Songs For The Lost (Icarus Witch)

While Icarus Witch's second album still relies greatly on an old school style and image, it showcases a number of changes within the group's individual sound and performance. First of all, the band sounds tighter as a unit than before (though this may be due to the appearances of guitarist Quinn Lukas and producer/drummer Eric Klinger). Second, the band's songwriting is a little more distinctive this time around and feels more natural than on previous efforts. And finally, the album possesses an atmosphere that is more accessible than before yet even darker at the same time. In short, it is a welcome progression with some solid tunes.

Out For Blood: The album opens right away with one of its fastest and most aggressive tracks. It is made memorable by the strong guitar and bass harmonies throughout, soaring vocals during the verses and choruses, strong gang vocals during the chorus, a more mid-paced bridge, and plenty of soaring guitar solos. It just might be the perfect anthem.
9 out of 10

Written in the Stars: This song opens with a mid-tempo Eastern guitar/bass harmony and fittingly spacy vocals during the introduction and verses, the chorus picks up a bit of speed, and the guitar solos are nicely done. Not quite as powerful as the opener but still pretty cool...
8 out of 10

The Sky Is Falling: Soft accoustic harmonies open this song in a suspenseful fashion, the verses goes at a louder mid-tempo with an excellent rhythm and more subtle accoustic work, the chorus goes in a louder and more dramatic direction, and the solos continue the drama nicely. A cool addition.
9 out of 10

Nature of the Beast: This song starts off in a faster style similar to that of the opener's, but the rest of the song goes at that familiar mid-tempo pace. However, the verses feature interestingly delivered vocals and an effective rhythm and the chorus has an energetic riff and charismic vocals.
8 out of 10

Mirror Mirror: In standard Witch tradition, we are treated to a cover of an obscure tune from a famous artist; this time, we are treated to "High 'N' Dry" era Def Leppard. I'm not familiar with the original by any means, but the band does an excellent job with it and it does sound like something interesting to check out (sounds a helluva lot better than "Pour Some Sugar On Me" anyway...). Musical highlights include upbeat but still mysterious guitar and bass riffs, an incredibly catchy chorus, and a guest performance by none other than Rainbow/Rising Force vocalist Joe Lynn Turner. Quite possibly their best cover to date and the one that best fits their style.
10 out of 10

Queen Of Lies: Another more upbeat number starts off with a strong set of guitar and bass riffs, the verses and pre-chorus go at a mid-tempo pace with great bass and more mournful vocals, and the chorus has a soaring quality to it. The song is kinda like "Soothsayer" off of the previous album, but more properly executed.
8 out of 10

Devil's Hour: As evidenced by the song's title, it takes the album into an even darker direction. The guitars in the introduction and verses go at an upbeat pace that reminds me of a darker version of "Forevermore" in a way, the chorus features wonderfully dramatic vocal layering, and the solos return the song to an upbeat pace. One of my personal favorites though it's not quite a classic.
8 out of 10

House of Usher: Now this is where the album really gets dark. It starts with a doomy guitar/bass plod before picking up the pace just before the wickedly delivered verses come in; the chorus is another dramatic sing-a-long; the solos keep the energy going strongly; and the final verse ends the song with eerie tolling of a bell, a strong bass presence, more wicked vocals, evil laughter, and even a little piano towards the end. Easily the most evil song the band has ever written and I can only wonder how to follow that up...
9 out of 10

Afterlife: A sweet bass bit opens this song and is quickly joined by Rush-esque guitar parts and a spoken bit during the opening verse, the following verses and chorus go at a solid mid-tempo pace, and the final verses take the song in a whole different direction with melodic guitar playing and more mellow vocals. A sweet song though probably my least favorite on the album.
7 out of 10

Smoke and Mirrors: I find this softer song to be very similar in style to Led Zeppelin's "Over the Hills and Far Away" or something from Blackmore's Night. It is made memorable by beautifully played accoustic guitars, nice folky instruments, powerfully somber lead vocals, and sweet backing vocals. An effective way to close the album.
9 out of 10

Overall, this album gets 85 out of 100, 85%, and 4 stars. While I enjoy the band's first two efforts, this is probably their best work to date and a good place to start for those who aren't familiar with them yet. It might not be the fastest or most aggressive band out there, but Icarus Witch manages to play with a little more class than most of their peers.

Bloody Kisses (Type O Negative)

Type O Negative's second album shows the band moving away from the crossover influences of the debut and into more gothic metal territory. It also introduces a few techniques that have become Type O standards such as the numerous interlude tracks, satirical lyrics, and the occasional cover song reworked into a gothic spectacle. The album was also one of the most successful albums that Roadrunner Records endorsed at the time and was the last work to feature drummer Sal Abruscato. For the sake of sanity, I won't be saying too much about the interludes...

Christian Woman: Opening the album is one of its biggest hits. It opens with a quick spoken segment before what sounds like a soft organ comes into play during the opening verse; the following two verses make strong use of catchy backing vocals, a groovy mid-tempo groove, and subtle keyboards in the beginning; the chorus is pretty similar with amusing vocal trade-offs thrown in; the fourth verse features accoustic guitar playing, pretty sound effects in the background, and great keyboard and guitar solos; and the fifth verse brings the song back to a more driving style with a great groove, Gregorian chants, and an awesome keyboard solo thrown in for good measure. Definitely an odd listen, but still a great song
9 out of 10

Black No. 1 (Little Miss Scare-All): My favorite song on the album and another tune that was a big single back in the day (of course, it had about six minutes of material cut out...). It opens with a soft bass riff, simple but effective drums, and a rather erotic croon; the next three verses throw in a louder and even catchier groove; the pre-chorus features higher pitched wails; the chorus is a catchy chanter; the bridge's numerous verses are more melodic in delivery with occasionally heavy outbursts and a few smooth solos; and the song ends as it originally begins. Definitely a keeper...
10 out of 10

Kill All The White People: Apparently, a little bit of punk influence was still hanging over Peter Steele's head over the demise of Carnivore. It is made memorable for its heavily distorted guitar and bass riffs, pounding drums, distorted lead vocals, chanting backing vocals, and its slower break in the middle of the song which features slower chants and interesting samples in the mix. Amusing but expendable...
7 out of 10

Summer Breeze: Here we have a cover of an old standard originally performed by a group known as Seals And Croft. It begins with a lonely guitar riff before the rest of the band comes in at a slow, grinding pace; the verses, choruses, and bridge continue in a similar fashion with sweet sounding backing vocals and eleghant keyboards in between; and the vocals are delivered in a lower pitch than usual. A little basic but strong and atmospheric.
8 out of 10

Set Me On Fire: You probably won't notice this song coming in due to how smooth the transition is. Fortunately, the song is made memorable by its poppy vocals, trippy sound effects and solos, steady drumming, and a smooth organ that appears here and there. Another great addition.
8 out of 10

We Hate Everyone: Another punky number, though this one is a little more developed. The first two verses starts the song off with aggressive riffs and catchy vocal harmonies; the pre-chorus keeps the pace going with great vocal trade-offs; the third verse makes use of really strange sound effects, dark vocals, and a more guitar crunch; the fourth verse goes in a more melodic direction with more odd samples and bouncy keyboards; and the chorus is a more melodic sing-a-long. Quite a great number.
9 out of 10

Bloody Kisses (A Death in the Family): Now we come to another tune that goes beyond the ten minute mark. It opens with a dark sounding organ that is joined by a distorted plod and gloomy vocals during the first two verses; the pre-choruses throw in brighter playing and desperate sounding vocals that lead the way for the dirge like choruses; and the song features beautifully played guitar and piano solos; and the final verse is delivered in an eerie whisper with powerful backing drums.
8 out of 10

Too Late (Frozen): Sounds of static lead to another distorted riff and sounds of laughter in the background that lead to strong drums and catchy vocals during the opening verse; the following verses feature more subdued vocals against the driving rhythm; the chorus is done in a similar to that of the introduction with a more melodic emphasis; and the bridge goes at a much slower pace with grinding plods, softly chanted bellows, and plenty of odd sound effects.
8 out of 10

Blood & Fire: This track starts off with another distorted riff above rising drums, the verses and choruses are melodic but upbeat, and the bridge's verses feature layered vocals over a foreboding accoustic guitar and what sounds like a flute playing. A good song, though a little weaker than the song before it.
7 out of 10

Can't Lose You: The album's final song is a six minute tune that is made distinct by an emphasis on Eastern instruments, a slow plodding rhythm, quietly delivered vocals, and soothing backing vocals. An interesting way to end the album.
7 out of 10

Overall, this album gets 81 out of 100, 81%, and 4 stars. Numerous interludes and a few weaker songs towards the end may bring this album's score down a little, but it's a solid collection of material that is recommended listening for anyone interested in this band or goth metal in general. Just keep in mind that not every band of the genre is this bizarre...

Judgement (Anathema)

Anathema is one of the most original doom metal bands out there. Originally starting life as a death/doom hybrid, they later took a more melodic approach to the genre with a sweet touch of alternative that makes me think of bands such as Porcupine Tree and Opeth. This album is a solid slab of songs that make strong use of beautiful guitar playing, tender vocals, and melodic touches that add to an already dreary atmosphere.

Deep: The album starts off with an almost upbeat number. The song is made memorable by the melancholic vocals and soft but driving riffs during the introduction and verses, the somewhat louder chorus, soft whispers and slower rhythms during the bridge, and the loud but expressive guitar solo. An excellent opener.
9 out of 10

Pitiless: This song goes in a heavier drection than the tune before it. The introduction opens with a soft bass riff and soft chords in the background, the verses throw in slower but heavier guitar riffs and more aggressive vocals, the chorus is similar i style with a little more melody thrown in, and the bridge features a spoken segment followed by more melodic vocals and guitar playing. Not as powerful, but a memorable tune.
9 out of 10

Forgotten Hopes: Returning to softer territory is this sentimental track. Soft accoustics open this song nicely, the verses throw in a soft but steady rhythm and solid vocals, the chorus features mellow vocal layering, and the vocals at the end are nicely done. Unsure as to whether it deserves a 9 or a 10...
9 out of 10

Destiny is Dead: A soft instrumental that makes nice use of the persisting atmosphere and a melody that brings to mind the main riff from Pink Floyd's "Wish You Were Here". Solid, though not much else to say about it.
8 out of 10

Make It Right (F.F.S.): Another soft guitar harmony starts this song in a melancholic fashion, the verses continue with sweetly delivered vocals and a steady rhythm, the synths between the final verses remind me "Awake"-era Dream Theater, and the closing solos are pretty sweet. A little basic, but pretty nice.
8 out of 10

One Last Goodbye: Even softer accoustic guitar playing opens this sorrowed tune, the verses and choruses continue with heartfelt vocals and louder chords in the background, and the solos carry on nicely. The main riff kinda reminds me of Metallica's "Fade to Black" in a way.
8 out of 10

Parisienne Moonlight: This two minute is dominated by an effectively persisting piano, amazingly harmonizing vocals with guest female vocalist Lee Douglas, and soft accoustic strums in the background. Quite cool.
9 out of 10

Judgement: More accoustic guitar and soft vocals dominate the introduction and verses, but a strong rhythm fades in during the third verse and sends the song into a more distinct direction with more fast paced guitar parts. It doesn't stand out as much as the tracks before it, but it is quite nice. The second half saves it from beig too generic...
8 out of 10

Don't Look Too Far: I think you kow the formula at this point. It starts off more accoustic guitar during the introduction; the verses continue with spacy guitars, a solid rhythm, and sweet vocals; the chorus throws in some heavier chords and sweet vocal layering; . Somehow it manages to turn into another pretty good song.
8 out of 10

Emotional Winter: This song fades in with unique sounds and more spacy guitar riffs in the background during the introduction and verses, the pre-chorus has a nice vocal melody, the chorus throws in a louder guitar riff and more driven vocals.
8 out of 10

Wings of God: Finally, we get a track that has more consistent heaviness. The verses and choruses bring to mind Pink Floyd with their more dissonant guitars and great vocal lines, and the song's solo section features great bass and guitar bits throughout.
8 out of 10

Anyone Anywhere: Another sweet accoustic melody and somber vocals dominate this song's introduction and first verse nicely, the following verses throw in sweetly introduced piano into the mix, and the song's climax goes in a louder direction. A great song.
8 out of 10

Transacoustic: While some editions of the album end with a tune known as "2000 & Gone", my copy of the album ends with this little tune. It is an instrumental that is memorable for its beautiful guitar harmonies and soft rhythms. A fitting way to close the album.
8 out of 10

Overall, this album gets 108 out of 130, 83%, and 4 stars. All in all, this album is a solid work and the songs themselves fit nicely on the playlist for those somber Sunday afternoons. I think its only flaws may be some same-ish songwriting and it's rather easy to get lost in the middle of it all. Then again, the latter might not be a bad thing...

Miles Beyond (Miles Beyond)

If Machine Men is the Finnish Iron Maiden, then Miles Beyond must surely be their little American brother. Based in Flint, Michigan (of all places), MB plays a style of modern classic metal that emphasizes all of the things that made Maiden so awesome during their 80's era (and still today in my opinion). The guitars make strong use of twin harmonies and upbeat gallops, the bass playing gets plenty of chances to shine, the vocals take on a raspy wail that channels a young Bruce Dickinson, and the lyrics deal with historical subjects and other random affairs. Like the other revivalists that are making waves these days, their somewhat unoriginal sound is made up for by solid songwriting.

Out of Control: The album starts off in classic metal fashion with a smooth twin guitar harmony and an upbeat rhythm, the pre-chorus and chorus are done in a brighter fashion, and the guitar solos are excellently done. A great opener, though not as powerful as what is to come...
8 out of 10

Tales of Old: This song continues with a harsher but still melodic riff and a strong raspy wail; the verses continue with grinding riffs, strong vocals, and pounding drums; the pre-chorus is more mid-tempo; the chorus pushed the riffs more into the background. I think the song's only flaw is its slightly cheesy lyrics (then again, that could probably apply to the most of the stuff on here...).
8 out of 10

Miles Beyond: Some bizarre sounding riffs open this song accompanied by a groovy bassline; the verses continue with more modern guitar playing and a mid-tempo groove; the pre-chorus and chorus are slower and more melodic; and the solo section keeps the pace going with a few sweet harmonies thrown in.
8 out of 10

Take Me Back Home: While the rest of the album seems to emulate classic metal, this song has more of a hard rock style to it. It starts off with an effective drum solo and a upbeat guitar crunch; the verses continue with melodic vocals and guitars; the chorus is slower with smooth vocal layering; and the solos go into a heavier route with more of those great harmonies and even a great bass bit in there as well...
9 out of 10

Vlad the Impaler: A very unique drum/bass groove opens this song in a welcome fashion with great backing chords behind, the verses continue with quickly delivered vocals and riffs, the chorus features catchy vocals and uplifting riffs, the bridge features some dramatic sounding vocals followed by more awesome solos, the song ends with a bit of jamming, and the lyrics are about one of metal's favorite evil tyrants. Honestly, what metal band HASN'T been tempted to write a song about the infamous Vlad III Dracula?!
10 out of 10

Still Strong: Unorthodox vocal layering opens this song before a triumphant plod comes in boldly, the verses continue with dynamic vocals in between the dramatic crunches, the pre-chorus show off with great guitar trade-offs and gang vocals, the chorus continues the triumphant feeling, and the guitar and bass solos are nicely done.
8 out of 10

The Spaniard: Now we come to the essential slow song. It begins with understandably Spanish styled accoustic guitar playing, soft vocals, and tranquil rhythms during the opening verse and solos; the following verses feature louder riffs and more "normal" vocals with the gentle rhythm section kept in tact; and the song only gets more and more powerful as it goes on with great solos towards the end. An interesting addition.
7 out of 10

Hail to the King: This song takes the album into a much darker direction and features aesthetics that remind me of Mercyful Fate at its finest. It starts off with dark guitar harmonies and a driving rhythm, the verses continue with catchy vocals and driving riffs, the pre-chorus is incredibly catchy, the chorus throws in some harsher gang vocals, and the solos continue the excellence with strong drumming as well. Probably my second favorite on the album.
10 out of 10

Rock Revolution: What was hinted at during "Still Strong" is exerted at full force during the course of this modern styled tune. Its introduction and verses showcase interesting vocal patterns and a bit of Zakk Wylde worship in the guitar department, the pre-chorus throws in some strong chants, the chorus returns to the verses' style, and the solos go in a more melodic direction with sweet solos and melodic vocal harmonizing.
8 out of 10

Stowaway: A strong scream that vaguely reminds me of Robert Plant somehow manages to fade straight into a more intense guitar harmony, the verses go at a lighter but still energetic pace, and the solos remain great. I think I may have to take a star off for the chorus. While it is strong and catchy, it is executed a little awkwardly. However, I'm sure it's stunning when performed live...
8 out of 10

Crazy Horse: Much like Maiden, Miles Beyond has also written a neat little tune about Native Americans holding their own against the white man. This six minute tune is made memorable by some cool tribal drumming, foreboding screams and sound effects, and sweet guitar harmonies in the introduction; the verses continue at a triumphant pace with strong drums and great vocals thrown in; the pre-chorus is a mid-tempo sing-a-long; the chorus makes strong use of melodic chants; and the solo section keeps the triumphant tone going with uplifting guitars and unique instruments. I like to think of this song as being the lyrics of "Run to the Hills" with the music of "The Flight of Icarus". True excellence.
9 out of 10

A Call to Odin: Holy crap, it's like they saved the best for last! This is a strong tune that opens with a powerful guitar gallop during the introduction, rapidly delivered vocals during the verses, powerful layering during the chorus, the bridge consists of two awe inspiring spoken segments that add to the atmosphere, the guitar solos are excellent as always, and the lyrics deal with another one of metal's favorite topics. Easily my favorite on the album.
10 out of 10

Overall, this album gets 103 out of 120, 86%, and 4 stars. This band is easily one of the greatest newbies that I have heard in the mid-2000's and makes me more optimistic towards my desire of forming a classic metal band of my own here in the Midwest. Recommended for fans of Iron Maiden, melodic metal, or just good music in general. Whether on foot or on horse, you can't escape the men called Norse!

Soundgarden's Best To Worst

1)Louder Than Love (86%)
2) Superunknown (85%)
3) Badmotorfinger (84%)
4) Ultramega OK (81%)
5) Down on the Upside (73%)

Down On The Upside (Soundgarden)

Soundgarden's fifth and final album is often considered to be one of, if not, their weakest records. While some of this negativity may have been due to the album having to follow up the massively successful "Superunknown", the songs themselves have also come under fire.
Musically, this album continues to emphasize the group's love of experimenting with different styles and instruments. Unfortunately, they seemed to be going in a softer direction and away from the more guitar driven style that brought them fame in the first place. In a way, it seems to foreshadow the kind of music vocalist Chris Cornell would make on his first solo effort, "Eurphoria Morning", three years later. Of course, that album expresses this kind of style a lot better...

Pretty Noose: It begins with a psychedelic sounding guitar riff accompanied by a soft rhythm section; the verses continue confidently delivered vocals and a melodic guitar/bass plod; the chorus features some sweet vocal melodies; and the solos are done with a psychedelic style. A solid way to start the album.
8 out of 10

Rhinosaur: This song continues in a similar style as the opener. It is made memorable by interesting delivered guitars and vocals during the verses, its catchy chorus, and the creepy lyrics (particularly during the second verse).
8 out of 10

Zero Chance: This song starts off a little quieter than the two tracks before it. Its introduction begins with a sweet bass fills and barely audiable guitar playing and the verses and choruses throw in solid vocals. A pretty nice addition.
7 out of 10

Dusty: A more aggressive drum beat starts this song off followed by more dissonant guitar work; the verses continue with an upbeat rhythm; and the chorus features memorable vocal layering.
7 out of 10

Ty Cobb: Probably the closest to classic Soundgarden you'll get on here. After a brief mellotron tangent, we get into a song that is greatly influenced by punk. The verses feature intense guitar/bass riffs and rapidly delivered vocals; the chorus features the mellotron returning above the fury; the solo section pushes the bass more into the background in favor of the guitars; and the lyrics make me chuckle (especially during that chorus). One of my favorites on the album.
9 out of 10

Blow Up The Outside World: I like to think of this ballad as being the spiritual sequel of "Black Hole Sun" in terms of style. The introduction and verses make strong use of a soft rhythm and interesting vocal distortion and the chorus is louder but passionately done. Another one of my personal favorites.
9 out of 10

Burden In My Hand: Another one of the album's most recognizable tracks. The verses come in somewhat awkwardly but feature excellent vocals and riffs with an almost Western flavor to them; the pre-chorus features smooth layering and a little more noticeable bass on occasion; and the chorus is louder but memorable. Not quite as powerful as the track before it, but still great.
8 out of 10

Never Named: Here we have a tune that's a little under two and a half minutes. Musically, it is an upbeat track that features strange vocals, driving riffs, and traces of the mellotron again. The lyrics are some of the kookiest Cornell has ever written this side of "Feeling Minnesota"...
7 out of 10

Applebite: This song starts off with a very faint rhythm that brings to mind Nirvana's "Come As You Are" before a more melancholic guitar melody comes into the spotlight. The song is another quiet affair that features some spacy guitar riffs, soft bass, steady drums, almost muffled sounding vocals (You may not even know they're there if you're not paying attention...), and trippy effects towards the end. It kinda reminds me of "I Awake" off of "Louder Than Love", but it's softer and nowhere near as powerful...
7 out of 10

Never the Machine Forever: A dark bass crawl starts this song off before a dissonant flurry of guitars, vocals, and drums come in during the verses; the chorus is more "normal"; the chorus features unsettling vocal distortion; and the lyrics are fairly intriguing. An interesting addition, though it may be a little too dissonant...
6 out of 10

Tighter and Tighter: This song is a little more calm than the tune before it. It starts with a steady mid-tempo rhythm and bluesy guitar solos; the verses feature lightly affected vocals; the chorus features a memorable vocal line; and the following guitar solo is nicely done.
7 out of 10

No Attention: Another straight forward punk inspired number will grab the listener's attention if they start spacing out during the previous tune. It is made memorable by interesting guitar/vocal harmonies during the verses, a catchy chorus, another great guitar solo, the more upbeat final verse, and nicely written lyrics.
7 out of 10

Switch Opens: A quiet bass bit accompanied by soft guitar starts this song off; the verses continue with a more upbeat rhythm and brighter riffs; the chorus is a little slower with odd vocals; and the lyrics are quite intriguig, even if they don't fit the music at all...
7 out of 10

Overfloater: Yet another quiet tangent opens this song in a foreboding fashion; the verses and pre-choruses continue with sweet vocals; and the chorus is another louder one with great vocals.
7 out of 10

An Unkind: Another rapidly delivered punk influenced track that's kinda like "Never Named" in style. One of the weakest tracks on the album. Pretty much filler...
6 out of 10

Boot Camp: Closing the album out is a final three minute number. It's like they knew that we were getting tired and decided to just get it over with...
It is basically another quiet song that emphasizes the spacy guitar playing, odd effects here and there, a steady rhythm, and a nice vocal performance. Another one of those songs that is rather ironic when you realize that it's the last song on their last album (as of now...).
7 out of 10

Overall, this album gets 117 out of 160, 73%, and 3.5 stars. While it is not a bad album, it does too many tracks and can be an exhausting listen if taken in all at once. Having said that, it is more relaxing than the rest of the band's catalog and makes good easy listening for fans of more mellow material. Other fans ought to stick with the greatest hits collections. It actually manages to get all this song's classics onto one disc...

Alice in Chains' Best to Worst

1) Jar of Flies (93%)
2) Dirt (88%)
3) Alice in Chains (85%)
4) Facelift (81%)
5) Sap (80%)

Alice in Chains (Alice in Chains)

While Alice in Chains is currently recording an album full of new material with current vocalist William DuVall that is to be released sometime this year, their third release has obtained a foreboding legacy for being the final album to feature classic vocalist Layne Statley. As a result, it is probably the darkest album that the band has ever released.
Musically, I find it similar to their first album "Facelift" in terms of style as a great deal of the album is dominated by heavier songs and an aggressive band performance. Having said that, the album also goes through its share of experimentation that leads us through some of the band's most unusual material to date.

Grind: Never really a band to waste time with a pretty little introduction, this album's first song is none other than a heavy as hell mid-tempo groove monster. The introduction and verses make strong use of heavy guitar playing and distorted vocal harmonies, the chorus is delivered in a melodic fashion, the solos are nicely done, and the lyrics dispell the rumors that the band had broken up after "Jar of Flies" had come out. A strong opener and probably my personal favorite.
10 out of 10

Brush Away: We now go into a more sinister direction that sets a creepy tone. The verses feature a steady rhythm, eerie guitar melodies, and interestingly sequenced moans; the chorus has a heavier bottom end; and the solo section returns to eerie melodic territory. A neat addition.
9 out of 10

Sludge Factory: Here we have a seven minute track that was originally meant to be included on the "Dirt" album. It opens with a dissonant guitar riff and odd vocal trade-offs; the verses continue with more repressed riffs and robotic moans; the chorus is another melodic segment; a nice guitar solo with a Southern twist to it comes around the 2:40 mark; the final verse consists use of plodding guitar riffs, Southern solos, and very unusual spoken parts; and the song closes out with a jam that really brings out the strength of the rhythm section admist the guitars. Disturbing but a little overrated...
8 out of 10

Heaven Beside You: One of the album's bigger hits is a bleak power ballad done in signature AIC fashion. Its verses feature blues influenced guitar riffs, a soft rhythm, and mellow vocals; the pre-chorus has some sweet vocal harmonizing; the chorus features a louder guitar riff and more empowered vocals; the solos are done in a heavier style; and the lyrics have a somewhat optimistic message to them. Not as miserable as the band's previous ballads, but it kicks the crap out of most out there...
9 out of 10

Head Creeps: Back to the disturbing heaviness we go. It begins with a unsettling bass heavy groove with distorted vocals buried in the mix; the verses continue with the distorted vocals out in front; the vocals during the pre-chorus and chorus are cleaner; and the lyrics really add to the disturbing atmosphere. Another great tune.
9 out of 10

Again: Another one of the album's bigger hits and another one of my personal favorites. The introduction and verses are based around a more upbeat guitar plod and echoing vocal lines; the chorus goes into darker territory with a near vocal overload; and the solo sections feature kooky vocals over a smooth guitar solo. A bizarre entry but still pretty cool.
9 out of 10

Shame in You: This song takes the song into a much softer direction. Its verses open with soft riffs and drumming and effective vocal layering; the more elaborate chorus has a more powerful feeling to it without completely exploding; and the bridge has a louder style which is accompanied nicely and followed by great guitar solos. A pretty little tune that is easy to overlook.
8 out of 10

God Am: A bizarre collection of samples and sound effects opens this song before the bands comes in, the verses continue with dissonant riffs and more distorted layering, and the chorus has a slower style with unusual lead guitar in the background. Unusual but pretty interesting.
8 out of 10

So Close: The shortest song on the album. It is a more upbeat tune that is made memorable by strong bass and guitar playing in the introduction, slower verses, a heavier (but still slow) chorus with unusual vocals thrown in, and a nice solo around the 1:30 mark. Easily the weakest track on the album and one of my least favorites by the band, I'm not quite sure what to make of it...
7 out of 10

Nothin' Song: Judging by the song's title, you would think the band just wasn't trying at this point. It begins with soft cymbal taps and dreary guitar chords during the introduction, the verses continue with a band louder performance and a slurred vocal delivery, the chorus is creepy yet catchy, and the lyrics are some of the most unusual I've ever read...
7 out of 10

Frogs: I don't think this song was ever a hit single, but it is consider to be a big fan favorite and the band's longest song to date at over eight minutes long. Its verses are made distinct by melancholic guitar melodies, pushed back rhythm work, and extremely passionate vocals; the chorus is a little louder but done in a simple style; and the song closes out with a quiet spoken bit over a fading rhythm. An awesome song, though I think its runs a little long...
9 out of 10

Over Now: Anyone else find this song title extremely ironic? It opens with sounds of crackling static and a faint horn playing a portion of "Taps" before the band comes in; the verses continue with an almost country style groove with hurdy gurdy guitar riffs, sweet vocals, and a smooth rhythm; the chorus has more sweet vocal harmonizing done in the vein of "Heaven Beside You" (though not quite as depressing); and the guitar solos are unsurprisingly somber. A fitting closer.
9 out of 10

Overall, this album recieves 102 out of 120, 85%, and 4 stars. It is the hardest AIC album to get into, but it is more than rewarding for fans of dark and depressing music. This is dark and depressing even for Alice in Chains...
I'd buy the rest of their stuff before you check this out though.

Educated Horses (Rob Zombie)

You can tell that this album is going to be a controversial release just by looking at its very strange title...
There were many changes within the Zombie camp took place in the five years between 2001's "The Sinister Urge" and this 2006 effort. First of all, almost everyone that played on the group's first two efforts has been replaced with the exceptions of bassist Blasko and Zombie himself. As a result, this is the first album to feature the talents of Marilyn Manson guitarist John 5 and Alice Cooper drummer Tommy Clufetos.
With 5 providing a great deal of the album's songwriting, the album also brings in a large number of changes musically. The electronically sample heavy sound of the past is still remains to an extent, but seems to have been replaced by a more band oriented sound with some emphases on instrumental experimentation. Zombie's vocal style has also changed for the most part; instead of the gruff bark of the past solo efforts, he showcases a more melodic moan than ever before. All these factors and more lead to a most interesting output...

Sawdust in the Blood: Like the other albums before it, our journey begins with a short little interlude that sets the tone for the album. Unlike the two openers before it, this one consists of actual music. The eerie piano and dark chords really start us off nicely...
9 out of 10

American Witch: After a fitting sample, we go into an upbeat grinder. The verses feature a great main riff and great vocals, the pre-chorus has some vocal trade-offs, the chorus features a catchy vocal pattern, the bridge throws in a more distorted riff that leads into a briefly soft segment, a few well placed screams and subtle hand claps can be heard every now and then, and the lyrics deal with the Salem witch trials.
9 out of 10

Foxy Foxy: When I first heard this song, I thought it was a joke. It is easily one of Zombie's poppiest songs to date and is memorable by a catchy main riff, a more repressed vocal performance, catchy though repetitive pre-choruses and choruses, and effective samples between the verses. Once you get used to it, it's not bad.
8 out of 10

17 Year Locust: This song takes the album into a more doom-oriented direction. It opens with sweet sitar playing followed by a heavier riff; the verses features subdued riffs, spacy effects, and somewhat strained vocals; the chorus is another one that is catchy though a little repetitive; and the instrumental segment features a sweet sitar solo. Pretty nice.
7 out of 10

The Scorpion Sleeps: Probably my favorite track on the album. Its verses are made memorable by infectious hand claps, light hearted guitar melodies, and upbeat vocals; the pre-chorus and chorus make fun sing-a-longs;
9 out of 10

100 Ways: Another instrumental that serves as a neat interlude in the midst of the controlled chaos. This one features soft, distorted guitar playing and unsettling piano in the mix. Pretty cool sounding, though not as effective as the opener.
7 out of 10

Let It All Bleed Out: This track is probably the closest thing you'll get to old school Zombie. It opens with an interesting sample that leads into an awesome guitar chug, the verses throw in quickly delivered vocals and occasional echoes in the background, the chorus goes at a slower pace but retains the energy, and the mid-tempo solo section leads into another unsettling sample. Another personal favorite.
9 out of 10

Death Of It All: Here we have the softest song on the album that almost goes into ballad territory. It opens with some pretty accoustic guitar; the verses throw in a louder harmony, rhythmic claps, and soft vocals; the chorus is a soft sing-a-long with some sweet backing vocals and even some dramatic strings thrown in; and the lyrics are more bizarre and cryptic than usual...
8 out of 10

Ride: Another sample opens this song before quickly being replaced by a creepy piano melody with backing synths followed by a heavier grind; the verses go back to a softer style like that of the previous track, though at a more dramatic pace; the chorus throws in a grinding riff and louder vocals; and the instrumental section is done in the style of the introduction. An interesting addition.
8 out of 10

The Devil's Rejects: Obviously based on the film of the same name (Not unlike "House of 1000 Corpses" on the previous album). It begins with a Western sounding accoustic riff that is soon joined by a groove like that of "HO1000C", the verses continue with eerily distorted vocals, the pre-chorus has a louder and catchy style, and the chorus is a quiet one. Pretty intriguing.
7 out of 10

Lords of Salem: The album closes out with a heavier track that has a live feel to it (Though I'm guessing it's the classic example of recording it in the studio and throwing in crowd noises for good measure). The song itself is a mid-tempo grinder that features powerful guitar grooves, clearly delivered vocals, strong chants during the chorus, and a final section that brings to mind "Let It All Bleed Out". A fitting closer.
9 out of 10

Overall, this album gets 90 out of 110, 82%, and 4 stars. It will be too light for most hardcore Zombie fans and too shallow for serious music fans, but I recommend this album to anyone who is interested in seeing Zombie try new things yet retain his signature sense of fun. It does have its share of interesting songs...

Master of the Rings (Helloween)

Even after a vicious streak of personal tragedies, Helloween manages to write songs that never fail to sound happy as hell...
Their sixth album is most noteworthy for being the first to feature drummer Uli Kusch and vocalist Andi Deris. While Kusch would be later depart around 2001, Deris is still with the band today and has given them a unique sound thanks to his solid songwriting skills and Paul Di'Anno-esque vocal style.
Musically, this album is a return to power metal after the band previously ventured off into more eclectic (and more commercial) territory. The lyrics are signature Helloween humor, and may have gotten even goofier as time passes on...

Irritation (Weik Editude 112 In C): This is probably one of the better opening segments on any Helloween album. As evidenced by the sub-title, it is influenced heavily by classical music. A pretty nice opener.
8 out of 10

Sole Survivor: In standard tradition, the first "real" tune is both fast and upbeat. It begins with some rising guitar chords and great drum fills, a heavier guitar crunch and interesting vocal lines during the verses and pre-choruses, the chorus is nice and catchy, and the solos continue in the style of the verses with odd sound effects thrown in at certain points. A solid opener.
9 out of 10

Where the Rain Grows: One of my favorites. It opens with a steady drum solo that builds up to meet a flurry of guitar riffs and noticeable bass playing, the verses keep an upbeat pace with nicely delivered vocals, the pre-chorus has smooth bass and interesting vocal effects, the chorus is uplifting, and the instrumental segment features great guitar solos and vocal lines.
9 out of 10

Why?: A fuzzier drum bit opens this song before the rest of the band makes their appearance, the verses continue with cool vocal patterns and brighter riffs, the pre-chorus is more melodic, the chorus is dramatically done, and the lyrics deal with disgust with corrupt religious figures. A lot like the tracks before it, though a little lighter in delivery.
8 out of 10

Mr. Ego (Take Me Down): Now we come to a dark mid-tempo number. A dark mid-tempo bass heavy riff, eerie keyboards, and sinister vocals make themselves known during the introduction and verses; the chorus is more uplifting but retains the keyboards; the guitar effects are interestingly done; and it's rumoured that the lyrics are about former vocalist Michael Kiske. Solid though one of the lesser tracks on the album.
7 out of 10

Perfect Gentleman: This track is a great example of the band's more humorous side at its best. It opens with a very upbeat whistling melody that reappears during the song's chorus; the verses continue with amusing vocal lines and pounding drums; the pre-chorus features strong bass playing and nice vocal trade-offs; the chorus is a fun sing-a-long; the bridge features a chuckleworthy spoken segment; and the song suddenly comes back just when you think it'll be your typical fade-out. My favorite part is how it sounds like Deris is singing "John Wayne" instead of "genuine". It never fails to make me smile...
9 out of 10

The Game Is On: Another fast song that has a more accessible edge to it. It opens with another great drum roll and strong guitar harmonies; the verses throw in interesting guitar and bass patterns and bizarrely placed Game Boy sounds; the chorus is a display of layered brilliance; and the lyrics are a humorous take on video game addiction. If this is written about "Tetris", one can wonder what they think of the "Halo" series...
8 out of 10

Secret Alibi: Bright keyboards and guitar playing open this song, the verses feature a driving rhythm section and subdued vocals and guitar, the pre-chorus is more upbeat, the chorus features more happy sounding vocal layering, and the innuendo laced lyrics are worth a chuckle.
8 out of 10

Take Me Home: Some see this song as an homage to Iron Maiden's "Running Free". It begins with another series of drum patterns and more aggressive bass and guitar playing, the verses are a little lighter but with the heavy drums kept in tact, the pre-chorus and chorus feature more great vocal layering, and the guitar and bass solos have a raw feeling to them.
8 out of 10

In The Middle Of A Heartbeat: Here we have the standard power ballad that appears on every other Helloween album. It is made memorable by its steady rhythm section, pretty accoustic guitar playing, the stereotypically louder and catchy chorus, and solid vocal lines. Not amazing, but still pretty cool.
8 out of 10

Still We Go: Closing the album is a final fast track. It opens with a series of unusual sound effects (though rather typical of Helloween at this point) before giving away to rapid fire guitars and bass; the opening verse features an interesting spoken segment; the following verses go to a more mid-tempo gallop; the pre-chorus picks up speed; the chorus is another catchy one with strong shrieks from Deris; and the solo section keeps the pace going smoothly. A great closer.
8 out of 10

Overall, this album gets 90 out of 110, 82%, and 4 stars. I consider this album to be a solid release worth checking out and a fitting introduction to the Deris era. I think the only flaws may be a few inconsistent songs. Other than that, I recommend it.

Ace of Spades (Motorhead)

By the time their fourth official studio album rolled around in 1980, Motorhead seemed to perfect their signature style of distorted blues metal and won themselves a bit of fame across the world. The album is memorable for its strong songwriting, amusing and dirty lyrics, great lead guitar by "Fast" Eddie Clarke, drums by Phil "Philthy Animal" Taylor, and the distorted bass playing and growl of bandleader Lemmy. Not only is it seen as the best album Motorhead ever put out, but also one of the best that the genre of metal has to offer.

Ace of Spades: Easily the album's most famous song and one of the greatest that Motorhead has ever written. It is made distinct by its bass heavy introduction, catchy vocal/guitar trade-offs during the verses, its infectiously chanted chorus, and screaming guitar solos. A true classic.
10 out of 10

Love Me Like a Reptile: This song isn't nowhere near as intense as the opener. It opens with a driving guitar riff and sweet drumming, the verses continue with upbeat vocals, the chorus is quite catchy, the solo sections features awesome guitar and bass tangents, and the lyrics are laced with humorous innuendo.
10 out of 10

Shoot You in the Back: As evidenced by the opening cry of "Western Movies!", this song deals with shoot outs and all that fun stuff. The track itself is a more mid-tempo song with emphasis on the catchy main riff, somewhat sloppy drums, cool solos, and its subtle but catchy chorus. Not as exciting as the tracks before it, but solid.
8 out of 10

Live to Win: There's something about this song that makes it feel a little more adventurous than the others on here. It is a more upbeat with strong bass/guitar riffs during the verses and choruses, plenty of great solos, and more motivational lyrics than usual. A nice highlight.
9 out of 10

Fast and Loose: Things now go to an even slower pace, though it is more of a blues style than a ballad. It is made memorable for its more laid back main riff, nicely done verses and choruses, and a catchy lower vocal during the final chorus.
9 out of 10

(We Are) The Roadcrew: Probably the second most famous song on the album. It features a cool guitar/bass riff during the introduction and chorus, the verses features more energetic vocals, the solos are strong, and the lyrics are a fitting tribute to the band's roadies. Quite awesome.
9 out of 10

Fire Fire: This song doesn't have some of the skill shown off in the previous tracks, but it certainly retains the energy nicely. It features a solid introduction, more subdued vocals during the verses, great chanting during the chorus, and a nice fade-out guitar solo. It may be the weakest track on the album.
8 out of 10

Jailbait: This song is pretty similar in style (then again, I suppose they all are), but this one is stronger in delivery. It is made memorable by upbeat guitar riffs during the introduction and verses, the chorus features almost melodic vocals, and the lyrics are a fine showcase of the classic rock star's ephebophilia...
9 out of 10

Dance: Another straight forward anthem. It is made memorable by its energetically upbeat guitar riff, strong vocals, pounding drums, its catchy vocal trade-offs during the chorus, and raw solos.
8 out of 10

Bite the Bullet: It's not very often when a break up song is written from the perspective of the breaker. Lyrically, this two minute tune really showcases Lemmy's sarcastic wit. Musically, it is a much faster tune than the others on here with slower chords in the beginning, a driving rhythm section, nice vocal patterns, and effective guitar playing.
8 out of 10

The Chase is Better Than the Catch: Now we come to the album's centerpiece, a four minute blues number that is downright epic compared to the other tunes on here. It starts off with dramatic guitar and bass building up during the introduction, the verses and choruses continue at an upbeat pace, the solos are great, and the final segment features a rare moment of Lemmy going into a much higher register than usual. Another one of my favorite.
10 out of 10

The Hammer: While the previous song would've made an awesome closer, this song does a fine job of ending it all in a fast fashion. This one is quite similar in style to the tracks before it, but it is made distinct by its more intense guitar playing, unique solos, and angrier vocals during the final verse.
8 out of 10

Overall, this album gets 106 out of 120, 88%, and 4 stars. Like other Motorhead releases, this one is full of songs that sound quite similar to each other, but they were all awesome songs in the first place... It may be the band's best album to date, though I also have soft spots for "Inferno" and "Orgasmatron". Mandatory listening for metalheads of all colours and tastes.

Powerage (AC/DC)

Many hardcore AC/DC fans consider this 1978 release to be the band's greatest release to date. It is mercilessly underrated compared to the likes of "Back in Black" and "Highway to Hell", but features the band improving their performances and even taking a few creative risks with the music itself. I get the feeling that this is may be due to the arrival of bassist Cliff Williams, who remains with them to this day.
The album also features a great deal of improvement in the performance of vocalist Bon Scott. While his trademark snarl hadn't ever really changed during his reign, the lyrics on this album are probably the most creative and witty he ever wrote.

Roll 'n Roll Damnation: First, we have a very loud but upbeat opener. It is made awesome by its building introduction, upbeat verses, catchy choruses, effective backing vocals during the song's ad lib, and even subtle maracas in the background at times. I think its only flaw is its lack of a powerful guitar solo, though the one at the end is pretty nice...
10 out of 10

Down Payment Blues: This song is a strong example of the blues influences that run deeply in the band's sound. Its introduction and verses are quite bass heavy and feature plenty of meaty guitar riffs every now and then; the chorus throws in some nice chords and vocals; the solo sections are nicely done; and the song's instrumental fade-out is nicely done. It may be my favorite on the album.
10 out of 10

Gimme a Bullet: An upbeat guitar harmony starts this song off in typical classic AC/DC fashion and persists during the verses; the chorus continues with catchy vocal harmonies. It is a more basic track, but it's a infectious winner regardless.
8 out of 10

Riff Raff: While every AC/DC song could be seen as guitar driven, this is probably their most intense performance to date. The introduction begins with a fast guitar flurry with strong underlying bass; the verses continue with thumping bass and rapidly delivered vocals; the chorus is basic but with great vocals and guitar playing; and the solos keep the intensity going. Another excellent track and understandably awesome show opener on tour.
10 out of 10

Sin City: This song is probably most recognizable to newer fans of the band checking this out. It begins with an upbeat set of riffs; the first verse continues in a similar fashion; the pre-choruses and chorus are done in a catchy fashion; and the second verse is made memorable by its bass emphasis and more subdued vocals. A classic for sure.
10 out of 10

What's Next to the Moon: One of the unusual songs that the band has ever recorded. It is made strong by its catchy main riff that carries on during the catchy verses, a strong drum foundation, great backing vocals and heavier guitar chords during the choruses, and unusually cryptic lyrics.
9 out of 10

Gone Shootin': Actually, this may be my favorite song on here. It features an infectious guitar harmony and driving drums during the introduction and verses; the pre-chorus is a nice builder; the chorus is another basic but catchy work; and the solos are nicely done. It may be a little lighter than the other tracks on here, but it is quite an infectious work of art.
10 out of 10

Up In My Neck In You: This song is pretty similar to the others in style, though the drums do have a few more fills in the beginning. The verses are done in a style that I'd describe as a cross between "Riff Raff" and "Gimme A Bullet" and the solos are nicely done. A good track, though one of the weaker songs on the album.
7 out of 10

Kicked in the Teeth: Bon's wailing voice opens this song in an interesting though somewhat fashion; the verses carry on at a faster pace with some nice guitar/vocal trade-offs with nice bass underneath it all; the chorus is another more basic one. A good song, though it may be a little too awkward and similar to "Riff Raff" for its own good...
7 out of 10

Overall, this album earns 81 out of 90, 90%, and 4.5 stars. While the last two songs bring down the album's greatness to an extent, I'd consider this to be one of the band's greatest efforts, perhaps second only to "Back in Black". I'd recommend this album to dillusioned fans who want to hear something besides "Highway to Hell" and "Back in Black" for the millionth time. I wonder if those posers who wear the band's shirts even know that this album exists...

Symbolic (Death)

I like to think of this 1995 release as being a little transition between the heavier style of 1993's "Individual Thought Patterns" and the more melodic flourishes found on 1998's "The Sound of Perseverance". As a whole, the song lengths seem to be longer than ever before and the band performance manages to be technical and straightforward at the same time. The vocals of Chuck Schuldiner have also changed, going for a higher pitched rasp than before, but the lyrics remain rooted in personal introspection and philosophy. This album is also the last to feature drumming legend Gene Hoglan and the only album to feature bassist Kelly Conlon and guitarist Bobby Koelble.

Symbolic: A very visual guitar harmony starts this album off dramatically and carries on into the verses; the pre-chorus's first stanza goes at a faster tempo with more intense riffs and vocal lines and the second slows down a bit but retains the intensity; the chorus features more cool echoing vocals over a great guitar crawl; the solos have an almost virtual flavor to them; and the bridge continues in a faster direction but eventually brings the song back to its original pace. A excellent opener.
9 out of 10

Zero Tolerance: This song starts off with a great drum pattern that is followed by great guitar chords during the verses; the pre-chorus is delivered by a cool guitar solo and features drawn out vocals over a great riff; the chorus is powerfully done and has a more noticeable bass presence; the solo sections feature great guitar melodies (I really like Koelble's harmony around the three minute mark); and Chuck's vocals are more gruff than those in the opener.
9 out of 10

Empty Words: One of my personal favorites. A melodic but dark guitar harmony begins this song with an eerie lead and soft percussion in the background; the verses bring in heavier riffs, drums, and vocals without warning; the pre-choruses throw in a faster gallop, strong vocal/guitar harmonizations, and solid leads; the chorus is huge; and the solos are fast and powerful.
9 out of 10

Sacred Serenity: Probably the most accessible song on the album. A great bass and drum combination open this tuneand is joined by an effective guitar harmony; the verses feature more driving riffs; the pre-chorus features sweet lead guitars and more great riffs; the chorus returns to a style similar to that of the verses with more melodic riffs and strong bass; and the solo section slows the song down for a brief period with awesome bass playing and melodic guitar solos.
10 out of 10

1,000 Eyes: Dissonant guitar/bass riffs and powerful drum riffs are prominent during the introduction and verses; the first pre-chorus throws in a strong gallop that brings to mind Death in their old school era (think "Forgotten Past"); the second one is more mid-tempo with nice leads and rhythm flourishes; the chorus is a simple one liner; the bridge features a great bass/guitar harmony; and the solos are rapidly delivered to order.
8 out of 10

Without Judgment: The pace stays upbeat for this track. The introduction starts the song with melodic guitar riffs, strong backing bass, and great drum fills; the pace of the verses is more mid-tempo with emphasis on the drawn out vocals and dramatic riffs; the pre-chorus continues in a similar fashion but throws in a foreboding crunch; the chorus strongly hints at melodies that would appear on this album's follow-up; and the solos seem to be a little sloppier and more dramatic than usual. I think the melodic bit around the three minute saves this song from a more average rating...
8 out of 10

Crystal Mountain: I'd consider this song to be the album's centerpiece. It opens with an upbeat but dramatic guitar gallop that persists during the verses; the pre-chorus has a few melodic flourishes to it; the chorus continues with sweet guitar harmonies, powerful drums, and catchy snarls; the bridge has a strong building riff and robotic leads in the background; the solo section features spacy harmonies that bring to mind "Vacant Planets"; and the fade-out even throws in some nice accoustic guitar picking.
9 out of 10

Misanthrope: Some people consider this to be the weakest track on the album. It begins with a heavier guitar/bass riff and drums during the introduction and verses; the pre-chorus throws in more melodic riffs; the chorus makes use of erratic guitar outbursts and unusual vocals; the solo section starts off in more spacy territory; and the lyrics appear to be about alien encounters. A lesser tune, but intriguing nonetheless...
8 out of 10

Perennial Quest: Closing the album is an eight minute epic that remains one of the band's longest tunes to date (I believe "Flesh and the Power It Holds" may be the longest). It begins with a dramatic mid-tempo guitar harmony that has a nice Eastern feel to it; the verses throw in a heavier rhythm and subtle drumming; the pre-chorus features a slower but powerful vocal/guitar harmony that quickly fades into a thrashier riff; the chorus is solid; the more elaborate bridge utilizes great guitar grinds; the solos are nicely done; and the melodic ending features smooth accoustic and electric guitar playing. It may be another foreshadowing of what is to come...
9 out of 10

Overall, this album gets 79 out of 90, 88%, and 4 stars. Almost every Death album has a tendency to be a little inaccessible at times, this album is no exception. Having said that, this album continues the band's trends of excellent performances and technical songwriting that anyone can appreciate. I think the only flaws may be a somewhat subdued production (particularly with the drums) and sometimes repetitive themes. Otherwise, this might be the band's best to date. Unfortunately, the likes of it will never be seen again...

The Wake of Magellan (Savatage)

This rock opera was the third that Savatage released during their symphonic 90's period and the first released after the Trans-Siberian Orchestra project became a major commercial success. It is also the last album to feature Zachary Stevens on lead vocals and Al Petrilli on guitars, though he did contribute a few guitar solos on 2001's "Poets and Madman" as a special guest. Like "Dead Winter Dead" before it, it also feature founding vocalist Jon Oliva on two of its tracks.
Musically, the album goes by a formula that is very similar to that of DWD so you will most likely enjoy this if you enjoyed that. A few big differences are a more upbeat band performance and the nautical imagery of the music itself. The story is also a little more complicated as it deals with the stories of Maersk Dubai incident and protestor Veronica Guerin and somehow connects them to the story of a sailor who has a serious case of wanderlust...

The Ocean: Like DWD before it, the song opens with a brief instrumental that serves as a neat little overture. This song is made memorable by the sea sounds, a simple but sweet piano melody, and an awesome guitar/bass groove that starts in the middle of the tune.
8 out of 10

Welcome: Lyrically, this is where the album gets the atmosphere set up. It is another two minute number that places importance on the effective piano playing, theatrical guitar riffs, quickly delivered vocals during the verses, and sweet layering during the choruses. It may be more atmospheric filler, but it's very catchy atmospheric filler...
8 out of 10

Turns to Me: The album's first real song is a six minute epic with many different moods. Its first verse starts the song off with somber vocals and soft guitar playing; the following two verses feature a driving rhythm, more powerful croons, and a very visual guitar riff; the chorus returns to a quieter style; the bridge goes at a more mid-tempo pace with solid riffs and interesting vocal lines; and the solos are excellently done. Truly a highlight.
10 out of 10

Morning Sun: This song has a sweet folk flavor to it that reflects throughout. Its verses consist of nicely delivered vocals and upbeat accoustic guitars; the chorus throws in louder guitar melodies and belted out vocals; the guitar solo has an even heavier flavor to it; and the heavier closing verse is pretty cool.
9 out of 10

Another Way: Here's where Oliva comes in to deliver some of his more aggressive vocals. The verses feature heavier mid-tempo riffs and quickly delivered vocals; the chorus features Oliva going into a raspier style over uplifting guitars; and the solo section features some happy sounding synths thrown into the mix before going into a darker direction. A little basic but a cool number nevertheless.
9 out of 10

Blackjack Guillotine: This song continues to take the album into a darker direction. It starts off with some bleak guitar harmonies and subtle choral vocals during the introduction; the verses and pre-choruses continue to roll out the dark riffs and throw in some quickly delivered vocals for good measure; the chorus features some cool guitar/vocal harmonies; and the solo section continues at a more driving pace.
8 out of 10

Paragons of Innocence: Oliva takes the microphone once again to deliver one of my personal favorite tracks. It opens with smooth piano and guitar melodies that carry on into the interestingly sequenced verses and pre-choruses; the chorus is intensely catchy; and a solo section is replaced by a bridge that features an almost rapped vocal delivery. Fortunately, it is done with good taste...
9 out of 10

Complaint in the System (Veronica Guerin): I think this may be the most unusual track on the album. It is a two and a minute number that is made memorable by the robotic voices during the choruses, solid piano, erratic guitars, varied vocals, and nice drumming. A good track though not one that stands alone easily.
7 out of 10

Underture: Now we come to the album's second instrumental track. This one is a four minute number that features the return of the ocean waves and reflective piano during its opening sequence; louder guitar riffs and solos and occasional piano and keyboard intrusions throughout the remainder of the tune; and the occasional sound effects thrown in for good measure. A very dramatic piece.
8 out of 10

The Wake of Magellan: A strong bass and drum pattern opens this song nicely and is joined by a sweet melodic guitar line and solid vocals during the verses; the pre-chorus throws in heavier riffs and subtly layered vocals; the chorus has a soaring quality to it; the solo section goes at a more mid-tempo pace; the final verse has one of those Savatage canons that we've all come to love; and the song ends as it began.
7 out of 10

Anymore: This may be the most somber track on the album. Its verses are made memorable by sweet piano, soft vocals, and a subtle bass presence; the pre-chorus goes in a louder direction; the chorus brings to mind memories of "Chance" in a way with its sweet guitar/synth harmony; the solo section features a few nicely placed choirs and great piano; and the final verse is quite dramatic.
8 out of 10

The Storm: The album's third instrumental is another four minute tangent that makes use of a soft beginning rife with piano and storm sounds; the following guitars and synths build up to a solid climax; and fades out dramatically. Not much to really write home about, but solid.
7 out of 10

The Hourglass: The album's final song in an eight minute epic track. It starts off with some piano/guitar contrasts and ominous vocals during the opening verse; the following two verses continues at a mid-tempo pace; the chorus features solid vocal layering; the next verses take the song into a faster direction with a more upbeat riff, driving drums, and a variety of vocals expressed that eventually lead to another canon; and the final verses are dominated by vocals and piano. An epic closer, though I think it could've been a little more powerful.
7 out of 10

Overall, this album gets 105 out of 130, 81%, and 4 stars. While this album may be very similar to DWD in several ways, it is able to stand up on its own ad even surpass it as a whole. I think ths album's only flaws may be a lack of greater power felt in the second half on the album. Other than that, I'd recommend it to fans of Savatage, prog metal, rock operas, and ocean folklore.

In The Shadows (Mercyful Fate)

This album is the band's third full-length effort and the first released since the band had reunited in the early 90's. With the exception of classic era drummer Kim Ruzz being replaced by Morton Neilsen, the original members are all here including bassist Timi Hansen, guitar gods Hank Shermann and Michael Denner, and shrieking story teller King Diamond. One can only wonder how the reunion came to be. Something tells me that it may have had to do with the modest commercial success of the latter most member...
Fortunately, the music itself is very strong with very many similarities to their classic material with a few new ideas thrown in here and there. The guitar parts remain melodic and complex, the rhythm section strong, and the vocals are as varied as ever. The production is a little more accessible than before and the lyrics deal more with ghost stories and the supernatural than their past obsession with the Great Horned One and his coven.

Egypt: The song starts with a lonely accoustic guitar and soft percussion before the chorus's louder guitar harmonies and high pitched vocals enter; the followig verses throw in a great guitar gallop, strong drums, and sweet contrasting vocals; the bridge features more unique vocal and guitar lines and a few melodic moments; the numerous guitar solos are excellently done; and the lyrics are predictably awesome. A strong opener.
9 out of 10

The Bell Witch: This song starts off with a more mid-tempo guitar/bass groove that leads smoothly into the first verse; the following verses have faster guitar riff; the pre-chorus continues the pace with catchy vocals; the chorus brings the song to a slower pace; the solos are excellently done; the bridge always make me giggle; and the lyrics describe the legendary haunting of the entity of the same name. I may have to take a star off for the cheesy bridge, but it's a classic song.
9 out of 10

The Old Oak: A bright guitar melody starts this song accompanied by outbursting chords before going into a mid-tempo stride that soon turns into a fast paced romp during the first section; the chorus features a variety of vocal work; the second section features quieter riffs and darkly whispered vocals as the following section continue with mid-tempo riffs and odd vocal lines. The next section features more erratic vocals and heavier riffs and the following verses feature slower riffs and smooth solos; a revisitation of the first melodic sequence follows; and the song ends in a style similar to that of the fourth section. A good song though it may be the weakest on the album.
7 out of 10

Shadows: Now we come to another guitar groove, though this one is a little heavier than the prior songs; the first two verses continue in a similar fashion; the chorus is more melodic and catchy; the first solo section covers more dissonant ground as does the verse following it; the fourth verse and its following solo are like the first two verses; the fifth verse goes at a much faster and more energetic pace; the final verse is done similarly to the third; and the song closes out with some sweet soloing.
10 out of 10

A Gruesome Time: Another upbeat guitar riff opens this song nicely and slides smoothly into the sly verses; the chorus is another melodic one with eerie but catchy vocals; the bridge features ghostly vocals overshadowing the guitar riffs; and the solos continue the excellence. One of the more accessible tracks on the album, despite the possession themed lyrics...
10 out of 10

Thirteen Invitations: A strong drum roll opens this song and leads excellently into another guitar flurry; the first two verses and choruses continue with intense riffs and demonic vocals; the next section starts off with melodic guitars and falsettos but then returns to the heavier style; the next section feature some great guitar/vocal harmonizing and occasional falsettos making themselves known; the following solo is another melodic bit followed by a strong return to speed metal; and the song ends in its original style. The lyrics are also intriguing as they appear to be about a card game with the Devil (You gotta love how the King inserted himself in the story twice...).
9 out of 10

Room of Golden Air: Here we have a three minute instrumental that probably serves as a break from Diamond's wails and occult lyrics. It is made memorable by its steady drum beat; great rhythm guitar playing, numerous accoustic and guitar solos, and even what sounds like an organ in some places. A pretty cool addition.
8 out of 10

Legend of the Headless Rider: Here we have another epic track that is just under eight minutes. Its first section ("The Rise") opens in an eerie fashion with cool guitar harmonies, steady drums, heavy and melodic contrasts, cool sound effects, and vocals that range from evil to a tad silly; the second part ("The Chase") lives up to its name with an awesome guitar/bass gallop, howling vocals, great drums, and sweet guitar and bass solos; the third section ("Doomed") keeps up the pace with great guitars and dramatic vocals; and the final part ("Epilogue") ends the song with groaning vocals, hollow sounding guitar riffs, and effective laughter. The lyrics seem to be the King's take on the events that occured in Sleepy Hollow. Definitely an awesome number...
9 out of 10

Is That You, Melissa: While this song is shorter than the other two epics, it is probably even more dramatic. It opens with an effective harpsichord, sweet guitar harmonies, and mournful vocals during its eerily recurring choruses; the verses continue with powerfully delivered vocal trade-offs and louder riffs; the bridge's verses feature harsher vocal trade-offs, catchy riffs, and swirling guitar solos; and the song ends with a creepy whisper. The lyrics are also memorable as they end the famous "Melissa trilogy" that also consists of "Melissa" and "Come to the Sabbath". Probably my favorite track on the album.
10 out of 10

Return of the Vampire (1993): As a nice little bonus, we now come to a previously unreleased song that features none other than Metallica's own Lars Ulrich on the drums. Of course, uneducated people such as myself can't really tell the difference between metal drummers...
The song opens with a solid mid-tempo slither that is accompanied by the steady drums and a brief bass bit; the first set of verses continue in a similar fashion with over the top vocals; the second set feature more "normal" vocals and a more noticeable bass beat; the bridge goes at a much faster pace with solid vocals; and the final verses and solos are delivered as the first are. An interesting listen.
8 out of 10

Overall, this album gets 89 out of 100, 89%, and 4 stars. Like everything having to do with the King, it definitely takes some time to get used to the odd time signatures and bizarre vocals. Fortunately, it is all quite worth it and the record even manages to stand against the monolith "Melissa" in its greatness. Recommended for fans of technical melodic metal set to kooky yet intriguing horror stories.

Absolution (Muse)

Despite getting critcism within the music scene for sounding a little too much like Radiohead, I find Muse to be one of the more eclectic mainstream groups out there today. This album showcases a wide variety of influences ranging from alternative rock to progressive and even a little metal inspiration every now and then and for their often apocalyptic lyrical themes. In addition to further developing their signature sound, this album also gained the band a great deal of fame and brought them into the mainstream's attention.

Intro/Apocalypse Please: After a thirty second introduction, we come to the album's first real number. It is a very threatrical number that is made memorable by dramatic piano playing, strong drum fills every now and then, subdued guitar riffs, solid vocal layering, and great keyboard and guitar melodies during the solo sections. A great opener.
8 out of 10

Time Is Running Out: This song starts off with a quieter bass groove during the introduction, and opening verse and pre-chorus; the chorus features the guitars coming into play as the vocals become a little more repetitive; and the following verses and pre-choruses continue in a louder direction. An infectious number that is nice to groove to.
9 out of 10

Sing For Absolution: This song starts off with another quiet melody that places emphasis on the delicate vocals and melodic groove during the verses; the chorus is a little more uplifting and heavier; and the solo section throws in some trippy effects. A pretty great track.
9 out of 10

Stockholm Syndrome: How the hell did a vicious metal assault end up on an alternative rock record?! It starts off with a heavy guitar melody and great drumming during its introduction; the verses feature unusual vocal effects thrown into the mix; the chorus slows the song down for a bit but retains the insanity; and the solo section features great guitar and bass lines. Probably my favorite on the album for obvious reasons...
10 out of 10

Falling Away With You: This fragile ballad was the first song I heard off the album and the one that got me interested in the band. Its introduction and verses feature a mellow guitar melody that brings to mind a peaceful melody and equally quiet vocals; the chorus throws in louder instruments and howling vocals;
10 out of 10

Interlude/Hysteria: A loud bass line brings the album back to normal territory is quickly joined by the rest of the band shortly after; the verses continue with mid-tempo riffs and distorted vocals; the chorus is brighter; and the solo section continues with some bright guitar solos. A little basic but pretty neat.
9 out of 10

Blackout: Now we come to the album's third soft number (although "Time Is Running Out" had its moments). It is made memorable by the sometimes sappy strings, dramatically drawn out vocals, sweet backing vocals, and a strange but cool sounding distorted guitar melody during the solo segment. Another track that is a little basic but still cool.
9 out of 10

Butterflies and Hurricanes: Some soft guitar effects and vocals come in during this song's opening verse; the chorus takes the song into a more driving direction with catchy vocals and subtle strings in there; the verses continue with a louder set of riffs that bring to mind "Stockholm Syndrome" in a way; and the solo section features eerie strings and piano above a dark riff. Of course, it's nowhere near as intense as its more famous counterpart.
9 out of 10

The Small Print: This tune is a little more straight forward than the songs that come before it. It comes in with an erratic guitar riff that is soon followed by a great bass harmony and pounding drums; the verses have upbeat riffs and sarcastic sounding vocals; the chorus features a mid-tempo crunch and strong vocals; and the lyrics are full of interesting phrases.
9 out of 10

Endlessly: This song starts off with a steady drum beat and another mellow guitar groove during the introduction and verses; the chorus is quite catchy; a few effects are thrown in here and there; and the solos are pretty neat. A pretty song even though it sounds quite similar to the album's first few numbers.
9 out of 10

Thoughts of a Dying Atheist: I think this song just might have the coolest title ever...
Musically, it starts off with a very upbeat rhythm, bright guitar playing, and solid vocals during the verses; the chorus features louder riffs and amusingly Eastern sounding vocal effects; and the solo section is pretty neat.
9 out of 10

Ruled By Secrecy: The final song closes the album in a rather dark fashion. It is made memorable for its spacy guitar and bass playing, subdued vocals, soft percussion, and louder riffs and sweet piano playing during the instrumental segment. A pretty cool closer.
8 out of 10

Overall, this album gets 108 out of 120, 90%, and 4.5 stars. I'd consider this to be a strong release, though I may be a little biased as I don't listen to a lot of music outside of metal that often. I think the only flaws are the sometimes repetitive songwriting and less than adventurous song structures. Otherwise, it's worth checking out. I think I may have found a new favorite band...

Keeper of the Seven Keys: Part Two (Helloween)

Every power metal band knows that they would not exist if not for Helloween. They are singlehandedly responsible for many of the genre's cliches such as the constant double bass drumming, high pitched vocals, melodic twin guitar playing, and super happy songwriting. Fortunately, the band stands out from their followers due to their strong performances as a unit and their well known sense of humor.
This album is the band's third effort and seen by many as the band's best effort to date. It was quite commercially successful ad even managed to get the band a little more recognition here in the States. Unfortunately, this album would also be known as the last to feature founding member and Gamma Ray guitarist/singer Kai Hansen.

Invitation: Like most of the other Helloween albums, this one opens with a brief little atmospheric tune. It is made memorable by a soft military drum pattern, triumphant sounding guitar harmonies, and even a few horns and interesting sound effects in the background.
7 out of 10

Eagles Fly Free: Now here's the album really begins. It opens with a standard power metal introduction that features sweet guitar riffs and occasional bass thumps; the verses throw in quicker riffs, standard vocals, and pounding drums; the pre-chorus is more uplifting; the chorus is happy sounding with high pitched vocals thrown in; the solo section features great parts from the guitars, bass, and drums; and the lyrics deal with politics and the state of the world. A solid opener.
9 out of 10

You Always Walk Alone: This song goes at a more mid-tempo pace and opens with a sweet guitar melody and bass bits during the introduction. The verses, pre-choruses, and choruses follow with faster riffs, interesting vocals, and solid drum fills; the solo section returns the song to a more mid-tempo pace; and the final verses places more emphasis upon the strong rhythm section and almost bluesy sounding guitars before heading into a more fast paced guitar solo. Good though one of the less spectacular tracks on the album.
7 out of 10

Rise And Fall: Here's a track that people seem to despise, mainly due to the unusual lyrics. It opens with a great drum solo that leads into a great guitar gallop that continues during the verses; the pre-chorus places more emphasis on the layered vocals; the chorus is a fun one to sing along to (mainly due to vocalist Michael Kiske's accent); the solo section makes use of great guitar and bass melodies; and the song closes out with silly sound effects over another rolling drum solo. One of my personal favorites.
9 out of 10

Dr. Stein: Speaking of unusual lyrics, this Frankenstein satire takes the cake. It starts off with atmospheric sound effects; the verses feature an upbeat rhythm below a bouncy mid-tempo riff; the pre-chorus features higher pitched vocals and a subtle lead in the background; the chorus is another catchy sing-a-long; the solo section makes strong use of sweet guitar solos and a wonderfully cliche organ bit; and the lyrics never fail to make me chuckle ("His assistant's hips were nice/So he cloned her once or twice/Now his hips are aching a great deal"). Any wonder why it was one of the band's bigger hits back in the day?
9 out of 10

We Got the Right: Another slower track starts off right away with lower vocals, a nice bass part, and soft guitars during the opening verse; the following verses and pre-choruses continue with a heavier guitar riff and dramatic melodies; the elaborate chorus is delivered in a soft and somber fashion during its first half and with more triumphant guitars and vocals during the second half; and the solos are delivered in a similar fashion. A pretty great tune.
8 out of 10

Save Us: A series of sci-fi sound effects start this song off on a strange note before the band comes in; the verses continue with more intense riffs and drumming; the chorus is simple but features infectiously layered vocals; the bridge features an interesting spoken section with great drumming underneath before being followed a more traditional segment; and the solos retain the intensity. Another one of my personal favorites.
9 out of 10

March Of Time: This song starts off with dramatic melodies over strong drum fills and proceeds to go at a pace similar to that of the previous opener; the verses are a little slower; the pre-chorus is more melodic; the chorus features excellent vocal harmonies and active guitars and drums; and the final verse feature rapid riffs and interestingly delivered vocals. Another great number.
9 out of 10

I Want Out: Every power metal fan should know this track, it's probably Helloween's most famous and popular song to date. It opens with an upbeat rhythm section and extremely catchy guitar melodies; the verses feature lower pitched vocals, occasional guitar fills, and the persisting rhythm; the pre-chorus is uplifting; the chorus is one of the greatest in the genre; the bridge throws in unusual vocal lines and bizarre sound effects; and the lyrics infamously foreshadow Hansen's departure from the band that he brought up with his own two hands. Amazing.
10 out of 10

Keeper of the Seven Keys: The album's final song is a thirteen minute epic that covers a lot of ground. It opens with a pretty accoustic guitar harmony and dramatic vocals during the opening verse that turns into a dramatic set of chords and higher pitched vocals in the second verse; the next two verses has more of a gallop to it; the pre-choruses features more dissonant guitar and vocal patterns; the chorus is melodic and uplifting; the fifth verse is divided by erratic guitar and drum solos and also features odd vocal lines; the following solo segment is more melodic; the following verse continues with another solid gallop, dramatic vocals, and even a return of the "Dr. Stein" organs; the following solos pick up more speed; and the final verse is a brief spoken section that leads to the song's final chorus. A great epic, though I think it may be a little overrated...
8 out of 10

Overall, this album gets 85 out of 100, 85%, and 4 stars. A few average tracks keep it from total perfection, but this album is deserving of its legendary reputation and would make a good purchase for the first time fan. Unfortunately, this and the first installment can be a little tough to find in most stores...

Slave to the Grind (Skid Row)

Skid Row's second album had the band going in a heavier direction after their more generic debut. While their sleazy brand of hair metal is still used in full force, this album also showcases a much heavier sound influenced by the likes of the thrash and speed metal genres. I like to think of it as sounding like a cross between Guns N' Roses and Judas Priest with a touch of classic Metallica thrown in for good measure. The lyrics are also noteworthy for stepping away from the debut's more "safe" topics and moving towards themes dealing with politics, drug abuse, and religion.

Monkey Business: The album starts off in a laid back fashion as its opening verse features bluesy guitar playing and subdued vocals; the following verses and pre-choruses provide a solid slice of "Paradise City" worship; the chorus has some catchy gang vocals; and the bridge features quieter riffs and more noticeable bass playing. A solid opener.
8 out of 10

Slave to the Grind: While the rest of the album may merely flirt with harsher music genres, this song is three minutes of all out thrash. The dramatic riff that opens this song quickly turns into a fast paced crunch; the vocals are delivered in a low pitched moan during the verses; the pre-chorus is a strong builder; the chorus is an impressive sing-a-long; and the solo section provides some excellent squeals. Easily the greatest song on here and mandatory listening for anyone who calls themselves a metalhead.
10 out of 10

The Threat: A mid-tempo groove opens this song in an upbeat fashion; the verses and pre-choruses continue with great bass lines and over the top vocals; and the chorus features more catchy gang vocals. A great song despite following the glam song formula a little too well...
9 out of 10

Quicksand Jesus: Now we come to the album's first ballad. It opens with sweetly played accoustic guitars and bass and emotional vocals during the first verse; the following verses throw in a solid drum pattern and uplifting riffs; the pre-choruses feature foreboding guitar riffs; and the choruses feature passionately layered vocals. A solid ballad that thankfully avoids the cliched formula...
8 out of 10

Psycho Love: A powerful bass line starts this song off strongly and is quickly joined by an equally powerful guitar groove; the verses and choruses continue in a similar fashion; the bridge features more melodically delivered guitars and vocals; the guitar solos return the song to heavier lands; and the lyrics are even more tongue in cheek than the other songs before it...
9 out of 10

Get the Fuck Out: Speaking of tongue in cheek, this short little romp just might take the cake. It starts off with an upbeat crunch; the verses continue with high pitched shrieks; the chorus is both catchy and raunchy; the bridge has brighter riffs and awkwardly sequenced vocals; and the lyrics have a hilariously white trash vibe to them. I consider one of the few that finds this song amusing...
8 out of 10

Livin' On A Chain Gang: Without time to breathe, the opening verse comes in with high pitched wails and dissonant guitar chords; the following verses continue with a steady groove; the pre-chorus has a brighter quality to it; and the chorus is classic Skid Row. A great song that is second only to the title track.
9 out of 10

Creepshow: Another heavy guitar/bass groove makes its way into this piece; the verses feature more rapidly delivered vocals and bright riffs; the chorus is another catchy one; and the solo section has a bluesy flavor to it. It's a lot like the other tracks, but it's just as awesome.
9 out of 10

In A Darkened Room: The album's second ballad opens with a more muscular rhythm and melodic guitar solos; the verses and pre-choruses continue with passionate vocals; and the chorus is catchy and dramatic. A good song though an example of a ballad that is a little too cliched...
8 out of 10

Riot Act: This song starts off with an intense punk-inspired guitar crunch; the verses continue with harsher vocals; the pre-chorus is more melodic; the chorus is done in a style similar to the verses; and the last verse features even high pitched vocals. A strong thrasher.
9 out of 10

Mudkicker: Another mid-tempo guitar/bass groove opens this song nicely; the verses and pre-choruses continue with gruff vocals thrown in; and the chorus features interestingly delivered vocals. A good song though a little mundane at this point...
7 out of 10

Wasted Time: Closing the album out is its third and final ballad. It opens with a sweet accoustic melody and mellow vocals during the opening verses; the chorus features heavier guitar riffs and vocals; the following verses carry on in the same style; the guitar solo is nicely done; and it's rumoured that the lyrics were written about GNR drummer Steve Adler. A respectable way to close the album.
7 out of 10

Overall, this album gets 101 out of 120, 84%, and 4 stars. Some may write the band off as a heavy GNR clone and some may be turned off by the often cartoony lyrics and delivery, but this album is a classic style of latter day glam metal. I recommend it to excitable teenage boys, classic rock loving fathers, and bikers everywhere. At least check out the title track. I cannot emphasize that enough...

Hanging in the Balance (Metal Church)

Ignored by the general public and loved passionately by the few fans that have found it, this is Metal Church's sixth studio album and the last one released before the band temporarily split up in the mid 90's. It is the final album to feature the vocal talents of Mike Howe and is the only album to feature producer Paul O'Neill, thus forging the connection between Savatage and Metal Church that lingers to this day (Savatage drummer Jeff Plate currently plays with the band and guitarist Kurdt Vanderhoof has played on a number of tours with the Trans-Siberian Orchestra).
Musically, the band retains their signature brand of melodic thrash though the songs themselves seem to be more accessible and classic rock influenced than in the past. The lyrics are also similar to what has been done before and cover a nice variety of topics.

Gods of Second Chance: Our journey begins with the fading in of a mid-tempo bass and drum beat with heavier riffs following close behind; the verses are dominated by the rhythm section with solid vocal lines backing them up; the chorus throws in a heavier guitar riff and vocal melodies that vaguely remind me of the verses on Ozzy's "Tomorrow" (Although this came out two years earlier); the guitar solos are nicely done; and the lyrics are full of questioning and hopelessness. A most excellent opener.
10 out of 10

Losers in the Game: A melodic guitar harmony and underlying bass start the song off in an upbeat fashion; the verses throw in more great vocal patterns; the chorus is incredibly catchy; and the bridge throws in unusual vocal trade-offs and heavier guitar harmonies. Probably my favorite song on the album right now.
10 out of 10

Hypnotized: I think this may be my least favorite track on the album. It begins with a few siren like guitar squeals before turning into a mid-tempo groove; the verses and pre-choruses continue in a similar fashion; the chorus features accoustic guitar, nice bass, and distorted vocals; and the solos have a nice hard rock flavor to them. It's a good song though a little generic...
7 out of 10

No Friend Of Mine: Another set of guitar and bass riffs start this song off nicely; the verses throw in strong drums and catchy vocals; the chorus is uplifting; the solo section returns to a melodic style; the final verse is done in a similar style with quieter vocals and a strong bass slither; and the excellently written lyrics deal with the evils of racism and prejudice.
9 out of 10

Waiting For A Savior: Now we come to an actual ballad after hearing so many openings flirt with melodic riffs. This song begins with delicate vocals and mellow guitar playing in its first two verses; the chorus is powerfully done with louder riffs and extremely passionate wails; the third verse throws in a powerful guitar plod into the mix; the solo section gets even heavier; and the lyrics continue to stun me. Thank God they got O'Neill...
10 out of 10

Conductor: We are now treated to a much heavier song than the ones before it. It starts off with a strong guitar gallop backed by some great bass playing; the verses throw in rapidly delivered vocals; the pre-chorus brings the song to a slower pace; the chorus returns the song to its original speed; and the solo section throws in the subconsciously expected mellow guitar and bass riffs.
9 out of 10

Little Boy: This song is another one of those epics that the band seems to put on every album (The ones without Wayne anyway), this one's lyrics deal with the events surrounding the atom bomb told from the perspective of the Japanese...
It begins with an irregular bass thump, eerie guitar melodies in the background, and unusual vocals during the opening verse; the following verses have a more energetic guitar gallop and a strong rhythm section at work; the choruses continue with subtle vocal/guitar harmonizing; the following instrumental section suddenly throws in some unsettling sound effects that are eventually replaced by a few lonely guitar solos and solid drumming; the bridge continues in a similar fashion with creepy vocal layering with another solo following smoothly; and the final verse closes the song with a more intense guitar riff. A most powerful addition.
9 out of 10

Down to the River: After the previous epic track, we come to another straight forward number. This song starts off with an almost upbeat guitar riff that carries on into the verses; the chorus is simple but strong; and the solos are delivered with a great deal of variety. It kinda reminds me of Sabbath's "Neon Knights" in a way. Overall, a song that is simple but awesome in its delivery.
9 out of 10

End of an Age: At over seven minutes long, this song could be seen as the album's second epic. It begins with some sweet accoustic guitar playing, mellow vocals, and strong percussion during the first two verses; the following verse and choruses throw in a heavier guitar riff but retain the Renaissance inspired atmosphere; the fourth verse focuses more on the upbeat accoustic riffs and solid vocals; the fifth verse throws in some loud electric riffs and great bass playing with a sweet solo following suit; and the final verse returns to the accoustic dominated realm. A very unique track, especially here in the often one-dimensional thrash realm...
9 out of 10

Lovers and Madmen: Speaking of Renaissance influence, this three minute instrumental is rife with wonderful accoustic guitar melodies. A little directionless at times, but a very pleasant listen.
8 out of 10

A Subtle War: A smooth drum roll opens the album's final tune and is soon joined by a groovy bass line and melodic guitar riffs; the verses continue with nicely delivered vocals; the chorus has its share of melody; and the lyrics appear to be about the mistrust that is a part of human interaction these days. Quite an interesting theme that makes me wonder when the new thrash metal bands will stop writing about the standard guts and gore...
8 out of 10

Overall, this album gets 98 out of 110, 89%, and 4 stars. Call me a conformist, but I'm with the Congregation members who believe that this is the band's greatest accomplishment to date. The songwriting is memorable, the lyrics are fantastic, and the balance of heaviness and melody should appeal to any open minded listener. Of course, the album is hard as hell to find in stores and the album cover may be the most horrible that I've ever seen. Thankfully, I got my copy for about $5.99 at a used CD store in Muncie and it remains the best change maker that I have ever purchased...

Ghost Reveries (Opeth)

Opeth's eighth release brought in a number of changes to the band's history and overall sound. It is the first release to feature keyboardist Per Wiberg as an official band member and it is the last album to feature drummer Martin Lopez and guitarist Peter Lindgren. It is also the band's first album released on Roadrunner Records, which probably was the main factor in it reaching number 64 on the Billboard 200. Musically, the band continues their trend of merging folk and progressive influences with melodic death metal in the form of ten minute epics. Lyrically, it's not a complete concept album but it does feature some intriguing occult themes here and there.

Ghost of Perdition: The song's brief introduction consists of a lonely piano playing a melancholic melody before the rest of the band comes in loudly; the second section throws in dissonant guitar chords and raspy growls during the first three verses and quickly delivered clean vocals, strong druming, and more suppressed guitar riffs during the first chorus; the next three verses enter more melodic territory with catchy vocal melodies, lots of accoustic and electric guitar fiddling, and a few solos; the following verse returns to the growls and heavier guitar riffs; the following verse features lower pitched vocals (but still actually sung) and mellow guitar melodies; and the final verse features strong growls over the dramatic guitars and drumming with a soft break towards the end. If you can handle all of that, than this just might be the best track on the album...
9 out of 10

Baying of the Hounds: While this song is still within the ten minute range, it is a little more straight forward than the opener (well, as straight forward as Opeth can be anyway). It starts off with a trippy guitar harmony and subtle keyboards in the background; the first two verses throw in solid growls with a quick mid-tempo bit in between; the third verse is similar but with clean vocal layering used in place of the growls and a brief solo section following in a similar fashion; the fourth verse is even more mellow with more emphasis placed upon the eerie keyboards, persisting rhythm section, subdued singing, and more subtle guitar leads; the fifth verse and surrounding solo sections suddenly bring the louder riffs and growls back in; the fourth solo section returns to a mellow style with somber accoustic guitars and subtle drumming; and the final verses return to heavier territory. One of the album's highlights.
8 out of 10

Beneath the Mire: Now we come to a shorter track after the first two ten minute monsters. By shorter, I mean it's just below eight minutes long...
It starts off with a simple but sweet drum beat, groovy guitar riffs, and eerie keyboards in the background; the first two verses continue in a similar fashion with rather lazily gurgled vocals; the third verse and following solo section features brighter guitar chords and clean vocals; the next verse and solos enter even quieter territory with delicate piano, a soft rhythm, and somber vocals; the next two verses and solos retain the clean vocals but features more dissonant guitars coming into play; and the final verse is delivered in a raspy growl accompanied by the bright persisting riffs and smooth drumming.
8 out of 10

Atonement: At almost seven minutes long, this song is even shorter than the ones before it. Its introduction starts off with a neat bass groove accompanied by eerie keyboards and soft guitar leads; the verses continue with soft layered vocals and a quiet rhythm in the background; the wordless chorus features a higher pitched vocal and a return to the groove that appeared in the introduction; and the instrumental section is more of the same with a sweet piano solo thrown in. Good to have a sweet melodic number, but it could afford to be a little more exciting...
8 out of 10

Reverie/Harlequin Forest: This song's introduction consists of spacy guitar playing; the first two verses and choruses feature heavy guitar riffs and occasionally layered croons; the next two verses feature some solid growls; the following instrumental segments and the next two verses feature some creepy keyboards, melancholic moans, and a subdued rhythm section; the next verse keeps the clean vocals in use but includes effectively louder guitar chords and solos; and the last two verses and instrumental section bring back the death growls along with what sounds like an Eastern melody. It's a good song, but it seems a little repetitive at this point and is redeemed by the "Reverie" portion...
7 out of 10

Hours Of Wealth: An elaborate guitar melody opens this piece in a melancholic fashion accompanied by uplifting keyboards; the verses continue with mournful vocals and soft keyboards behind; and the guitar solo has a Spanish flavor to it in a way. A sweet song, though it is a little uneventful.
7 out of 10

The Grand Conjuration: Here we have the album's demonic centerpiece and modestly successful single (after having half of its length cut). Its introduction starts the song off with a very heavy and dramatic atmosphere with excellent riffs and drumming; the verses feature more subdued riffs, strong percussion, and mysterious singing above more subtle hisses; the chorus is delivered with an evil death grunt and complementing riffs; the following guitar solo and bridge features more powerful growls and driving riffs; and the second solo section starts off with a brief melodic segment that quickly turns into a vicious din of guitars, drums, and screams. Easily the best song on the album and proof that Opeth can write an excellent "real" song when they set their minds to it...
10 out of 10

Isolation Years: Closing the album is another soft number, this one just below the four minute mark. It opens with tender accoustic guitar and keyboards and the verses add in some heartfelt vocals into the mix. Another sweet though uneventful tune...
7 out of 10

Overall, this album gets 64 out of 80, 80%, and 4 stars. Like the rest of Opeth's material, this release may be a little too much to take in all at once and does get a little dull at times. Having said that, there are plenty of sweet moments to be found and the band functions quite strongly as a unit. Recommended for people interested in the band or just unique music in general.

Heavy Metal Poetry (H.M.P.)

Like most of the metal bands that are making waves out there these days, H.M.P. is a group that plays a style of classic thrash metal with a sweet modern edge to it. They previously released the "All Hands On Deck" EP in 2005 and have gathered acclaim in the Washington scene. However, the band is made unique by its more varied sound and lyrics that speak of more than blood and gore. The music itself seems to be greatly influenced by the works of Metallica and Megadeth and the vocalist has a distinct sound that reminds me of Nightwish's Marco Hietala with a touch of Pantera's Phil Anselmo thrown in.

Survival of the Fittest: The album opens right away with a thrashy riff accompanied by strong double bass drumming; the verses throw in a rapidly delivered guitar gallop that is accompanied by vicious vocals; the pre-chorus goes at a more mid-tempo; the bridge features effective drums and a catchy riff; and the bridge features open guitar chords and more melodic vocals; and the numerous solo sections are quite intense. A solid opener.
7 out of 10

The Horseman: A powerful mid-tempo guitar harmony opens the song strongly; the following verses go at a much faster pace; the chorus continues in a similar fashion with catchy chanting vocals thrown in; and the bridge features more mid-tempo riffs and chants before going into the thrashy solo section. A definite highlight.
8 out of 10

Hounds Of Hell: Probably my favorite track on the album. It comes in strongly with a groove similar to that of the previous track though better executed; the verses continue in a similar style with occasionally harmonizing vocals; the chorus features more great chanting; and the wailing guitar solos are delivered over a more dissonant riff during the solo section. Somewhat repetitive, but an amazing track nevertheless.
9 out of 10

Independence: Another dissonant guitar groove opens this tune before heading into a faster direction; the verses feature interesting vocal patterns and unusually sequenced riffs; the chorus has a faster set of riffs; and the solo section goes in a similar direction. A good song, though not quite as some of the others on here.
7 out of 10

A Prayer For Intervention: Here we have a brief instrumental that is largely dominated by melodic guitar harmonies and sounds of wind in the background. It is a refreshing break from the thrashage, though a little cliche.
7 out of 10

. . .Until It's Gone: As the wind sounds persist, we now come to a style quite unfamiliar in the thrash realm these days; the power ballad. It opens with more melodic guitar playing in the introduction; the vocals range from the standard snarl to more melodic moans during the verses; the verses are separated by heavier guitar harmonies; and the solo section goes into a heavier but still mournful direction. A good song that I find to be very similar in structure to Metallica's "Fade to Black" though not as powerful in delivery. It probably would've been better if the harsher vocals were omitted from the piece.
7 out of 10

H.M.P.: Like many bands, H.M.P. has its own title track. This song opens with an excellent drum solo as the final squeal fades away and is followed by a confident guitar gallop; the verses and choruses continue in a similar fashion; and is that the main riff from Megadeth's "Symphony of Destruction" that I hear during the solo section? Nice choice...
7 out of 10

The End of an Age: Closing the album out is another unusual track, a eleven and a minute epic track. Its opening verses feature more melodic guitar playing and vocal variety; the following verses continue with faster riffs and harsher vocals; the next section goes at a mid-tempo pace with solid vocals; the following verse features melodic vocals over a Maiden-esque twin guitar harmony; the solo section returns to faster territory; the next few verses features another mid-tempo riff and chanted vocals; and the final verses return to faster territory. It is a decent track, but it can get rather boring in some spots...
6 out of 10

Overall, this album gets 58 out of 80, 73%, and 3.5 stars. The album does have its share of great songs, though it seems to be a little same-ish as a whole. I'd recommend it for fans of the band and anyone interested in checking out some nice melodic thrash metal. This album and the previously released EP are available to be purchased on iTunes, CDBaby, and on the group's website. I am interested to see what the group will do in their future endeavors.

Snakes And Arrows (Rush)

Rush's most recent effort has been bestowed with a great deal of critical and commercial acclaim in the last year. Their last studio album, 2002's "Vapor Trails", had a much darker atmosphere and a more modern sound overall, but this release sounds like it could've been recorded in the late 70's. The album's atmosphere is more laid back and reflective, the guitar and bass riffs are heavy but upbeat, drummer Neil Peart's percussion and lyrical skills are as complex as ever, and vocalist/bassist Geddy Lee has retained his signature wail. As a result, it is seen by many fans as being one of the band's best albums in almost 30 years.

Far Cry: A dissonant set of guitar chords and subtle accoustic fiddling open this song before being overcome by a more upbeat riff; the verses and pre-choruses continue with excellently delivered vocals, cool guitar effects, and a stronger bass riff; the chorus features catchy vocals above the band; and the guitar solo is buried under the crushing rhythm. All in all, probably one of the band's best songs to date and a good driving song.
10 out of 10

Armor And Sword: Now we come to a more mid-tempo number. It opens with a nice drum pattern and melodic guitar melodies; the verses are dominated by somber vocals, accoustic guitar, and subtle bass; the pre-chorus throw in heavier guitar chords and solid vocal lines; the chorus appears to be a melodic fusion of the verses and pre-chorus; the solo section and bridge feature dramatic riffs and stronger drums; and the lyrics are very well written. A solid addition.
8 out of 10

Workin' Them Angels: Another track done at a steady mid-tempo pace. The verses feature bright guitar chords, subtle accoustics, and nice vocal lines; the pre-chorus is a nice, brief builder; the chorus features heavier guitars and memorable though repetitive vocals; and the solo section features sweet accoustic guitar and buried vocal patterns.
8 out of 10

The Larger Bowl (A Pantoum): As evidenced by the song's sub-title, its main gimmick is how the lyrics are written in the form of a pantoum. Of course, the music itself is very powerful and almost completely dominated by accoustics. The verses feature somber vocals and sweet guitar playing; the chorus is louder and irresistably catchy; and the solo section throws in a stronger bass presence and a sweet electric guitar solo. Probably my second favorite song on the album.
10 out of 10

Spindrift: This song comes in darkly with ominous soud effects; the verses feature higher pitched vocals and erratic guitar leads in the background; the pre-chorus throws in louder guitar chords; and the chorus is done in a style similar to that of the verses with heavier riffs. A solid song.
7 out of 10

The Main Monkey Business: The album's first instrumental is the longest of the bunch at just a little over six minutes long. It is made memorable by the exotic Eastern influence, recurring accoustic guitar playing, heavier riffs here and there, strong drumming, and wordless vocals in the background. Not exactly "YYZ", but a great song.
8 out of 10

The Way The Wind Blows: Some neat drumming opens this song nicely and is followed by mournfully bluesy guitar wails; the verses feature a great Led Zeppelin inspired guitar riff and more subtle vocals; the pre-chorus is more melodic with sweet accoustic guitars; the chorus features even more mellow guitar playing, vulnerable croons, and louder riffs towards the end; the solo section features a recurring Eastern element; and the lyrics appear to be inspired by the war in Iraq. Quite an unexpected pleasure.
9 out of 10

Hope: The album's second instrumental is the shortest on the album and focuses heavily on the accoustic guitar playing of Alex Lifeson. It does feel a little filler-ish, but the atmosphere is quite pleasant and even more Eastern sounds seem to raise their exotic heads throughout.
7 out of 10

Faithless: Melodic guitars, muddy bass playing, and pleasant vocals dominate the song's verses and pre-choruses; the chorus features more mellow vocals and persistent accoustic work; the solo section manages to get even muddier; and the lyrics are intelligently written, especially during the song's chorus.
8 out of 10

Bravest Face: This song starts off with a dissonant guitar melody and quickly delivered vocals; the following verses continue with upbeat vocals and pretty guitars; the chorus is delivered in a louder fashion; the solo section features a quieter rhythm section and a great though brief guitar solo; and the lyrics are quite insightful.
8 out of 10

Good News First: A brief effect starts the song before another dissonant guitar groove barges in; the verses feature more mellow vocals, subtle guitar leads in the background, and occasional electric outbursts; and the chorus throws in louder guitar chords and nice drums. A good song though a little repetitive at this point...
8 out of 10

Malignant Narcissism: Much of this instrumental's hype dealt with its inclusion of a sample taken from the film "Team America: World Police" (I'll let you decide which one). The song itself is memorable for its heavy bass groove, strong drums, and erratic guitar squeals over the top.
8 out of 10

We Hold On: The song's final track opens with beautiful guitar melodies, subtle drums, and somber vocals; the chorus features catchy vocal layering and great guitar melodies; the solo section features plenty of great guitar and bass parts; and the overall groove kinda reminds me of "The Larger Bowl" in a way. An excellent closer.
9 out of 10

Overall, this album gets 108 out of 130, 83%, and 4 stars. It takes a few listens to really apreciate its craft, but the album is a very strong addition to the Rush catalog and even holds up against the band's more famous material. Recommended to fans of the band, classic rock die-hards, or anyone looking for intelligent lyrics set to some more laid back tunes.

Reckoning Night (Sonata Arctica)

This album is seen by many as being the best Sonata Arctica has come out with to date. It was their greatest commercial success at that point and even won over a few listeners who thought that the band could do nothing more than bouncy power metal. It showcases the band's further evolution as the songwriting became even more focused and a little bit of diversity was added.

Misplaced: Like most of the other SA openers, this song is very fast and upbeat. It opens with a heavy guitar riff that is accompanied by atmospheric keyboards; the verses and pre-choruses feature catchy vocals, open guitar chords, and strog drumming; the chorus features more melodic vocal layering; the bridge's stanzas feature heavier mid-tempo riff, sinister keyboards, and gruff vocals; and the guitar solos are rapidly delivered. Probably the best of the band's rapid fire openers, though I have a soft spot for "Wellabergy"...
9 out of 10

Blinded No More: For some reason, this song always reminds me of something that a band like Dio would've done back in the day. Its riffs go at a strong mid-tempo pace; the vocals are quite catchy; the pre-choruses and chorus are all memorable; and the song's overall atmosphere is uplifting and triumphant. Of course, a few fans will probably tire of its unorthodox structure (for SA anyway...).
8 out of 10

Ain't Your Fairytale: Brief snippets of a wolf growling start this track off before the actual song begins. The lack of an introduction makes the song a little awkward, but the pre-chorus and chorus are catchy; the verses feature strong guitar riffs and vocals; the bridge and solo section are quite dramatic; and the lyrics are about wolves. A nice addition.
9 out of 10

Reckoning Day, Reckoning Night: Here we have the album's instrumental. This one is made memorable by a melancholic piano performance and atmospheric effects in the background. Solid though a little too long for its own good...
7 out of 10

Don't Say A Word: Now we come to the most famous song on the album and its big hit single. It opens with an upbeat guitar chug and more atmospheric keyboards; the verses continue with calm vocals; the pre-choruses feature strong vocals and triumphant riffs; the chorus is a mid-tempo sing-a-long; the bridge continues in a similar fashion with spoken vocals performed by "Silence" narrator Nik Van-Eckmann; and the lyrics are effective though somewhat silly at times, particularly during the pre-choruses ("Open your blue eyes, tell me that you love me, whore"). One of the best tracks on the album.
9 out of 10

The Boy Who Wanted To Be A Real Puppet: Soft keyboards, choral vocals, and brief riffs open this song nicely; the verses continue with quickly delivered vocals and nicely done piano; the pre-chorus throws in some subtle riffs; the chorus is more melodic; the bridge leads into an upbeat solo section; the final verse goes at a heavier mid-tempo pace with a few piano solos thrown in; and the lyrics are quite creepy in their delivery. A good song, though a little overrated and silly at times.
7 out of 10

My Selene: While almost all of Sonata Arctica's material is written exclusively by vocalist Tony Kakko, this song was written entirely by guitarist Jani Liimatainen. It opens with a bright sounding keyboard melody with more suppressed guitar chugs; the verses continue with melodic guitars, solid vocals, and a driving rhythm; the chorus is a more traditional one; the bridge features heavier guitar riffs; and the keyboard solos are nicely done. A fine track that reminds me of something that wouldn't be too out of place on "Ecliptica".
9 out of 10

Wildfire: Van-Eckmann returns to deliver a speech that manages to be dark yet extremely cheesy at the same time; the verses continue with darker guitar furies and harsher vocals; the pre-chorus has a brighter tone to it but retains the harsher vocals; the chorus is done in the SA tradition; the solo section features a heavy breakdown followed by a flurry of keyboard solos; and the lyrics are particularly intriguing. An interesting addition that may be the darkest track on the album.
8 out of 10

White Pearls, Black Oceans: Many fans consider this nearly nine minute epic to be one of the band's greatest songs to date. The opening verses come in a little awkwardly but feature great vocals and atmopsheric keyboards during the first verse; the following section gets progressively heavier as they continue and feature nicely played piano, somber vocals, and an upbeat rhythm; the third segment features solid vocal layering, heavier riffs, and great solos; the fourth section is dramatic and set to a mid-tempo pace; the fifth section returns to a heavier style; and the song ends with another spoken segment as the band fades away. A good song though a little too much to take in all at once...
7 out of 10

Shamandalie: The album ends with a signature SA power ballad (interesting how this album doesn't really have too many of those). Its introduction and opening verse feature great piano, accoustic guitar, and up front vocals; the chorus gets predictability louder; and the remaining verses follow suit. A solid closer.
7 out of 10

Overall, this album gets 80 out of 100, 80%, and 4 stars. Sonata Arctica has yet to disappoint me with any of their material though I feel that this album isn't as strong as the band's older works. It is probably the best album to get for people who are interested in the band.

Carnival Diablos (Annihilator)

Annihilator's ninth effort manages to bring in some dramatic changes in terms of the band's line-up and general output. Returning vocalist Randy Rampage was let go again after the release of 1999's "Criteria For A Black Widow" and was replaced by Liege Lord singer Joe Comeau, who just might be the best vocalist that the band has ever had. Perhaps as a result, the improved chemistry allowed guitarist Jeff Waters to really show off the varieties of his sometimes inconsistent songwriting. In short, this may be the band's best effort since their classic early 90's period.

Denied: This song starts off with a erratically repetitive guitar riff before jumping into a more intense melody; the verses contiue in a way that kinda reminds me of the style found on "King of the Kill"; the pre-chorus features more sweeping guitar lines and interesting vocal trade-offs; the chorus is done in vein of the verses; the solos are dramatic and melodic; and the lyrics are full of standard end of the world imagery. A great opener.
9 out of 10

The Perfect Virus: In contrast to the furious opener, we now come to a more groove based number. The song itself spends a great deal of time riding on its mid-tempo main riff; the vocals during the verses are interestingly processed; the chorus features some catchy chanting; the solo section and bridge go in a faster and more aggressive route; and the lyrics keep the apocalyptic theme going. One of the album's highlights.
9 out of 10

Battered: Another thrasher comes in with a mid-tempo guitar harmony during the introduction; the verses pick up speed with rapidly delivered vocals thrown in; the chorus is moronically catchy with more dissonant guitar riffs delivered; the first solo and bridge are a bit more melodic; and the second solo brings the song back to its heavier roots. A solid number.
8 out of 10

Carnival Diablos: This song's introduction and chorus feature brighter guitar harmonies and mellow vocals and the pre-chorus and verses continue with more "normal" vocals with the riffs kept in tact. It's a good song though probably my least favorite track on the album. It seems to foreshadow the sound that the band would undertake with current vocalist Dave Padden...
7 out of 10

Shallow Grave: Jeff Waters has labeled this track as his tribute to AC/DC and it's very obvious to see why. It relies heavily on its simple but catchy main riff; the chorus feature infectious vocals and a sweet guitar lead; the solos are excellent; and Comeau does his best Bon Scott impersonation. Some may not like it, but it's one of my personal favorites. One can only wonder what the Young brothers think of it...
9 out of 10

Time Bomb: Now this is probably my favorite track on the album. It is another groove based number that starts off with a heavy mid-tempo guitar riff and a cheesy but effective spoken segment; the verses continue with incredibly powerful vocals; the bridge features strong growls and shrieks that sound EXACTLY like Rob Halford (Where the hell was this guy when Priest was auditioning vocalists?!); and the solo section includes everything from a melodic segment to a brief homage to the vocal melody from "The Immigrant Song". An amazing song that would've been even more amazing if they had repeated the bridge again...
10 out of 10

The Rush: Not quite a thrasher but still pretty fast and upbeat. It opens with a distorted guitar melody that is followed by a fast paced rhythm; the verses feature interestingly delivered vocal patterns; the chorus follows in a similar fashion with nice leads above; and the solo section throws in some heavier guitar lines.
9 out of 10

Insomniac: By far, the strangest song on the album. Its opening verse starts the song with dark accoustic melodies and spoken vocals; the pre-chorus and chorus throw in heavier guitar riffs and vocals; the second verse is more melodic; the bridge features intelligible spoken vocals; the solo section is fast but still melodic; and the final verse is the same as the first. A good song though a little too weird for my liking...
7 out of 10

Liquid Oval: We now come to a rare Annihilator instrumental. I find it very similar to the famous "Crystal Ann" in style, as it features sweet guitar melodies and soft percussion. It's certainly sweet, though it may be a little too syrupy for some. Not to mention, "Crystal Ann" did this sort of thing a little better...
8 out of 10

Epic of War: Sounds of aircraft start this song off before the rapidly delivered guitar harmonies come in; the verses feature mid-tempo riffs and interestingly delivered vocals; the chorus has a nice melodic feel that brings to mind vintage Iron Maiden; and the bridge's elaborate stanzas feature some of the greatest vocals on the album.
9 out of 10

Hunter Killer: This song is probably the most intense on the album. Its complex introduction opens with foreboding guitar trade-offs and sweet double bass drumming; the verses continue with rapidly delivered vocals and riffs; the chorus is catchy but still intense; and the bridge features vocal lines similar to those of "The Rush".
9 out of 10

Chicken and Corn: Just when you thought the album was over, we come to what I like to call the bastard son of the infamous "Kraf Dinner". It is a two minute tune that features a catchy main riff, extremely goofy spoken vocals during the verses; and a loud and catchy chorus. I suppose it's good for a laugh or two, though it makes me realize that I will never be able to take the band's claims of being a bunch of badasses seriously ever again...
8 out of 10

Overall, this album gets 102 out of 120, 85%, and 4 stars. While "Waking The Fury" is the better of the two albums done with Comeau, this album is incredibly strong and highly recommended for modern melodic metal fans. I think the album's only flaws are a general absence of bass, occasionally repetitive songwriting, and the often bland lyrics. Definitely worth checking out.

Persistence Of Time (Anthrax)

Like most of the Big 4 of Thrash, Anhrax went in more of a progressive direction at the starthe 1990's. The song lengths became longer, the atmosphere became darker, and the signature comical lyrics have been replaced with serious talk about time and politics. Fortunately, the band manages to provide the listener with solid songwriting and a great band performance. Unfortunately, this album would prove to be the last with classic vocalist Joey Belladonna.

Time: Sounds of a quickly ticking clock open this song in a fitting fashion before the band comes in a solid fashion; the verses feature interestingly delivered vocals and driving bass/guitar riffs; the pre-chorus features an interesting guitar/vocal harmony; the elaborate chorus continues in an upbeat fashion; the solo sections are simple but effective; and the bridge features solid vocal lines.
8 out of 10

Blood: Dramatic drumming and sweeping guitar melodies open this song strongly; the verses continue with solid vocals and an upbeat rhythm; the song's numerous pre-choruses and choruses are laden with catchy vocal melodies; and the lyrics are excellently written. I think the song's only flaw is its annoyingly unoriginal title...
10 out of 10

Keep It In The Family: A heavy mid-tempo riff starts this song and is quickly joined by the rhythm section; the verses continue with gruff vocals (as gruff as high pitched Belladonna can get, anyway); the pre-choruses take the song into a faster direction with great vocals and thundering drums; the chorus features great gang vocals and open riffs; the final verse features angrier vocals and heavy riffs; and the lyrics describe intolerance passed on through heredity. A most interesting concept, even though a few of the lines are a little questionable ("You can think with your dick, but it can't shout").
9 out of 10

In My World: This track starts out with open guitar chords, strong drum fills, thundering bass, and an interesting spoken bit; the verses continue with strage sounding vocal lines; the pre-choruses are much quicker; the chorus has catchy vocal lines over a steady mid-tempo rhythm; and the solo section is nicely done as well. A solid addition.
9 out of 10

Gridlock: An intense guitar riff and smooth drums open this song in a way that brings to mind "Skeletons in the Closet"; the verses continue with more catchy low pitched vocals; the pre-chorus is solid; and the chorus features some strong double bass underneath the vocals. A little repetitive but a great song nonetheless.
8 out of 10

Intro to Reality: It's not very often when Anthrax decides to record an instrumental track. This one is made memorable by starting off with an interesting sample and following it up with some almost Southern influenced melodic guitar playing. A little too slow at times, but a worthy addition.
8 out of 10

Belly of the Beast: As the previous song fades away, this more vicious number takes over. Its opening verse features harsher vocals, grinding but melodic riffs, and solid drumming; and the vocal melodies in the pre-chorus and chorus are more uplifting. Another song that is great though a little repetitive...
9 out of 10

Got the Time: Here we have the album's shortest and fastest track, a cover of the Joe Jackson song of the same name. It opens with a very upbeat bass solo followed by rapidly delivered riffs and drums; the rest of the song is made memorable by its intensely catchy vocal harmonies; and the brief solo section features great riffs and another awesome bass solo. A little out of place, but a welcome departure from the more same-ish songwriting of the original works...
10 out of 10

H8 Red: Back into the darkness we go as upbeat drums and dramatic guitar harmonies make their appearance; the verses and pre-choruses throw in some interesting double tracked vocals; and the chorus is more melodic. A good track though not as strong as the songs before it.
7 out of 10

One Man Stands: Another set of dramatic guitar melodies and backing drums open this track; the verses feature a more dissonant riff and vocals; the pre-choruses and chorus continue with more upbeat lines; and I interpret the lyrics as being about the end of the Cold War. Intriguing, though still a little average.
7 out of 10

Discharge: In standard Anthrax tradition, the album closes out with a final thrasher. This one starts off with heavy guitars and drumming; the verses with interestingly sequenced vocals and riff; the pre-choruses throw in upbeat riffs and solid gang vocals; the bridge goes in a more mid-tempo direction; and the solo section brings it back to a faster pace. This is probably the closest you'll hear to vintage Anthrax on this album.
7 out of 10

Overall, this album gets 92 out of 110, 84%, and 4 stars. It takes a few listens to really sink in, but it is a fitting end to the band's "classic" era and worth checking out for old school Anthrax fans. This may also be the album to get for the thrash listeners who hate the band's normally comedic lyrics. You shouldn't be too disappointed...

Hellbilly Deluxe (Rob Zombie)

Right as White Zombie seemed to be at the peak of their success, Rob Zombie effectively disbanded the group and began to pursue a number of solo endeavors. He provided animation for the infamous hallucination scene in the film "Beavis and Butt-Head Do America" and released his first solo album in 1998.
Musically, the album isn't too far removed from the style of White Zombie. The guitar riffs are loud and infectious, samples are used on many occasions to provide atmosphere, and the lyrics are as horror themed as ever. Of course, the once strong bass sound of his former band is also sacrificed in favor of more electronic influences and accessible songwriting.

Call of the Zombie: This track is the start of Zombie's traditional placing of short interludes before the actual album begins. It is made memorable by a bizarre spoken delivery and kooky sound effects in the background. Not too much else to say about it.
7 out of 10

Superbeast: Now this is where the album really begins. A static laden synth is quickly joined by a heavy guitar riff and pounding drums; the verses and pre-choruses continue with distorted snarls pushing the riffs more into the background; and the chorus features louder guitar riffs and catchy vocals. A strong and energetic number.
9 out of 10

Dragula: We now come to the song that everyone seems to know. It starts off with a brief sample that is replaced by an infectious drum beat, sinister but upbeat riffs, and strong synths; the verses feature great vocal/riff trade-offs; the pre-chorus is a catchy sing-a-long; and the chorus is done in a similar fashion. Most likely the best track on the album.
10 out of 10

Living Dead Girl: Things slow down to a mid-tempo for this kinky number. It begins with another synth/sample combo; the verses continue with a catchy guitar riff, nice backing synths, and gruff vocals; the chorus is another catchy one with another kooky synth before the following verses come in; and the instrumental section features some peculiar Eastern effects. Another good song.
9 out of 10

Peversion 99: The album's second interlude features more Eastern sound effects over a slightly muffled mid-tempo beat. Decent though with a definite hint of filler is felt...
7 out of 10

Demonoid Phenomenon: Now we come to the heaviest and most straight forward track on the album. It starts off with another sample that leads into an awesome guitar chug and mosh worthy dive bombs; the verses feature a prominent synth and interesting vocal trade-offs; the pre-chorus features great backing vocals and heavier riffs; the chorus returns to the introduction's style; and the solo section starts off with unusual sound effects and an excessively short guitar solo. One of my personal favorites on the album.
9 out of 10

Spook Show Baby: This song is another mid-tempo tune with a kinky beat. It starts off with some upbeat accoustic guitar playing and an upbeat drum beat; the verses continue with more subdued vocals; the pre-chorus features louder riffs, distorted vocals, and recurring Eastern sounds; the chorus is pretty similar in style; and the brief instrumental sections feature dramatic synths and distorted riffs. A solid addition.
8 out of 10

How to Make a Monster: This song has the feel of an interlude, but it also stands on its own well enough. While it is a decent listen, it is unfortunately filler in a very obvious form...
6 out of 10

Meet the Creeper: Another synth/sample combo opens this album and is soon replaced by a dissonant guitar riff; the verses feature upbeat vocals above a catchy synth; the pre-chorus features catchy chanting; the chorus is as melodic as Zombie could get in this stage of his career; and the instrumental segment features more odd synths. Not quite as strong as the previous songs, but still pretty good.
7 out of 10

The Ballad of Resurrection Joe and Rosa Whore: Yes, the title is one of the silliest that Zombie has come up with. It starts off with more upbeat synths; the verses continue with more high pitched vocals; the chorus is loud and dissonant; and the instrumental section has more bizarre effects. I give Zombie credit for doing a little experimenting, but the result is a little too bizarre...
6 out of 10

What Lurks on Channel X?: The album's fourth interlude starts off with another synth/sample combo and dissonant guitar riffs; the verses feature shouted vocals over creepy samples and loud riffs; and the chorus is a little repetitive but features neat vocals. Probably the best of the interludes, though still a little filler-ish...
7 out of 10

Return of the Phantom Stranger: Yet another spoken sample opens this song accompanied by organs and dance beats; the verses continue with unusual vocal patterns and darker riffs; the chorus is a solid builder with vocals that remind me of Marilyn Manson (Yes, there is a difference between the two singers...); and the instrumental section features soft choral vocals over the song's beat.
7 out of 10

The Beginning of the End: Closing the album out is its fifth and final interlude. It is made memorable by unusually sequenced riffs and samples. Decent but unnecessary...
6 out of 10

Overall, this album gets 98 out of 130, 75%, and 3.5 stars. The album has its share of great songs but is ultimately beaten down by its excessive number of interludes and fillers. Zombie fans should enjoy it, but I think that his future effects as a solo artist are much stronger. And if those don't work, you might as well just stick to the Zombie of White...

The Weight Of The World (Metal Church)

Even though Metal Church originally reunited in 1998 and released "Masterpeace" the following year with original vocalist David Wayne and guitarist John Marshall, this 2004 effort was seen by many as being the band's true comeback. The album shows a whole new band mixing American power metal and old school thrash into one unique style with positive results. It is the first album to feature bassist Steve Unger, guitarist Jay Reynolds, and vocalist Ronny Munroe and it is the last album, as of 2008, to feature longtime drummer Kirk Arrington.

Leave Them Behind: A vicious but uplifting song opens this album on a very strong note. The guitar harmonies and drums that start the song are very nicely done; the verses continue with awesomely delivered vocals; the chorus briefly slows the song down with more great vocals thrown in; the bridge features more uplifting melodies; and the solo section returns the song to a more intense style. Definitely a strong song and one of my personal favorites.
9 out of 10

The Weight Of The World: A smooth drum beat starts the song off with a nice groove and is joined by almost bluesy guitar melodies; the verses feature catchy vocals and nicely placed riffs; the chorus features more melodic guitar playing; the bridge throws in heavier guitar chords; the solo section feature more driving guitar riffs and drumming that echo into the song's final verse; and the lyrics appear about the classic rise and fall from fame. A solid number.
8 out of 10

Hero's Soul: Actually, this could be my favorite song on the album. A fast but catchy guitar riff starts the song with backing guitar chords and drum fills; the verses throw in catchy vocals; the chorus is uplifting and memorable; and the solo section features more great melodies. It sounds like it'd be a really good montage song...
10 out of 10

Madman's Overture: In standard Metal Church tradition (at least since "Blessing in Disguise"), we now come to an eight and a half minute epic penned entirely by guitarist Kurdt Vanderhoof. The introduction and opening verse feature melodic guitar playing, lower pitched vocals, solid drum fills, and distant tolls of a bell; the following verses feature heavier riffs, quickly delivered vocals, and occasional rhythm outbursts; the chorus features dissonant guitar and bass riffs and memorable vocal lines; the first solo section features some great guitar harmonies and occasional bass fills; the next two verses and solo sections are even faster; and the music closes out on a particularly creepy note. The lyrics are also well written and tell the classic tale of a would-be prophet who suffers from the infamous Cassandra disorder...
9 out of 10

Sunless Sky: Now we come to a more mellow track after the album's epic dies out. The song begins with melodic guitar playing and soft vocals; the verses showcase Munroe's vocal range quite strongly; the chorus features louder riffs and great vocals; the bridge is a strong builder; and the solo section takes the song into a more driving direction that makes its way into the song's final chorus. Another great number.
9 out of 10

Cradle to Grave: This track starts off with some energetic guitar and bass harmonies that carry on into the verses; the chorus features an interesting vocal line; the bridge features more noticeable drumming; and the solo section features brighter guitars and smooth vocal melodies. Other than that, it's pretty much of an average track.
7 out of 10

Wings of Tomorrow: Dark sound effects, a melodic guitar chug, and sweet drums open this song nicely; the verses throw in a solid guitar gallop and soaring vocals; the pre-chorus slows the song down for a moment; the chorus features a brief return of the song's main riff; and the solo section goes into a heavier direction.
7 out of 10

Time Will Tell: Spooky keyboards under a bright accoustic guitar melody play during the introduction and opening verse; the following verses and chorus feature louder riffs, more noticeable bass playing, and soaring vocals; the bridge is another uplifting one; and the guitar solo is smooth and melodic. A nice track though average.
7 out of 10

Bomb to Drop: This track starts off with a bright classic rock inspired riff; the verses feature darker vocals going against the upbeat riffs; the chorus is pretty solid; the bridge throws in some high pitched wailing; and the guitar solo is also nicely done.
7 out of 10

Blood Money: The album closes out with a final fast paced track. It opens with erratic guitar riffs, fast drumming, and strong bass; the verses feature gruffer vocals and driving riffs; the chorus feature some catchy vocals and dissonant riffs; and the solo section features more melodic guitars and solid drum fills. A great way to close the album.
8 out of 10

Overall, this album gets 81 out of 100, 81%, and 4 stars. It's not as powerful as the band's classic era material, but this album showcases a whole new band (literally!) that is ready to write some solid songs and take no prisoners. Recommended for fans of more melodic metal that still has balls...

Magica (Dio)

With all the years that Ronnie James Dio has spent tinkering with fantasy themes and mystical metaphors, it was only inevitable that he would eventually experiment with the idea of an all out concept album. The deed was finally done in the spring of 2000 when Dio released his eighth studio album and was brought back into the attention of classic metal fans everywhere.
While the album's story itself is intriguing and cryptic, its true strength lies within the line-up that the singer managed to assemble for the release. In addition to Dio's powerful voice, we are treated to the guitar talents of Craig Goldy, drumming skills of former AC/DC skinsman Simon Wright, Scott Warren on keyboards, and the much missed work of classic bassist Jimmy Bain. In short, it has been described as being the band's best album since 1987's "Dream Evil".

Discovery: In classic concept album tradition, the album begins with an interesting spoken track. This one is made memorable by bizarre robotic voices over creepy keyboards. An interesting opener, though not much other than that.
7 out of 10

Magica Theme: Basically, this is a short little instrumental that just ushers in the album's sound after its introduction. It features more subtle keyboards, a steady rhythm section, and spacy guitar melodies.
7 out of 10

Lord of the Last Day: Now we come to the album's first real song, this one being a dark plodding track. Its introduction starts the song with a slow guitar riff and a pounding drum beat; the first two verses throw in sinister vocals and backing keyboards; the following few verses feature more driving guitar riffs, dramatic vocals, and a stronger bass presence; the final verse is done as the first two verses are; and the song ends with a brief choral sequence. A strong track, though it does seem a little direction-less at times...
9 out of 10

Fever Dreams: Sounds of an orchestra fade as a mid-tempo guitar/bass riff comes in backing a steady drum beat; the verses continue with memorable vocals; the pre-chorus is more melodic with open chords; the chorus is simple but catchy; and the guitar solo is nicely done. A great track, though it could afford to be a little more energetic.
9 out of 10

Turn to Stone: A nice set of guitar solos start the song off with occasional keyboard outbursts between them; the main riff is similar to that of "Fever Dreams" but done with more energy; the verses feature soaring vocals over a driving beat and more subtle riffs; the chorus is another catchy one with interesting backing vocals; the bridge, solos, and final verse are more melodic; and the song ends with a reappearance of the odd robot voices as the bad fades away. The lyrics are interesting as well, I really like the line "Could it be that evil has heroes" as well...
9 out of 10

Feed My Head: This song comes in with a triumphant guitar/bass riff over buzzing synths and loud drums; the verses throw in greatly delivered vocals and more sporatic riffs; the chorus is infectiously catchy; the bridge features quieter guitars and distorted vocals that are still passionately delivered; and the guitar solo is delivered excellently over a slower rhythm. Perhaps my favorite song on the album.
10 out of 10

Eriel: More keyboards open this song nicely with eerie choirs and orchestral guitar riffs backing them up; the verses and choruses continue with a bright guitar riff, a noticeable bass groove, and solid vocals; the bridge continues with solid riffs and subtle keyboards; and the instrumental sections feature great guitar solos and some nice orchestral effects that make me think of Pink Floyd's "The Wall".
9 out of 10

Challis: Here we have one of the loudest and most accessible songs on the album. It begins with a classic introduction that feature strong bass playing, building drums, and a guitar riff that wouldn't sound too out of place on Black Sabbath's "Heaven and Hell"; the verses continue with confidently delivered vocals and a heavier guitar crunch; and the chorus features more catchy vocals and riffs. Another candidate for best song on the album and should've been radio hit...
10 out of 10

As Long As It's Not About Love: The robot voices appear for the third time to deliver another brief tangent; the song itself starts off with somber accoustic guitar playing; the first few verses continue with deeply emotional vocals; the song then throws in heavier guitar solos and a spacy bass crunch; and the following verses feature the heavier guitar riffs combined with the awesomely delivered vocals. It may have a loose structure, but it certainly beats the cliche power ballad that was initially expected...
9 out of 10

Losing My Insanity: One of the quirkiest songs on the album starts off with a bouncy medieval melody in its introduction; the verses and choruses continue with upbeat guitar riffs and vocals; and the solo section features great guitar solos and some bouncy bass playing. Overall, it's one of those songs that would be most amusing to dance a nice jig to...
10 out of 10

Otherworld: Now we come to another doomy plodder. This track opens with a slow guitar riff backed by strong bass work and a subtle choir; the verses and choruses feature great vocals and bass playing with the guitar leads forced into the song's background; the bridge features a sinister keyboard/guitar/vocal melody above the persisting bass; and the solo section features more great guitar and bass parts. It does seem a little too slow compared to the album's other songs, but it serves nicely as the last 'real' song on the album.
9 out of 10

Magica (Reprise): If you aren't paying attention, you probably won't even notice the transition made as the previous song fades away. This brief tune features triumphant vocals over uplifting guitar chords and keyboards followed by the final appearance of those robot voices. The lyrics are pretty interesting as well, particularly during the second verse ("No one gets to heaven till they've lived a while in hell. And even then it's rare that you'll be going there...").
7 out of 10

Lord of the Last Day (Reprise): Obviously, this is a brief revisiting of the album's third track. It's not that different, except that it only deals with the first verse and the vocals are a little more distorted this time around...
8 out of 10

Overall, this album gets 113 out of 130, 87%, and 4 stars. While the songs do sometimes go a little slow at times and are filled with too many short interludes (Isn't every concept album like that?), the songwriting is well done and the band's performance is one of the strongest to date. Fans confused about the story should be sure to check out the album's final track, for it is an 18 minute track in which Ronnie James Dio himself tells the story of Magica backed by dramatic synths. Definitely a most interesting listen...

Balls to Picasso (Bruce Dickinson)

In 1994, Bruce Dickinson released his second solo album and the first one to come out after his disparture from the ever popular Iron Maiden. It also marked the first time that the singer worked with legendary guitarist/producer Roy Z and the rhythm section of Z's own band, the Tribe of Gypsies. Musically, the album ranks as one of Dickinson's most eclectic efforts and flirts with classic metal, hard rock, doom, and a few ballads here and there. The album's lyrics deal with politics, more abstract topics, and even reflecting the time that Dickinson spent in and out of Maiden at the time.

Cyclops: One of the album's darkest numbers begins the journey in a doom ridden direction. The introduction is quite elaborate with dark guitar riffs, an almost industrial inspired beat, nice slap bass, and even a bit of talk box thrown into the mix; the verses continue quietly with strong bass and eerie vocals; the pre-chorus features heavier guitars under an interesting talk box/vocal harmony; the chorus feature higher vocals over open chords; and the lyrics are filled with bizarre imagery. A great though misunderstood number.
9 out of 10

Hell No: A dark but melodic guitar riff comes into play and is joined by rising drums; the verses continue in a way similar to that of the opener; the pre-chorus is a nice builder; the chorus is loud and catchy; the guitar solos are nicely done; and the lyrics are interestingly written.
8 out of 10

Gods of War: Now we come to an even more melodic track. It opens with a steady drum beat and melodic guitar crunches and vocals; the verses continue with mournful vocals over a softer guitar riff and uderlying bass; and the chorus brings the crunch back in with some high pitched vocals above it. A nice track, though one of the album's average numbers.
7 out of 10

1000 Points of Light: This song starts off with a upbeat main riff and a simple drum pattern; the verses continue with solid vocals and sleazy guitar leads; the pre-chorus brings back the main riff; the chorus features muddy guitar chords and uplifting vocals; the solo section throws in a memorable sample; the final verse is more melodic; and the lyrics are filled with more war imagery. Another solid track.
7 out of 10

Laughing in the Hiding Bush: Now we return to the album's darker direction. It starts off with a sinister but upbeat guitar riff; the verses and the pre-choruses continue with more subdued riffs and unique vocals; the chorus features distorted vocals over the song's main riff; and the solo is nicely done. One of the song's highlights that remains one of the fan favorites.
8 out of 10

Change of Heart: The album's first ballad may be the less emotional of the two, but it is a good song. It starts off with melodic guitar harmonies over a steady drum beat; the verses and pre-choruses continue with strong vocals; and the chorus continue with subtle guitar chords and uplifting vocals. While it isn't too eventful musically, it is made memorable by the passion expressed.
7 out of 10

Shoot All the Clowns: It's safe to say that this song's hard rock leanings wouldn't have been too out of place on "Tattooed Millionaire". The chorus is upbeat and melodic; the verses and pre-choruses feature more sleazy riffs and quickly delivered rasps; the bridge features almost rapped vocals; and the solos have a nice Janick Gers feel to them. An interesting track though everyone will hated "Tattooed Millionaire" will surely hate this one as well...
7 out of 10

Fire: A crunchy mid-tempo riff and solid drumming open this song; the verses continue in a similar fashion; the pre-chorus is a more melodic direction; the chorus features some sinister layered vocals; and the solo section features a steady bass solo with sweet guitar solos in the background and more steady drumming. A good but average number.
7 out of 10

Sacred Cowboys: You may think that you'll be treated to a speed metal track when that opening gallop comes in, but Dickinson's goofy howls may tell you otherwise. The verses continue with melodically rapped vocals over a steady gallop; the pre-chorus features more melodic guitar chords and vocals; and the chorus features strong vocals and interesting percussion in the background. A solid song though perhaps a tad too goofy. . .
7 out of 10

Tears Of The Dragon: It has been said that Dickinson considers this to be the best song that he has ever written. While the song has a structure that is typical of metal ballads, it is made memorable by the band's inspiring performance and amazingly heartfelt lyrics. The verses and pre-choruses feature expressive accoustic guitar playing, passionate vocals, and effective backing vocals; the chorus is emotionally powerful but still catchy; the solo section goes into faster territory with plenty of great guitar parts thrown in; and the bridge builds strongly into the final chorus. Easily the greatest track on the album and a nice compensation for anyone that hated all the songs before it...
10 out of 10

Overall, this album gets 77 out of 100, 77%, and 3.5 stars. Hardcore fans should be able to tolerate the variety present on the album even though some of it isn't exactly well developed. It is a solid effort and worth the price for "Tears of the Dragon" alone, especially if you can find the album at a cheap price. Hell, I bought it used for $4.99...

Sap (Alice in Chains)

Alice in Chains's true second effort is the first of the band's two accoustic EP's (the other one being 1994's "Jar of Flies") that came out between the releases of their more vicious studio albums. While the EP isn't quite as powerful as "Jar of Flies" would be, it is made memorable by the blues influenced accoustic and electric guitar playing, emotional vocals, a mellow and somber atmosphere, and numerous guest appearances throughout.

Brother: The album opens with simple accoustic guitar strums with dark backing bass playing and subtle bongos; the verses have more vulnerable singing; the chorus features louder drumming and backing vocals performed by Heart's own Ann Wilson; and the guitar solo is nicely done. A sweet opener.
9 out of 10

Got Me Wrong: Fans of the movie "Clerks" should recognize this one. The introduction and verses feature more simple accoustic guitar, a strong bass presence, solid drumming, and mellow vocals; the chorus features louder riffs and uplifting vocals; and the guitar solo is another sweetly delivered work.
10 out of 10

Right Turn: Humorously referred to as a song performed by "Alice Mudgarden", this song starts off with more accoustic work and somber vocals and the chorus features vocals from none other than Soundgarden's own Chris Cornell and Mark Arm of Mudhoney. It's a good song, though the style is a little generic at this point and the number of vocalists do make it sound a little crowded...
7 out of 10

Am I Inside: A final accoustic track starts off with a mysterious guitar melody and ghostly vocal melodies; the pre-chorus continues in a similar fashion; the chorus features more backing vocals from Wilson, subtle bongos, and a bit of piano hidden in there somewhere. A nice addition.
8 out of 10

Love Song: Closing the album out is an odd little hidden track. It starts with a neat piano melody that is accompanied by goofy backing vocals and solid drums; the following verses continue with blast beats, rapidly delivered piano, and bizarre vocals; and the chorus features more of those odd vocals. It's pretty much filler material, but I suppose it's good to see that Alice in Chains isn't all about gloom and doom...
6 out of 10

Overall, this album gets 40 out of 50, 80%, and 4 stars. While it is a good EP, I don't think that it really stands up to some of the other efforts that the band has come out. It's worth checking out for fans and for anyone if it's available for a really low price. Then again, a CD with only 5 songs on it shouldn't cost more than $6.00...

Kiss Of Death (Motorhead)

Motorhead's most recent effort isn't exactly an adventurous release. The band's defining elements still remain and the band unit is tighter than ever, though the production may be a little more polished that it has been in the past. The riffs remain bluesy and heavy, the drumming heavy and strong, the bass rumbling and energetic, and the vocals done in that signature snarl. Musically, it's very similar to the previously released "Inferno" in sound and delivery, though there are elements of the band's classic early 80's sound here and there.

Sucker: Opening the album is none other than a fast paced number done in the signature Motorhead fashion. The introduction fades in with a high pitched guitar lead that soon transforms into a strong riff assault; the verses continue with catchy vocals thrown in; the choruses feature more catchy vocals, more open guitar chords, and excellent double bass drumming; and the solo section is brief but remains more intense. Not a classic but a solid start.
9 out of 10

One Night Stand: The album continues with a bluesy number that wouldn't sound too out of place on the "Ace of Spades." The introduction starts off with upbeat guitar riffs and grooving drums; the vocals are delivered in a playful fashion (as playful as Lemmy can be anyway...); the chorus is fun and catchy; and the lyrics are quite amusing. One can only chuckle when Lemmy declares that "[he's] been a slut all [his] life"...
9 out of 10

Devil I Know: Another bluesy track comes into play though this one is a little more energetic. It starts off with driving drums and solid drums; the verses feature decent vocals and amusing lyrics ("I may be a dog but, honey, you're a bitch!"); the chorus features more upbeat melodies; and the bass and guitar solos are pretty nice as well.
8 out of 10

Trigger: This track comes in with quick riffs and intense bass; the verses continue in a similar pace with darker riffs and nice vocals; the chorus features odd but infectious vocal lines; the bridge throws in even heavier bass chords that lead excellently into the solo section. One of my favorites on the album.
9 out of 10

Under the Gun: A more mid-tempo track makes its appearance on the album. It starts off with a brief bass solo that fades into a riff that is not unlike the one from "Keys To The Kingdom"; the verses continue with solid riffs and vocals; the chorus is catchy in a more subtle way; and the lyrics are essentially a dirtier version of "To His Coy Mistress". A solid track.
8 out of 10

God Was Never On Your Side: Now we come to a true rarity in the Motorhead catalog: a melancholic accoustic ballad fueled by lyrics that question the need for organized religion and the existence of God. Its verses feature more mournful vocals, mellow accoustic guitar, and subtle guitar leads; the chorus feature louder riffs, catchy vocal lines, and more noticeable bass guitar played by Alice In Chains bassist Mike Inez; and the guitar solo is performed by none other than Poison gunslinger CC Deville (fear not, it doesn't suck...). Probably my favorite track on the album because of its unique and powerful nature.
10 out of 10

Living In The Past: Back to the heavier route we go as a crunchy mid-tempo riff comes in; the verses feature even lower pitched vocals; the chorus is another catchy one with sweet vocal/guitar trade-offs; and the solo is pretty nice. A solid track though more average overall.
8 out of 10

Christine: This track comes in with more upbeat riffs; the verses feature more happy sounding vocal/guitar trade-offs with more noticeable bass; and the chorus features catchy vocal lines. Another fun but average addition, I think "One Night Stand" did this kind of thing better...
8 out of 10

Sword Of Glory: An even quicker track starts off; the verses continue with gruff vocals and a more subtle guitar chug; the pre-chorus features more uplifting riffs and solid backing vocals; and the chorus features some catchy vocals. Yet another average number.
8 out of 10

Be My Baby: Even crunchier guitar/bass chugs open this song strongly; the verses' vocal lines are interestingly delivered; the pre-chorus has more solid vocal echoing; and the chorus is quite memorable. One of the better tracks on the album, though the modernisms may turn off a few listeners.
9 out of 10

Kingdom Of The Worm: Just when you thought that last track was heavy, we get to the darkest track on the album. A vicious bass grind comes into play with backing guitar chords behind; the verses continue with spastic drumming, distorted bass playing, and demonic vocals; the chorus features catchy vocals and more noticeable guitar riffs; the solo section is nicely done; and the closing section is absolute evil. A great track, though it sounds like it's trying too hard to be the next "Orgasmatron" but doesn't quite make the mark...
8 out of 10

Going Down: We now come to a more traditional style with a track that I've heard was actually co-written by guitarist Phil Campbell's son. The introduction starts off with strong riffs; the verses feature bright, upbeat guitar riffs and vocals; the chorus is pretty decent; and the solo section is done in a darker fashion. A good track, though also average.
7 out of 10

Overall, this album gets 101 out of 120, 84%, and 4 stars. The album is a fine example of the band carrying on strongly into the modern day and benefitting greatly from great production and a strong band performance. Like all Motorhead albums, its main flaws are mostly related to same-ish songwriting and occasional lyric recycling here and there...