Tag Archives: American

Manowar – Defender: 1983 Version (Song Review)

“Father I look up to you”

They were an unknown band at the time but that didn’t stop Manowar from securing the services of screen legend Orson Welles who (clearly recognising that he was in the midst of fellow geniuses) agreed to record narration for their debut album: 1982’s Battle Hymns. His narration was used on that album’s Dark Avenger but in the same session Welles also recorded two more pieces: a cool stage intro (that the band has used ever since) and narration for a strange and glorious second song, Defender.

Mostly spoken word set to music, it’s the kind of thing other bands would have used to flesh out an album. But Manowar are not “other bands” so Defender was released as a non-album single in 1983. Not the kind of stuff to tear up the charts but a great introduction to Manowar’s barbarian muscle metal. Windswept Conan tones in the mellow intro, Welles’ baritone gravitas, that killer “ride like the wind” chorus and goosebumps galore when vocalist Eric Adams finally chips in.

I slightly prefer the more direct, streamlined Fighting The World version from 1987 (which used the same narration but re-recorded and rearranged the rest of the song) but the original has its own appeal. It almost sounds like a metallized take on classic Kansas with Adams’ soaring vocals and Ross The Boss’ bluesier guitar solo. And best of all it has a longer, more epic atmosphere with the “Tree Of Woe” vibe that characterized the band’s early work. It’s a must-hear and a must-have rarity for any Manowar fan. This is the music God has sent.

Cheap Trick – Bang Zoom Crazy… Hello (Album Review)

Cheap Trick – Bang Zoom Crazy… Hello (2016 Japanese Edition w/ 2 Bonus Tracks)

The acrimonious split with original drummer Bun E. Carlos in 2010 was a disappointingly sour turn of events in the 27-year saga of Cheap Trick. But on 2016’s Bang Zoom Crazy… Hello, their first release without him, his absence isn’t felt too keenly. The album rocks and pops with a warm, vintage sound and Robin Zander’s wonderful voice seems impervious to the passage of time. But the chemistry is undeniably altered. Their old biting quirkiness is missing and this is fairly slick stuff, like a souped-up version of the poppier Lap Of Luxury/Busted era, with by-the-numbers lyrics and happy strumming in place of decent riffs. That said, it’s a fun album with a perky spirit and, although the ideas gradually dry up as the album progresses, there are a few songs that fans will enjoy: driving opener Heart On The Line, the sparkling No Direction Home, glammy stomper Blood Red Lips and jangly ballad Sing My Blues Away. But the album’s saving grace, and the song that keeps me coming back for more, is the ghostly When I Wake Up Tomorrow. Overall, it’s not destined to go down in history as a classic, but its definitely one of their more enjoyable modern releases. And the band do sound like they’re having a good time. They don’t seem to miss Bun E., and this is solid enough that you probably won’t either. But he must have been the guy coming up with the album titles because Bang Zoom Crazy… Hello?

Blue Öyster Cult – Secret Treaties (Album Review)

Blue Öyster Cult – Secret Treaties (1974)

Secret Treaties is the last and best of the so-called “black-and-white” trilogy of albums that kicked off Blue Öyster Cult’s career: a trio of mysterious, monochrome-covered rock albums that peaked with this 1974 release. It’s dark, esoteric and also a bit of a hoot. It’s an album of parodic garage-rock horror reminiscent of Alice Cooper’s Killer, full of psychedelic monster mashes like Career Of Evil, the oddly cute Cagey Cretins and the seismic, psychotic Harvester Of Eyes. And those aren’t even the best tracks. Overdriven boogie rocker ME262 puts you in the pilot’s seat of a Junkers Jumo 004 (“Hitler’s on the phone from Berlin, he’s gonna make you a star”) and Dominance And Submission has a superb, swinging groove, an unforgettable climax (“radios appear”) and some creepy interjections from Charles The Grinning Boy… “it will be time”. But the album truly peaks with its closing tracks, Flaming Telepaths and Astronomy. Both are grand, magnificent masterpieces with affecting muscianship and beautifully cryptic imagery. Astronomy in particular is a complete head-scratcher. I’d love to know what “the nexus of the crisis, the origin of storms” really means but then… I feel like not knowing is kind of the point. And the reason Secret Treaties remains so eternally fascinating and alluring.

Queensrÿche – Prophecy (Song Review)

“Begotten are the fools who’ll never know”

I was first introduced to Queensrÿche’s Prophecy via the live version on the Building Empires VHS, before acquiring the studio version as the bonus track on the CD reissue of the band’s 1983 debut EP. Nowadays you’ll find it as a bonus track on the reissue of 1984’s The Warning because it was written during that era but I’ve since discovered it wasn’t actually recorded until the sessions for their 1986 album Rage For Order! Bloody hell. But it doesn’t really matter because this song holds it own anywhere. It’s got the classy Rage For Order production sheen but its traditional melodic metal style fits in nicely on The Warning and the EP. Some extremely bouncy riffing, catchy hooks, nice vocal harmonies and some nifty and memorable guitar soloing from Chris DeGarmo and Michael Wilton make Prophecy a standout favourite… wherever you hear it.

KISS – Psycho Circus (Album Review)

KISS – Psycho Circus (1998)

Basking in the incredible success of their 1996 reunion tour, the four original members of KISS headed back into the studio to pick up where they left off: completely unable to work together. In fact, the entire band only appear together twice on 1998’s so-called reunion album Psycho Circus. The whole band performs Ace Frehley’s Into The Void (which, surprise surprise, is the only track here that sounds anything like classic KISS) and they all sing together on the fairly average You Wanted The Best. In truth, however, this is the Paul n’ Gene show. Which would be fine if the album was actually any good, but it’s a muddled, mediocre effort. Stanley exerts a bit of quality control with the anthemic, stomping title track and Gene offers up the suprisingly good closer Journey Of 1,000 Years but both performers have seen better days. Within is terrible alterna-metal, Finally Found My Way is a limp and dated ballad and the album is loaded with empty and charmless statements of unity. Doing a greatest hits nostalgia trek is one thing, moving forward as a creative unit is another entirely. KISS would have been better settling for the nostalgia because Psycho Circus left the inimitable rock legends looking like nothing but a bunch of clowns.

Another attempt at photographing the pesky 3D coverhttps://youtu.be/SWxa0iS2zdE

Faith No More – Angel Dust (Album Review)

Faith No More – Angel Dust (1992)

It’s tempting to see 1992’s Angel Dust as a deliberate and contrarian attempt to confuse fans following the unexpected success and “funk metal” pigeonholing of 1989’s The Real Thing. But that album was already weird enough, with its vibrant range of styles and Mike Patton’s darkly humourous lyrics. So, with Patton now fully involved in the band’s musical direction rather than just vocals and lyrics, Faith No More were really just evolving naturally: becoming weirder and more eclectic than ever before. Scathing, metallic rockers like the sarcastic Land Of Sunshine and the jackhammer Caffeine mingle with the sample-heavy melodic genius of Midlife Crisis, Everything’s Ruined and A Small Victory. But the album is at its best when it goes all Alice Cooper. RV‘s quirky portrayal of a trailer park slob has moments of soaring pathos and the album’s choicest deep cut Crack Hitler is a funky soundtrack for the best 70s TV action show you’ve never seen. It’s not all perfect. The cover of Midnight Cowboy is a pointless coda and I find the noisemare tracks Malpractice and Jizzlobber a bit uneventful. But even they still contribute to the dark, weird totality and I doubt Faith No More wanted anyone to like all of this. The contrary buggers. Like the cover’s pairing of a majestic egret with images of a slaughterhouse… Angel Dust is both beautiful and hideous. A challenging masterpiece. So sing and rejoice, sing and rejoice.

Original Back Cover
Back Cover of 2015 Deluxe Edition

Dio – Finding The Sacred Heart: Live In Philly 1986 (Album Review)

Dio in his spectacular 80s live prime: explosions, lasers, crystal balls, knights, heraldry and a big fucking dragon! None of that on the CD version though… but have no fear! The music is just as spectacular. The band, including new guitarist Craig Goldy, breathe fire into the new material from the under-rated Sacred Heart album: King Of Rock N’ Roll is an explosive opener; Sacred Heart and Like The Beat Of A Heart are stately magnificence; and Hungry For Heaven and Rock N’ Roll Children are fun melodic anthems. The powerful band does a great job on the older Dio tracks like We Rock, Stand Up And Shout and Rainbow In The Dark too. In particular, the version of Don’t Talk To Strangers here is goosebump city: the best version of the track I’ve ever heard. Unfortunately, some of the other Dio, Rainbow and Sabbath classics get shoehorned into medleys, which are enjoyable enough but a bit frustrating. Especially when drum, keyboard and guitar solos are allowed to drag…on(!) for 18 minutes of valuable running time. So there’s both heaven and hell here for Dio fans. If you can find the sacred skip button, you’ll discover golden renditions of your favourites and fresh excitement from some lesser-heard treasures. Buy the live DVD too… it’s got a big fucking dragon in it!

Anthrax – Metal Thrashing Mad (Song Review)

‘Fistful Of Metal/Armed And Dangerous’ 3 x 10″ Vinyl 25th Anniversary Edition

“I’m the madman at the wheel”

This classic rager from Anthrax’s 1984 debut album Fistful Of Metal is still one of their best songs. As well as featuring an early use of the “thrash” term, it’s just a great gear-shifting metal tune: the stomping opening riff breaking out into the speed metal of the verse before hitting the power chord open road of its unforgettable chorus. Best of all, Metal Thrashing Mad has survived all the incarnations of the band with subsequent singers Joey Belladonna and John Bush both recording their own brilliant takes on the tune. But I’ve opted for the original Neil Turbin version here cause his vocals send it pleasingly Manowar-d and I recently bought an awesome vinyl edition of the album.

KISS – Hotter Than Hell (Album Review)

KISS – Hotter Than Hell (1974 – with German logo variant!)

The meanest and heaviest album of KISS’ classic era. When their self-titled debut LP wasted no time in sliding out of the charts, KISS headed back into the studio to rush out a replacement, 1974’s Hotter Than Hell. This time ramping up the layers and distortion in an attempt to replicate the power of their live sound. The sludgy, messy end result is oft-criticised but I think the album has a dark, underground edge and the more metallic material here works really well. Songs like the genius riff-fest Parasite and the predatory Watchin’ You sound gritty and nasty. My main gripe is the stupidly slow tempos. Top tunes like Got To Choose, the title-track and Let Me Go Rock N’ Roll just sound like they need a good kick up the arse. But they’re still enjoyable versions if you just get into that blockier, doomier mindset and, best of all, there are no real clunkers here. They won’t show up on greatest hits sets but tracks like Comin’ Home, Goin’ Blind and Strange Ways are all choice deep cuts for the KISS connoisseur. Especially Strange Ways for its phenomenal whacked-out Ace Frehley guitar solo. Total attitude. Not their hottest album then but definitely one of their coolest, a rewarding evocation of KISS’ hungry years.

Queensrÿche – Queensrÿche (Album Review)

Queensrÿche – Queensrÿche (2013)

Following several poorly-received albums and the acrimonious ousting of frontman Geoff Tate, the rebooted Queensrÿche returned to the fan-pleasing style of their classic era with this eponymous 2013 album. The twin guitars, hefty bass, percussive drumming and the uncanny Tate-alike vocals of new member Todd La Torre all sound the part, bringing to mind albums like Rage For Order and Empire. But this is progressive metal in sound rather than form: straightforward verse/chorus songcraft with little of the state-of-the-art sophistication of old. No thought-provoking lyrics here either, unless “take a look around in the lost and found” strikes you as high-concept. But, as modern mainstream metal goes, it’s tight and focused with great hooks. The up-tempo Don’t Look Back and Fallout are especially potent and songs like A World Without and Open Road have plenty of heart. Queensrÿche played it too safe to count as a true return-to-form but it was good enough to return much needed credibility to the beleaguered band.

Live bonus tracks appear again on the box set version of their latest album ‘The Verdict’