song that I'd like to cover myself, that is, if I can find a way to get around those high notes...
10 out of 10

Medusa: This song was actually written by Jon Zazula, the mastermind behind Megaforce Records (the band's original record label). The lyrics on this one are obviously about the Greek mythological figure of the same name, who had the power to turn people into stone if they looked into her eyes. What really shines in the song is the heavy mid-tempo pace, gang vocals in the pre-chorus, and the interesting vocal effects in the chorus. Not one of my favorites, but it must be great in the mosh pit...
8 out of 10

Gung Ho: A song that really makes for a great closer. This is the second song co-written by Turbin and Lilker. The feel of the music and lyrics is very similar to that of the songs from "Fistful of Metal." Another great song that must be amazing live, although the last minute of the song may be a little too silly for its own good...
8 out of 10

So this album gets 78 out of 90, 87%, and 4 stars. Overall, it's a pretty amazing album and certainly worth your attention. Especially since I bought this album for only $9.99 at Best Buy...

The Odyssey (Symphony X)

Symphony X is a classic example of a band that has kept an old school style throughout the 90's and 00's. Led by guitarist Michael Romeo, the band has gathered a following on both sides of the Atlantic and even gained a spot on Dave Mustaine's Gigantour festival in 2005. Released in 2002, this album seems to show a heavier direction musically with a more in-your-face sound, so to speak.

Inferno (Unleash the Fire): The album opens on a fast note with a classic opening riff, some gritty vocals courtesy of vocalist Russell Allen, and a strong chorus. The lyrics are of the motivational variety and tell the listener to "look within and unleash the fire."
10 out of 10

Wicked: This song seems to go into an almost bluesy, doom metal direction for the majority of its length. The guitar riffs are great and the layering of the vocals is done in good taste. The lyrics are basically about a traveler who stops to rest at an old churchyard and has an encounter with the ghost of a woman buried there. The only flaw I'd say is that the chorus feels a little out of place.
9 out of 10

Incantations of the Apprentice: A song that seems to combine the speediness of the opener and the heaviness of "Wicked." The chorus on this one is fantastically done. The lyrics on this one are based upon the "Sorcerer's Apprentice" sequence of the movie "Fantasia." The only flaw I'd give this song is that the pre-chorus is a little out of place and brings down the flow of the song.
9 out of 10

Accolade II: Lyrically, this song is a sequel to the song "The Accolade" off of the "Divine Wings of Tragedy" album and describes a knight who takes back his knigdom in honor of his presumedly slain father. Musically, it is mostly a ballad with an empowering chorus and excellent vocals delivered.
9 out of 10

King of Terrors: One of the heaviest songs on the album that is sure to be a live favorite. This time, we are taken on a voyage into a dark dungeon to witness the incidents of Edgar Allen Poe's famous short story "The Pit and the Pendulum." The vocals are sequenced in an interesting matter and the chorus is well done (aren't they all?), although it reminds me of "Of Sin and Shadows" a little too much for its own good... The brief narration during the song is also well done.
9 out of 10

The Turning: Another heavy number that I seem to overlook a lot. I'd compare this song to "Sea of Lies" in a few ways. The riffs are fast and the chorus is one of the best on the album due to its uniqueness. The lyrics on this one seem to describe a werewolf or another unforunate soul whose dark side comes out when the sun sets.
8 out of 10

Awakenings: I'd consider this one to be a warm-up for the closing epic ahead. The tone of this song is quite relaxed and I hear some Rush influences in the guitar department at times. Lyrically, it is another motivational number with the speaker seeking salvation. While it is a good track, it is a little overlong.
7 out of 10

The Odyssey: Due to this song being a 24 minute epic with multiple parts, it'd probably be best to review the song in those specfic parts...

Part I: Odysseus Theme/Overture: The epic opens wonderfully with one of the best overtures I've ever heard for a metal song. The entire song is accompanied with an orchestra and really gives off the feeling similar to a musical overture or a movie score. One of the epic's high points.
9 out of 10

Part II: Journey to Ithaca: This part of the song has a ballady feel similar to that of "Accolade II." The lyrics deal with Odysseus (the protagonist of "The Odyssey," for those of you who haven't heard of it...) mourning the time he has spent away from his kingdom, Ithaca and his wife Penelope. The song is emotionally well done although it does not really have a complete feel. I guess that is expected, given that this is an epic tracks and all are the parts flow together...
9 out of 10

Part III: The Eye: The song goes to a heavy feel as Odysseus and his men arrive on the island of the Cyclopes and enter the cave of Polyphemus, a Cyclops who is the son of the sea god Poseidon, where they are taken prisoner and eaten one at a time. Eventually, the men gouge out the Cyclops's eye and manage to escape, but not without the curse of Polyphemus upon them. Musically, it is a good track with some interesting bellows and overall structure.
8 out of 10

Part IV: Circe (Daughter of the Sun): The story then skips ahead to when Odysseus and his men encounter the witch Circe, who transforms Odysseus's men into pigs. Odysseus manages to change them back to human form, but he and his men must stay with her for a year. Musically, this part of the song has a bit more of a relaxed feel to it.
8 out of 10

Part V: Sirens: Musically, we go back into heavy mode as Odysseus and his men sail past the Sirens, who sing a beautiful song that has lured many mariners to their deaths. Odysseus orders his men to bind him to the mast so that he may get a chance to hear the Sirens's song with meeting his end, though he nearly loses his sanity in the process. This is one of the highlights of the epic and the beginning of this part kinda reminds me of Judas Priest's "Dissident Aggressor."
9 out of 10

Part VI: Scylla and Charybdis: We are treated with another instrumental section of the epic as Odysseus and his men try to sail past Scylla (a monstrous woman who devours sailors) and Charybdis (a raging whirlpool). The story then flashes ahead as Odysseus manages to make his way to the shores of Ithaca, though all of his men have been killed. This is another great part, but the overture is much better.
8 out of 10

Part VII: Fate of the Suitors (Champion of Ithaca): Now, with the help of his now 20 year old son Telemachus and the goddess Athena, Odysseus makes his way to the palace disguised as a begger and sees the suitors who are eyeing his throne (and his Queen). The Queen makes a challenge that whoever can shoot an arrow with Odysseus's bow through 12 rings shall be the true king of Ithaca. Odysseus succeeds, reveals his true form, slaughters the suitors, and reclaims his throne. Musically, this is another high point of the epic with a strong, empowering chorus.
9 out of 10

The epic gets 60 out of 70, which rounds up to about 9 out of 10.

Overall, the entire album earns 70 out of 80, 88%, and 4 stars. This is one of those albums that seems to get a lot of plays on my iPod and just might be one of their best albums. It may be a good first purchase to make.

Melissa (Mercyful Fate)

This is an album that I'm attempted to write for a review several times before. It is a hard album to really do justice for.
At the time this album came out (1983), it's safe to say that Mercyful Fate was one of the most unique metal bands around. They were nowhere close to the style of glam and certainly weren't of the thrash/speed metal variety (although they were friends with bands such as Metallica). They possessed one of the greatest guitar duos ever, in the form of Hank Shermann and Michael Denner, surpassed only by Judas Priest and Iron Maiden themselves.
Despite the amazing musicianship of the instrumentalists, legions of potential fans have been turned off the "wide" vocal range and Satanic lyrics delivered by vocalist King Diamond. To this day, he has the ability to go from a deep Alice Cooper influenced bellow to falsetto shrieks that even Rob Halford probably can't reach. It is safe to say that he is the main reason why Mercyful Fate has been cited as one of the founders of black metal alongside Bathory and Venom, despite the overall band having a sound that can only be described as dark classically-influenced power metal.

Evil: I think this may be one of my favorite Mercyful Fate songs and one that I'd like to perform with my own band. It seems to serve as an introduction to the over-the-top King Diamond and his "legions of Hell" (I do love how he mispronounces "legions..."). Due to its almost happy sound and lyrics dealing with necrophilia, I was describe it as the bastard child of Alice Cooper's "No More Mr. Nice Guy."
10 out of 10

Curse of the Pharoahs: Another great song that shows more of King Dimaond's lower registers of his vocal abilities. The riffs are great and the chorus is well done. The lyrics describe just what you think they do and I haven't found any deep meanings in them (although I think that's to be said for about all of his Majesty's lyrics...). Another classic.
9 out of 10

Into the Coven: This tune begins with a beautifully done accoustic intro that showcases the excellent guitar duo once more. The rest of the song is much like the rest of the album with some great riffs and goofy vocals. The lyrics on this song really sound like the procedures taken in some ritual.
9 out of 10

At the Sound of the Demon Bell: I'd consider this to be the weakest song on the album and one that I couldn't tolerate for a while. The introduction is great but much like the previous introductions. King Diamond goes really over the top on this one with even goofier vocals and lyrics, as if intending to sound extremely cheesy. There are great parts on it and there are worse songs.
7 out of 10

Black Funeral: The shortest song and the closest thing the album really has to commercial music (although the bouncy tone of "Evil" may provide an exception). I believe this song was released as a single in some parts of the world, but I'm sure it wasn't too successful due to the singing of the line "All hail Satan, yes hail Satan" in the third line of every verse...
9 out of 10

Satan's Fall: The thirteen minute long epic on the album and the one song that truly the musical variety of the band complete with King Diamond "bringing the blood of a newborn child." A great song with many twists and turns, although it can a little overwhelming at times.
8 out of 10

Melissa: The album closes out with an epic ballad about a man whose love, Melissa, has been burned at the stake by a priest. The opening riff kinda sounds like "Are You Ready?" by AC/DC (although that song came along about 7 years later...). The song's first half is ballady as the speaker mourns his lover and heavy in the second half as the speaker swears to kill the priest "in the name of Hell." I've read that during live shows, King Diamond would sing to a human skeleton named Melissa and that its/her skull was stolen at the end of a show way back when. Forunately (I guess you could say that), it was eventually to its rightful owner...
9 out of 10

This album gets 61 out of 70, about 87%, and 4 stars. This is a truly awesome album, but that may only be if you can tolerate King Diamond's unique vocals. For added fun, check out the follow-up "Don't Break the Oath" and King Diamond's solo albums, which are basically like Mercyful Fate but the lyrics are more of the ghost story type.

Ride the Lightning (Metallica)

Along with "Master of Puppets," this is widely considered to be Metallica's best work. It definitely shows one of the biggest progressions the band has had in their history. Over the process of just one year, Metallica went from being imitators to being the imitated. Their sound had matured and their style had become more melodic. Perhaps it is due to the contributions of the late bass god Cliff Burton and his wide variety of music tastes. It's pretty safe to say that this album is one that really changed the face of metal, both musically and lyrically.

Fight Fire with Fire: The album opens with a nice accoustic guitar introduction that probably had listeners totally confused when this came out in 1984. Then, the thrash attack starts and leads to one of the greatest openers of the band's career. The lyrics describe the threat of nuclear war that seems to be firing back up (no pun intended) in the new millenium with North Korea and Iran testing their weapons...
10 out of 10

Ride the Lightning: This is one of the two songs on the album co-written by former lead guitarist Dave Mustaine and one of the more overlooked tracks on the album in my opinion. The introduction is dramatic, the verses are heavy and flow well, and the chorus is catchy without being borderline irritating. The only bad thing about this song is that it now skips on my copy...
10 out of 10

For Whom the Bell Tolls: The highlight of this song is easily the godly introduction, which is almost two minutes long. Some of the highlights include the opening sound of a bell's toll, the bass solo often mistaken for a guitar solo, and the bone crushing riffs. The rest of the song is also great and features more great riffs and a nice chorus.
10 out of 10

Fade to Black: This was probably the shocking moment of the album when it first came out. This also started the looming controversy that Metallica had sold out for they had (gasp) written an accoustic ballad. This is an extremely beautiful song with an accoustic first half and a heavy second half. The lyrics are about suicide and seem to be contemplating it in the first half of the song and commiting it in the second half. Amazing.
10 out of 10

Trapped Under Ice: The album takes a slight dip in the next two songs (unsurprisingly, these are the two songs not co-written by Burton or Mustaine). Having said that, this is probably the fastest song and wouldn't sound too out of place musically on "Kill Em All." The lyrics are about someone freezing and drowning at the same time. A funny thing about this song is that the riff was concieved during guitarist Kirk Hammett's days in Exodus and is featured in the Exodus song "Impaler."
8 out of 10

Escape: While it is a good song, it is probably the weakest song (but the most underrated...). The lyrics are basically about someone who chooses not to conform in society. I think this would've been better if it performed by Judas Priest or a classic rock band...
8 out of 10

Creeping Death: Another thrashy segment of the album and a definite live favorite with its fast verses, catchy chorus, and moshy bridge. The lyrics are about the Ten Plagues of Egypt and were inspired by the movie "The Ten Commandments." Another classic.
10 out of 10

The Call of Ktulu: The first real instrumental Metallica released (I'm not sure if the bass solo on "Kill Em All" really counts as a true instrumental...). The title is inspired by the works of HP Lovecraft (they misspelled Cthulu so that the stupid Americans would pronouce it right...). A classic instrumental with some mystic imagery, although nowhere near as godly as "Orion." This is also one of Mustaine's contributions to the album, as seen on 2 of Megadeth's songs...
10 out of 10

Overall, it gets 76 out of 80, 95%, and 4.5 stars. I'm pretty sure this may be one of the closest things I've seen to a perfect album. Buy it if you haven't already (or if you downloaded it on Napster...).

American V: A Hundred Highways (Johnny Cash)

Whoever said that I only listen to metal? This review for Dillon, who got me into Johnny Cash when I was visiting oh so long ago...
This album was released in 2006 and recorded 3 years before, also a short time before Cash's death. Over the years, Cash's once confident baritone has withered into a weak and almost sickly whisper. So, instead of performing songs that are energetic and demanding, he has chosen (and written) songs that are more sombre, reflective, and perfectly suiting his voice. Although the songs are in almost no way related to each other, there are themes of spirituality, the inevitability of death, and the mourning of Cash's wife, June Carter-Cash throughout. The result is a work of art that just might leave you choked up and weeping...

Help Me: Originally done by Larry Gatlin, "Help Me" is a lyrical call for spiritual help the speaker feels he needs in his life. The music itself is a little pokey so to speak, but it's a great opener.
8 out of 10

God's Gonna Cut You Down: The most (and probably only) uplifting part of the album. This song is a traditional gospel, the type of song that meant the most to John, and he delivers his most enthusiastic vocal performance on this album. While I'm not exactly a religious person, I can think a "praise God" lyric more than the average metalhead. Hell, I listen to songs that praise Satan, I might as well try something on the opposite end of the spectrum...
9 out of 10

Like the 309: One of the two songs on here penned by Cash himself and it is said to be the last song he ever wrote. This is one of the songs dealing with death, but this one seems to be accepting of it and almost humorous in a way. The music on this one is great as well.
8 out of 10

If You Could Read My Mind: Despite this being a cover of a song originally performed by Gordon Lightfoot, this song seems to show Cash at the peak of his emotional nakedness. While it took a few listens to really enjoy it, I think this may be one of my favorite tracks on the album.
10 out of 10

Further On Up the Road: A song originally done by the Boss himself, Bruce Springsteen. This is another song that seems to be almost laughing in the face of death. The guitar on this one is particularly good and evokes imagery of a drifter on the side of the road.
8 out of 10

On The Evening Train: The update of a Hank Williams song. The lyrics on this one describe the death of a man's wife and the grief he and their child feel as her casket is "[taken] home on the evening train." The guitar once again evokes some great imagery and the organ provides a subtle texture as well.
9 out of 10

I Came to Believe: The second song penned by Cash himself on the album. Lyrically, the song is similar to "Help Me" and talks about how Cash used his spirituality to guide and help him in life. Almost sounds like a sequel in a way. Musically, it's one of the more "quiet" tracks on the album and may take a few listens to get into.
7 out of 10

Love's Been Good to Me: Originally done by Rod McKuen, this song is quite optimistic and looking back on life with no regrets. It basically describes a man's life as a nomad and the various relationships he has gone through (kinda sounds familiar...). Much like the rest of the album, the music doesn't jump at you, but it works good with the lyrics.
10 out of 10

A Legend In My Time: This song was done by Don Gibson and while it is good, it is one of my least favorite songs on the album. Mainly because it's a little directionless and just too damn short lol. The lyrics are incredibly ironic, given the fact that Cash is not just a legend in his time, but an icon in music history.
7 out of 10

Rose of My Heart: I think that this is my favorite song on the album. It's just so heartbreaking to hear and is another quite naked song for Cash. The song, written by Hugh Moffatt, describes a man's love for his wife and greatly parallels the relationship between June and John. An amazing song.
10 out of 10

Four Strong Winds: Another classic song that took a few listens to really get into. This song was originally performed by Ian Tyson and describes the lifestyle of a farm worker and the relationships he goes through. Tis song really gained some more significence for me when I heard the version by Neil Young performed on his most recent DVD.
10 out of 10

I'm Free From the Chain Gang: This is the most organ heavy song on the album. Written by Lou Herscher and Saul Klein, the song is about a prisoner who has been set free (or executed...). Given the touch of organs and the tone of the lyrics, the song reads like Johnny Cash's last words and epitaph. Another nominee for best song on the album.
10 out of 10

Overall, this album get 106 out of 120, 88%, and 4 stars. While the music itself isn't exactly innovative or particularly standing out, it perfectly fits and accompanies the often bleak lyrics and Cash's vocal delivery. Good for a somber Sunday afternoon.

Ascendancy (Trivium)

This is a really hard album for me to write a good review for. Basically, it has several of the things I hate about metalcore. Rarely does the song strcuture stray from the pattern of fast introduction, screamed verse, pre-chorus, cleanly sung chorus, verse, pre-chorus, chorus, moshy bridge, solo, pre-chorus, and chorus. The lyrics are extremely whiny, immature, and are delivered by vocalist/guitarist Matt Heafy, who, quite frankly, sounds like a 5 year old retard on fire. Yet I find myself enjoying this album...
The guitar riffs are amazing, the performance is energetic, and it is obvious that the band has a great deal of technical talent. The tone of the album is angry and fiery, much like the album cover. I bet if they became an instrumental band, the metal community would hate them less...

The End of Everything: A short little instrumental that sets the tone for the album and provides some great apocolytpic imagery. I give the band props for including a piano and a choir in the song without making it sound like a ballad.
8 out of 10

Rain: The dark tranquility of the previous album fades into the heavy as Hell "Rain." An awesome number with a particularly good chorus.
8 out of 10

Pull Harder the Strings of Your Martyr: Much like the merging of the first two tracks, "Rain" then merges into this track. This is the song that got me to check out Trivium and it is truly a classic metal track. For added fun, watch this cute little parody on Youtube (http://youtube.com/watch?v=GNLDLyeepVs).
9 out of 10

Drowned and Torn Asunder: After the opening trilogy is through, the album takes a little dip in quality. Not to say that this song is bad. It's a good song, although nothing really stands out about it.
7 out of 10

Ascendancy: While the song makes for a great title for the album, this is another track that doesn't really stand out. The chorus is pretty good though.
7 out of 10

A Gunshot to the Head of Trepidation: The album picks back up with the inclusion of this track. The introduction on this one is one of the best on the album and provides some great imagery for me. The song gets another note of uniqueness by featuring some gang vocals before the final chorus. While it feels as though it is only there for live shows, it works pretty well. The lyrics describe child abuse on this one, and are actually done somewhat okay.
8 out of 10

Like Light to the Flies: While it is a tad repetitive (repeating the same verse 3 times doesn't really work that well...), it's a great song with a nice chorus. I give the song props for not having that much of an introduction.
8 out of 10

Dying in Your Arms: The closest thing the album has to a ballad. The song is actually cleanly sung for the whole way through, although Heafy manages to get some screaming in during the bridge (he just can't go through a song without screaming...). I'm guessing the song is so clean for radio play. The songs are basically about a bad relationship. A great song with great verses and chorus.
8 out of 10

The Decieved: This song is probably one of the weaker ones on the album. It's another track that really has nothing that exciting about it.
7 out of 10

Suffocating Sight: I'd consider this to be one of the more underrated tracks on the album. The pre-chorus on this one provides one of the heaviest moments on the album and almost manages to drown out Heafy's screams (unfortunately, it doesn't...). The chorus on this one is also well done. The vocals during the bridge sound like the infamous "pig squeal" vocals of grindcore...
8 out of 10

Departure: This song has a unique introduction with a nice accoustic guitar sequence and a clean first verse. Other than that, there's nothing that amazing about the song.
7 out of 10

Declaration: The closer on this album is a bit more of an epic track and takes up about 7 minutes. The lyrics on this one describe a call for freedom in America and the end of homphobia, racism, and sexism; a theme that they would later touch deeply upon in the next album... Overall, it's okay although it really feels like they wrote the song just for the sake of having a long song (longer than 6 minutes) on the album...
7 out of 10

Overall, it gets 92 out of 120, 77%, and 3.5 stars out of 5. If you can stomach itsflaws, I'd say it's a pretty good album. However, I will say that whoever claimed that Trivium is the next Metallica needs to be burned at the stake...