Sweetwood's Metal Moments

Just Saying Goodbye

2012-01-22T06:35:00.000-08:00

Alas, this is my last post on this site of my own creation. As regular readers can tell, since my stroke, I have not kept up this site very well. Physically I am fine; it is not anything medical, its just my musical tastes have changed. Before the stroke and before that, my life while I was going through a divorce, I was needing a musical source to let out my frustrations. I am proud, glad, and thrilled to say hard rock and metal took me there and back again.

I have mellowed to a degree, and I really do not play hard rock as much. I still love Kamelot, but without Roy Khan, it is not the same. I still love Deep Purple, but I prefer the classic Ritchie Blackmore days, which is going on 40 years ago. I still love Nazareth, but the new albums are not half as good as the others. Classic Black Sabbath and Classic Blue Oyster Cult will always be among my favorites, but the production from those bands over the last few years have been minimal at best.

I cannot stand the thrash, the screamer, the falsetto deep leather voice junk that is permeating metal today. No sense fighting it, but the power metal I like (Savatage, Rough Silk, Kamelot, Stratavarious, and the like) are not putting out the volume they once did and the music actually has sounded unoriginal and reduntant to me, as of late.

I have embraced more Americana Music as of late and have been enjoying more blues and folk music.

My very special thanks to my internet friend Martin Popoff for his guidance, his books, and his encouraging words. Martin is the best writer/critic in the hard rock/heavy metal music world. No one is better.

My special thanks to my friends who have visited and to all who have chanced by to read and take an interest.

Any and all comments are welcomed. if you enjoyed this site, please send me a comment. if you thought this site was annoying or silly, also let me know.

Fo my final blog post on Sweetwood's Metal Moments, I offer my top 30 Hard Rock/Metal albums. They are in No particular order other than the first three are numbers 1-3 as the greatest hard rock/metal albums, ever! Well at least in my most humble opinion.

1. In Rock--Deep Purple
2. Sabatage--Black Sabbath
3. British Steel--Judas Priest
4. Lights Out--UFO
5. Fire of Unknown Origin--Blue Oyster Cult
6. Blizzard of Oz--Ozzy Osbourne
7. Rising--Rainbow
8. The Black Halo--Kamelot
9. The Metal Opera I and II--Avantasia
10. Machine Head--Deep Purple
11. Chapter V: Unbent, Unbowed, Unbroken--Hammerfall
12. Alive--Kiss
13. Circle of Life--Rough Silk
14. Streets A Rock Opera--Savatage
15. Sabbath Bloody Sabbath--Black Sabbath
16. Epica--Kamelot
17. Moving Pictures--Rush
18. The Number Of The Beast--Iron Maiden
19. Eric the Red--Tyr
20. Hair of The Dog--Nazareth
21. On Your Feet Or On Your Knees--Blue Oyster Cult
22. Winterheart's Guild--Sonata Arctica
23. Ghost Opera--Kamelot
24. Gutter Ballet--Savatage
25. Screaming For Vengence--Judas Priest
26. Heaven and Hell--Black Sabbath
27. Soundtrack to Heavy Metal (the movie)--various Artists
28. Signals--Rush
29. Infinite--Stratovarious
30. Power Of The Dragonflame--Rhapsody

Older metal and hard Rock will always be with me. ROCK ON!

Feeling Some Deep Purple This Week

2011-07-22T14:27:00.000-07:00

“I’m a Speed King, you go to hear me sing,
I’m a Speed King, see me fly.”

http://www.youtube.com/watch?v=p0rAP87B7UA

My Deep Purple fix was reached this week; as Martin Popoff sent me his latest book, The Deep Purple Royal Family. I decided to combine my review of it with Purple’s most important album, In Rock, from 1970.

When I first heard this thunderous clash thay was the distortion of sound that commanded attention from Deep Purple on the opening of “Speed King” from in Rock, I was taken aback. Then the song reaches a respite with the aid of Jon Lord’s keyboards—then we “hit it” with the Good Golly Miss Molly screeches from Ian Gillian and the song is under the command of the first truly metal band as this is the first truly metal album. Lord’s keyboards enhance the surreal as Ritchie Blackmore takes the guitar to a new level of controlled chaos and Ian Paice’s drums pound a relentless rhythm that drives home the sound. The true hero, on this album as well as this song, is Roger Glover as his bass soars. Not regulated to a background instrument, Glover’s bass gives the “drive” that IS heavy metal. Song after unrelentless song, Glover delivers.

Bloodsucker follows and is not the champion that Speed King is, but it strikes a harsh nerve. Again, it sounds as if Deep Purple is the absolute most important thing on the planet in this song, as the fever hits and the band delivers.

The sublime Child In Time follows, sublime, if only for a moment. The band breaks in some jazz infusion moments in this song until the pace quickens to Blackmore’s total control of the Stratocaster. Keeping us grounded the entire time is the fore-mentioned Roger Glover. Slightly after midway through this song, Jon Lord takes us back to a state of bliss, added to the controlled vocals of Gillian. Hang on metal fans, Ritchie shows us soon enough why he is the master.

Flight of the Rat continues the guitar power that Blackmore is capable of reaching. It sounds as if the producers put Gillian’s vocals in the background so Blackmore’s guitars and Paice’s drum will be the centerpiece. Notice the fills of Glover’s bass in this unheralded song. This bad boy thunders along quite nicely. Considered by many as a “throwaway” number, this song is proof that there is no such thing from a Deep Purple album at this time.

Into the Fire starts with a perfect blend of keyboards/bass/guitars in a moment of power until Gillian screams his articulate voice. I think this song, if no other, shows how incredible Ian Gillian truly is. This song is his showstopper. True Ritchie Blackmore riffs hard on this one, but Gillian stretches the vocal chords far and thin.

Living Wreck starts with Paice’s drumming talent, followed by Glover’s control. This is one song that comes off some highs from the first side, only to show the listener that this is a band, not a Blackmore/Gillian showpiece. Lord’s keyboards reach a new height of power on this track. Can the keyboards be a metal instrument? In the hands of Jon Lord, the answer is a resounding yes.

Hard Loving Man, starts off similar to Speed King with the crash crescendo, follow by the signature heavy metal guitar riff that I would argue Ritchie Blackmore created. This song also has the heavy metal scream often copied by groups like Judas Priest, as Gillian is nothing short of incredible on this track. This is the way to end an album.

Newer versions of this CD include the bonus track/single Black Night. Whereas it is a great song, it would not do justice to the hard rocking/metalesque pace of the other songs on In Rock.
Ok, I feel better getting that off of my chest.

Martin Popoff has written another great Deep Purple book called The Deep Purple Royal Family, which includes ads, concert bills, reviews, and all of the incredible tidbits of information surrounding the band. This first volume (and Martin says on his website that he will write a second volume covering the latter years) ends in 1979. The excitement for me was looking at all of the incredible pictures and historical documentation offered by Popoff to give the reader and music fan the complete picture of what the entire era was like. I have always enjoyed how Martin has included the posters/ads/ and collectable memorabilia of a group in his books, such as those shown In His Black Sabbath—Doom Let Loose; Judas Priest—Heavy Metal Painkillers, and Rush—Contents Under Pressure books. This collection goes way beyond what he has previously done. Buy this book at his site, http://www.martinpopoff.com/ and treat yourself to the complete picture which is Deep Purple.

The Good, The Bad, and the Ehh

2011-06-02T09:44:00.000-07:00

Sorry for the delay in posting—married on October 30, 2010—and that has taken time away from many other things. Plus work this year was at times a bit stressful, so I decided on the first day of Summer Break—at least until Monday when I teach summer school again, I would blog.

I won a Kindle last week as a door prize for a teacher appreciation night and I enjoy it very much. It gave me an idea, especially after reading a book on it, to comment on some good, bad, and “ehh” books on metal.

Let’s start off positive with The Good:

Castle Full of Rascals—Deep Purple ’83 to ’09. Everything you wanted to know about the rebirth of Purple is here. It covers Gillian’s solo stuff, Rainbow and other side projects. As with many of Martin’s other books, the chapters are divided by the abums that came out during the time. Each album is carefully diagnosed, tour information is included, band members are interviewed, and the book “takes the reader there” as to the moments of the band. As a fan of Deep Purple and Martin’s style and approach, I loved this book. This book is especially helpful for those who thought Come Taste The Band was the last Deep Purple album.

The insider’s view that Popoff shares is nothing less than impressive. This is a must-have for all Deep Purple and Hard Rock fans. As always with all of Martin’s books, as I read each chapter, I listen to the album highlighted. It is a recommended way to savor Poppoff’s books because the writing is so much ore clear as the subject matter is flowing in as many senses as possible.

Now the Bad

Eddie Trunk's Essential Hard Rock and Heavy Metal. Bad may be a bit of an overstatement here, as Eddie strikes me as a genuine and personable guy. The problem I have with this book, which I bought for the kindle, is that this volume is less about the music or the bands, and more about Eddie’s encounters with the band for his radio show or his VH1 shows.

I think the personal flair that Eddie’s writing encompasses would do well by mixing in some critical reviews of the albums or the tours or even more about the music itself. Instead, often times, it reads as if it is a "fanboy" interpretation of Eddie’s favorite artists. Nothing wrong with that per se, but if a writer is going to use that approach, the title should not be “Essential Hard Rock and Heavy Metal.”

Whenever anyone has a "pick or choose" music genre book, interpretations are open as to band selection; but as a fan of the music, and as someone who is exactly the same age as Eddie and pretty close to the same age (a year or two divides us) as Martin, I can relate to the authors’ experiences. I stopped more than a few times and asked myself, "How could an essential hard rock and metal book miss 'such and such' band while including 'that” band?' As an example, no chapter is devoted to Blue Oyster Cult, but a chapter is devoted to Bon Jovi!? I understand the difference in tastes, but Bon Jovi? Anyway this is not a “bad” book, but it left me a bit frustrated at times.

Lastly, the “Ehh”

The Collector’s Guide To Heavy Metal Volume 4. Sorry Martin, but I have to be honest; I was disappointed in this book. Martin’s reviews were fair, even though I may disagree with him on occasion; I have always appreciated his fairness. That is not why I give this an “ehh” rating. My problem with the book is the co-writer David Perri absolutely despises the entire “Power metal” genre. I understand that Perri is a Thrash/Death Metal fan, something that I am not. I have a feeling that Martin is not either, so he incorporated Perri to write on a genre that is frankly, probably a bit beyond his generation—which I respect.

That said, Perri’s reviews of some of the European power metal bands and albums are downright harsh. I remember when The Rolling Stones Record Guide in 1978 referred to Nazareth as “dog food” and “utterly wretched,” some folks felt it was entirelly too vicious. The band later made jokes about it, but I think nazareth's 40 year career says more than a biased review of their material. I guess if you are going to pan something, that is a way to do it, but Perri’s absolute disdain for some of the power and symphonic metal stuff is utterly unfair. Not all of those bands are Helloween rehashed just the same as not all thrash is Slayer revisited. On this blog, I will not write on or review much Thrash.

I truthfully do not care for Thrash as much as I enjoy other genres of hard rock and metal. That said, I am able to appreciate some of the bands and albums. for example, I like the “Black album” by Metallica, one I know many Metallica purists hate, but I also can appreciate Master of Puppets and a song like Battery. To me, all of Slayer’s stuff sounds exactly the same, still I have listened to, and I have appreciated some of the moments in Reign in Blood, and like-minded albums. I have at least listened open-mindedly. I truthfully do not believe Perri has done so, especially with the cruelness at which he comments on Sonata Arctica—a band tha regular readers know to be a favorite of mine.

My point is that if a reviewer has a pre-determined bias already, perhaps someone else should do the review. As stated previously, I think Popoff is much more fair in his reviews. The book has some excellent reviews and is a guide for what is available, biases aside.

Now, it felt good to “get that off my chest…” and I will continue to update more often this summer.

Rough Silk: The Greatest Band You've Never Heard Of Before, Part II

2010-10-16T21:38:00.000-07:00

“So you were born where the black cats stray,

Back on your feet - that's the price you got to pay,

For daylight dreams in the midnight hour…

Intelligence is power!

To find a rose way down below,

Scared to death where egos grow;

Whenever a wish cuts like a knife,

Then life goes on,

On and on - tomorrow I'll be gone,

But life goes on”
From “Life Goes On,” from the album Circle of Pain, 1996

I have not shied away from stating that Savatage is just about my favorite band over the last year or so. Now, I have discovered one that could be called a carbon of Savatage, and I do not mean Trans-Siberian orchestra. Rough Silk is the next of my groups you have probably never heard of before series. Rough Silk combines classical, symphonic elements with straight ahead hard rock/metal. They are very piano friendly, notice not keyboard, but piano friendly.
They sing about life and the components therein, and their Circle of Life CD is perhaps the best of the lot.

Their music has an ebb and flow that will cause anyone to feel the pulse of the bass mixed with the sophistication of the guitars, the pound of the drums, and always the piano and keyboards accentuating the lot. Their vocalists are clear and sharp, but lead vocalist Jan Barnett has a deliberately fragile quality to his range. Just when you think he might lose the control of the voice; bang, he delivers with a passion and power. When Jan left, Thomas Ludolphy took over. After he departed, keyboardist Ferdy Doernberg assumed command.

This band is one of the finest German Power Metal bands there is. Aside from the fore-mentioned Circle of Pain album, I really enjoyed Mephisto, despite its bizarre cover. I also grew to enjoy Beyond The Sundown, as it arguably has the best cover. The band at times can have the vocal arrangements of Meatloaf and at times, they remind me of George Harrison in the choruses, and no, I am not kidding. There are comparisons to be made with Queen as well, especially on the Symphony of Life album, even more especially on the song “Under the Guillotine” Still in the background, there is a not-so hidden homage to Savatage, so much so, that Jon Olivia is a guest on the Symphony of Life album.

Their albums are not the easiest to find, but seek them out. They are power metal at its best.

The Rough Silk official website: http://www.rough-silk.com/index.php

Butterfly Temple: Folk Trends That Are Worthy of a Listen

2010-07-14T07:56:00.000-07:00

I am selling some of my CD’s on eBay to help defer the cost of the wedding I am expecting to pay and to clear out some room. In my selling fury, I tend to take a few minutes and relisten to key tracks on CD’s to decide if I really wish to part with them. Now, why the big build-up? It is because of the above that I rediscovered my enjoyment and love of Butterfly Temple.

I like the vocals and frankly the Russian language mixes well with the music. There is a sophisticated use of synths and keyboards against a pound of the drums and thunder of the bass.

Depending on the album, the harsh vocals are underplayed by the folkish sounds of traditional Russian tunes. The best example of the Pagan/Folk metal roots is the Veles album. I found it to be the most accessible of all of their works. I love the female vocals that temper the momentum of the band and add some purpose to the controlled chaos. The Russians can rock. The electric guitars are a bit more subtle in this band and give way to the atmospheric tendencies of the band in creating a tone, and a breadth to the music that flashy guitar solos are more of a disruption. That is not saying guitars are not a major instrument, it’s just that they add to the overall image/goal of the band.

Folk metal is often lumped together with Viking/Norse/Goth/Pagan metal. I often think these mixtures are fair in such bands like FinnTroll, Tyr, and Falkenbach; in Butterfly Temple, they really have no place. Butterfly Temple often uses a harsh death metal-esque voice, but the tunes are quite reminiscent of Eastern European/former Soviet Bloc countries folk tradtions. I have often tried to find translations of the songs, and the band’s musical themes include: Pathways, Halls of Stillness, Hounds, Wolves, and hymns. There is a dark sounding undercurrent of some of this music and there is a part of me that wishes to be more involved lyrically, but I think that would distract me to a degree from enjoying the overall quality of the music. There is something to just listening and not really trying to read the themes. As such, I take the band for what they are musically without any judgements to anything other than the sounds of the music.

I own six of this fine bands releases: On The BloodRed Path..By The Will Of Rod, the Times Of Mara, Veles, Dreams of the Northern Sea, Wheel of Chernobog, and the most recent Za Solntsem Vsled, the latter being available through Amazon and iTunes. Kind of a shame the others are not, as I obtained my from eBay and they occasionally show up there from the IROND label. I encourage folks to check out this band who uses some non-traditional instruments such as bells, Folk female voice—kind of like an instrument the way Butterfly Temple uses it, lofty keyboards, fiddles, whistles, accordions, acoustic guitars, orchestration, against the background of traditional metal sounds of heavy drums, guitars, harsh vocals, and an unrelenting bass. I think the bass is what really drew me back to this band.

In my usual last word: Although I am not sure, but I have a feeling that lyrically, what they are saying is quite fascinating.

They are classified by the Russians as "Pagan Death Metal," which may scare a few folks away. I have found them to be quite soothing at times and honestly would consider them Traditional Folk metal, granted Traditional Folk Metal with a growl. Check out Butterfly Temple on their IROND Label: http://www.irond.ru/indexf.html

A More Mature Sonata Arctica in The Days Of Grays

2009-09-27T05:16:00.000-07:00

“Mountain sings to me for the last time,
Making this moment
I have found my place,
I closed my eyes and joined them,
Guarding the young, amongst the Amazing Grays.”

I have listened with great anticipation to the new Sonata Arctica The Days of Gray CD more than a few times. The band has certainly changed their style over the last two albums, but this change has evolved more with The Days of Gray when compared to Reckoning Night, their last gasp at the Wolves years as I like to call the earlier works; and Unia, the more “pop” sounding Sonata Arctica.

The Days of Gray opens with a beautiful instrumental in “Everything Fades to Gray,” which has majesty and a nod to classical music. The band then uncharacteristically open the second track, “Deathaura” with a female vocal supplied by the sweet voice of Johanna Kurkela. The song is wandering and builds to a classical sounding crash. The band has moved its sound to a place I have not heard from them before, and it is bit more than reminiscent of a band like Kamelot than Sonata Arctica. There is some displaced (in all honesty) multi-layered sounds coming through on this song, which adds to the “metal” moments of the album. It also adds a bit to the song.

“The Last Amazing Grays” is the third track, which sounds a bit more like “pop” than “power” metal. All of the time, Marko Passikoski’s thundering bass strums evenly along. Tony Kakko’s vocals are in perfect pitch. Missing is Henrik Klingenberg’s flashy keyboards in this song, giving in to a more classical sway in the background. Tommy Portimo’s high snare drums are missing as well, as the more thundering bass heavy drums are pounded. The guitars of Elias Viljanen play the power metal riffs with clarity and precisely. This is the signature song on the album, that explains the themes of death, redemption, atonement and individuality, which is the reality of maturity and “the days of grays” as we age. The band seems to set the tone of the growing musically with their spirit of aging theme that encompasses this album.

“Flag in the Ground” is the traditionally “tuneful hit” that we have come to expect from Sonata Arctica over the years, as it hearkens back to their mid-period. To me it is an opposite of "Don’t Say a Word," in which a lover learns of his woman’s infidelity and brutally says good bye. Now a maturing Kakko is finding himself and discovers his lover wants him back. Truly a great song.

Carrying on that self-discovery theme is “Breathing,” perhaps the most deeply moving song on the album. Kakko sings “I cannot control my life anymore; Feel a need to leave and breathe on my own; I remember all the broken songs of my life; Maybe one more wrong will make it all right; I just really need to be alone now…” It reminds me of Ruins of My Life from Ecliptica, as this one is a slower and more haunting song.

“Zeroes” follows as a quicker, but more of a throw-off song. Not my favorite on the album, but it offers some speed at a space in the album when it is needed. It also features the famous Kakko scream.

After “Zeroes” is “The Dead Skin’ continuing the aging sage theme of the band. It has grown me in its pacing and building up to a climax theme. It also features the heaviest bass riffs thus far on the whole album. And then in the center of the song are the tuneful keyboards that I enjoy from the band. Probably among the most powerful songs on the album. I really like this one.

“Juliet” follows and I again sense a nod to more gothic sounds of bands like Kamelot (and no, I am not calling my favorite melodic/power metal band a goth band). This one has the thundering signature rhythm sound of Sonata Arctica, cat references, and a sense of longing. You can sense this has the longing and despair as they Kakko sings “life is but a long, sad game; lifeless souls avoiding shame; two dead swans is all we need; to pave the winding memory lane.” It also plays on Shakespeare’s theme of lost love, but the “Romeo” and “Juliet” are much older from Sonata Arctica and have lived much longer than Shakespeare’s characters. It sounds honestly like something that could have been pulled from Kamelot’s Black Halo

“No Dream Can Heal a Broken Heart,” follows the bombastic “Juliet” and features Johanna Kurkela on vocals. The aging theme is continued as Kakko sings “One day we will run out of tomorrows; and yesterday’s become the stuff our dreams are made of…” The poisoned lips references are also a connection to “Juliet’s” theme.

The next song “As If The World Wasn’t Ending” starts with a keyboard solo that I swear was lifted from early to mid 1970s pop music like the Carpenters. It seems oddly out of place, but then the crash and rumble of the bass and guitars crescendo rescues the song and the guitar solo in this one is the best on the album. This is a song about a delusional soul looking for comfort in toxic liquids to reach drunken understanding.

“The Truth Is Out There” is a redemption song of sorts, atonement by acceptance. It also has among the most clever lyrics on the album. “Now I am crawling in (my crawling skin); I can’t wake up anymore (can’t find the door); I try to make a deal (with myself); to avoid the blinding door (once again)….Can I trust my own eyes; Is that me in disguise; Is this bliss or am I insane?” There is a soaring and swirling quality in the keyboards and choruses of voices in this one, complete with cellos and orchestration. This song seems like a more mature piece of music performed by Sonata Arctica.

The album proper ends with a return to the themes and musical moments of “Everything Fades To Gray.” The song is a summation of life. Lyrically, the philosophy is clear: “When it all ends; when everything fades to gray, we dive into the darkness; some things are needless to say.” There is a crash of sounds in this one as a false ending brings us back to the central theme of age, redemption, acceptance, and the inevitable end.
The bonus track “In My Eyes You’re a Giant” is among my favorites. It sounds like it could have easily fit on Eclipitica, or Silence from their past. The “wolves’ theme returns as well. Kakko sings “Here I am howling at the bright new moon; the burning flame within, my own kin, and; every night I heard something out there calling me; reminding me, friend, to know, I am not your child.” This song hearkens all of the Sonata Arctica fans to the high hat and snare drums, the heavy bass, the quirky vocals, the sharp guitars and the signature keyboard solos. It is the perfect ending of this mature album, as this song is a return to the colors of the band in the last hurrahs of The Days of Gray.

Martin Popoff Writes It Perfectly: Gettin' Tighter: Deep Purple '68-'74

2009-08-22T10:15:00.001-07:00

“Magic woman wreckin' up my soul,

Things you tell me have never been told.

Magic woman I don't know,

Electric before me,

I love you so,

I love you so.

You're racing like a fireball dancing like a ghost,

You're Gemini and I don't know which one I like the most.

My head is getting broken and my mind is getting bust,

But now I'm coming with you down the road of golden dust.

Oh my love it's a long way,

Where you're from it's a long way…

The golden light above you show me where you're from…

The magic in your eye bewitches all you gaze upon.

You stand up on your hill, behop all around you,

They wonder where you're from, oh yeah…

They wonder where I found you.

Oh my love it's a long way…

Where you're from it's a long way.”
--Deep Purple from the song “Fireball” from the album Fireball, 1971.

This post was a long time coming. Martin Popoff’s book, Getting’ Tighter: Deep Purple ’68-’76, is a magnificent read. AS a fan of Deep Purple, I appreciate the scope of what Popoff has undertaken.

Getting’ Tighter follows a familiar format for fans of Popoff’s books; but the formula is so common-sensical, that it need not be altered. In chronological order, each chapter is devoted to an album. The album is dissected song by song, commentary from band members, managers, and other folks around at the time is given, so the reader is shown a rare glimpse of the inner-workings of the band and the band’s historical perspective. As a history major from college, I love this format. This time around, Popoff also adds commentary from people who either influenced or were influenced by the band. In the Fireball chapter, insightful commentary as well as raw honesty was shown by guitar virtuoso Yngwie Malmsteen on the impact of the album to his career choice and his life.

Other chapters have commentaries by members of other bands, such as Blue Oyster Cult (a personal favorite of Popoff and me). I also love the comments and occasional bitterness expressed by former band members whether they were forced out or left on their own accord.

There are gems in this book in the evolution of the Deep Purple story. I enjoyed learning how popular authors like Robert Heinlein influenced the writing of the band. The writer royalty expose was interesting as well. It also appears fairly obvious that Ritchie Blackmore was a moody spirit that was so professional about his music; he would sacrifice kindness to others. Ian Gillian seems like the most normal member of the band, and Jon Lord, at times comes off as a bit of a control freak.

Amazingly, the book does not gloss over material, as the band is presented in an honest light. The limitations of the band members (particularly Ian Paice’s self-criticism of his drumming and Nick Simper’s bass and Rod Evans vocals) are given a fair amount of coverage. The eerie moody swings of Ritchie Blackmore are sprinkled throughout the various stories of the band , and the frustrations of being a phenomenal group while maintaining little notoriety are given an in depth analysis. Added to the story are the usual mismanagement recollections by band members on the marketing of record companies and the sloppiness of tour managers of the band.

The treasure of this book is the track by track breakdown. Herein, Popoff knows his subject well. He has an uncanny ability to make insightful commentary on the musical evolution of songs and albums. I enhance the pleasure of reading this book by listening to the album while I read the chapter. I suggest others do the same to feel the complete effect of Martin’s writing ability.

The book can be ordered on Martin Poppoff’s site (see my links) or go here: http://www.martinpopoff.com/

and he will even autograph a copy for you. Martin is busy on part two of the Deep Purple story, as he emailed me a while back. In that edition, he will cover the late 1970s through the modern age of Deep Purple and hit upon some of Ritchie Blackmore’s Night material as well.

The lesson learned in reading this book is that Led Zeppelin, Black Sabbath and other artists of the time, whereas excellent bands, were pretenders to the throne of Deep Purple. Whatever tricks those other band used, Purple did it first, more often did it better, were more honest to the music, and played it louder, better, harder, and heavier.

My Return to The Blog and the BEST of IRON MAIDEN

2009-06-27T11:33:00.000-07:00

Sorry, I am fully aware it has been a while.

And in my resurgence to blog on and on hard rock and heavy metal, I will attempt to do the impossible.

I am going to give the list of the top ten best Iron Maiden songs ever recorded.

I know, crazy, as such a thing cannot be done, but alas, I will try.

I also hope to span their career and not dwell on only the Dickenson stuff. I will also try to put the new and the old along side of one another. Most importantly, I will try to be fair. Granted, my list may rely too often on the “hits,” I think it is only fair to note that their “hits” are so incredibly good.

#10 is Phantom of the Opera. It is the only Paul DiAnno song on this list, which may offend some, but I think Dickerson range is so much better. This is the best of the earliest demonstration of the dual lead guitar work, of their songs. Murray and Stratton rule on this song. Steve Harris is unappreciated as a bassist and a songwriter. Hopefully this list will end that nonsense.

#9 is The Evil That Men Do, from the Seventh Son of The Seventh Son album. The guitars are incredible and intertwine perfectly with Bruce Dickenson’s vocals. Dave Murray and Adrian Smith are the guitar masters on this track and the rhythm section of Steve Harris and Nicko McBrain drive the song home.

#8 is Wasted Years. To me, this one is more ballad like than straight ahead rock. Most might argue this on the list, but realistically, this is the song that spoke to me personally when I first heard it; think of past wrongs and rights and the like.

#7 is From Here to Eternity from the Fear of The Dark album. It is so catchy and so riff-driven, I had to include it. I love the lyrics as well and I think it is Dickenson’s best vocal performance before he left the band the first time.

#6 is Can I Play with Madness. That chorus is reminiscent of Bring Your Daughter to The Slaughter (not on the list), as it is so catchy. Listen to it once, you are hooked.

#5 is Aces High from Powerslave. The song soars and dips and sounds like an aerial assault on the senses. It is exciting, the timing is precise and it is a rolling and rocking number if Maiden ever made one.

#4 is Virus from the Best of The Beast. It features Blaze Bayley on vocals, which may hurt some folks, but is a great song. It just sounds so “English” in its approach of metal.

#3 is The Number of the Beast from the Album of the same name. Is there a better guitar intro in the history of Hard Rock/Heavy Metal? Nah, I don’t think so, either. It just has the incredible momentum building to Dickenson’s scream and chorus. Not only one of the best Hard Rock/Heavy Metal songs ever recorded, arguably one of the best rock songs ever recorded.

#2 is also from the Number of The Beast, as it is Hallowed Be Thy Name. I love the “gallows poles” lines with the ominous bells and then the sophistication of the song and the tight playing of the band, as the thunder of Iron Maiden come crashing through. It is also a standout moment in Hard Rock/Heavy Metal.

And lastly, my
#1 is Fear Of The Dark from the album of the same name. I like the studio version so much better than the constantly anthologized live versions of this song. The first time I heard it, I gained respect for the band. I even use the lyrics in my Psychology class and play the song as a mood capturing moment of Fear and Phobias. It is the song that made me take Maiden more seriously as artists and made appreciate the quality of their musicianship and their appeal. It was the song that brought me back to Maiden two and a half years ago.

My favorite CD of theirs is either Powerslave, Piece of Mind, or The Number of the Beast.

Granted tough choices were made to make it on this list as Tailgunner, Clairvoyant, Running Free, Wrathchild, Run To The Hills, and Different World, The Trooper, Wicker Man, Rainmaker, and Flight of Icarius are not herein. Maybe on the next ten; choose what you wish to enjoy.

Oh and some of th studio videos were not allowed to be embedded, so I chose others: no copyright violations, as you are aware.

Nazareth: Hard Rockin', Bluesy, and Fun

2008-12-19T22:39:00.000-08:00

“Don’t analyze me, sacrifice me;

Please don’t Judas me.”
--Nazareth from the song “Please Don’t Judas Me;” from the LP Hair of the Dog, 1975.

Having snuffed my third Erdinger Oktoberfest Weizen, I decided to add some of my favorite albums to my IPOD. I stopped after Hair of the Dog and Loud ‘N’ Proud and decided to add the entire catalogue of Nazareth CD’s to the IPOD rotation.

I fell in love with this band in 1978 as a freshman in high school who bought Hair Of The Dog. My favorite songs on that classic LP were not the hits. I thought Miss Misery and Changin’ Times were fantastic; and Don’t Judas Me was unexplored territory of blues, and hard rock for me. Thirty years later, it still is and gives me goosebumps.

I still remember jamming Changin’ Times with Will Parks in his ’75 Ford Maverick down the streets of Ottawa, Illinois on the eight track player that was probably worth more than that car.

So tonight I played a greatest hits package while I added the Nazareth collection to my “Heavy Rotation.”

So many great albums from Nazareth, that one needs to remind one’s self how utterly unfair Rolling Stones Record Guide’s snobby writers were in the late 1970s when they dismissed the band as dog food.

I offer a safely positive primer of the band.

The first and most important album to own is Hair of the Dog. There is not a bad song in the lot. Plus, it shows the incredible grind of vocals of Dan McCafferty. Adding to his contributions is one of the most underrated rhythm sections known to man in drummer Darrell Sweet and bassist Pete Agnew. Manny Charlton is featured as one of rock’s most ignored but talented guitarists. His slice of hard rock grooves are simply pleasure to hear. Manny can mix the blues with rock, with rhythm and blues, and then turn a tuneful ear to a ballad.

No Mean City is one of my personal favorites that should be owned by any hard rock/metal enthusiast. Other than hits of Star, May The Sun Shine, and No Mean City, the album is a fine mix of ballads and grinding rock.

Loud ‘N’ Proud (an album excellently reviewed by Martin Popoff in his 1975 Ye Olde Metal book—don’t you think you should hit the link and order his stuff by now?) is one of the 1970’s best. Their cover of Joni Mitchell’s This Flight Tonight is worth the price of admission, but added to it is Go Down Fighting and Not Faking It and the classic rock tones of Turn On Receiver.

A Normal standout from college and beyond, Jeff, former manager of Mother Murphy’s Rock Emporium, and now owner of North Street Records told me once, “I love Razamanaz, and stopped buying Nazareth after it because it was so perfect.” I would add the album is timeless. The title track kicks, as well as Alcatraz, Vigilante Man, Too Bad Too Sad, and Broke Down Angel.

I would also recommend Malice In Wonderland that contains the classic Holiday and the blues-driven Heart’s Grown Cold. Talkin’ To One Of The Boys is fun as is Big Boy. This is the album that I think shows a slight decline, but it holds to the test of time.

The next that should be a part of your collection is Close Enough To Rock ‘N’ Roll. The epic, multi-layer Close Enough mini-opera is mind blowing to say the least. Following it with the bluesy Homesick Again and the hit ballad/rocker Carry Out Feelings, and Nazareth has perfect a formula of success. It really is an underrated album.

Rampant, Play ‘N’ The Game, and Expect No Mercy round out the classic Nazareth years. Their latter albums are hit and miss at times, but always contain enough hard rock to be influential and enough blues to be reminiscent of the past.

A&M put out a near-perfect greatest hits that would be a great introduction of the “hits.” Give it a taste, and I promise “dog food” is not on the m

Savatage: The Greatest Metal Band You Have Never Heard

2008-10-28T17:15:00.001-07:00

“When the crowds are gone,

And I'm all alone,

Playing a final song…

Now that the lights are gone,

Turn them on again;

One more time for me my friend;

Turn them on again;

I never wanted to know,

Never wanted to see,

I wasted my time till time wasted me,

Never wanted to go,

Always wanted to stay;

Cause the person I am are the parts that I play.

So I play and I plan,

And hope and I scheme…

To the lure of a night…

Filled with unfinished dreams;

And I'm holding on tight,

To a world gone astray,
As they charge me for years…

I can no longer pay.

And the lights;

Turn them off my friend,

And the ghosts,

Well just let them in;

Cause in the dark,

It's easier to see.”

--Jon Oliva of Savatage from When The Crowds Are Gone from the album Gutter Ballet, 1989.

A band I have been recently playing and replaying on the IPod is Savatage. Whereas their earlier efforts may be more “Metal/Hard Rock”-esque; the middle to late period of concept albums are among my favorites. Savatage ripped out a series of great albums from Gutter Ballet to Edge of Thorns to Hall Of Mountain Kings to Streets toWake of Magellan to Dead Winter Dead.

Their music has a throaty sound and some of the flashiest Guitar work and pianos ever.

Started by the Oliva brothers Criss on guitars and Jon on keyboards and vocals, the band emerged and changed as the times did—staying with their craft and their band when fame and fortune would have certainly been more appealing with other groups doing other types of songs.

Savatage stayed with their vision. The vision nearly ended when Cris Oliva died in an auto accident as a drunk driver hit him and tragically ended his life; but brother Jon and the band continued on in memory of their fallen bandmate: and never did they change that wonderful sound and that fantastic vision.

Savatage have been recording since the early 1980s with their colossal debut Sirens.

And sadly, most who travel here have never heard their wonderful, mood altering and exciting music.

Well…kind of.

You may have heard of or seen the Trans Siberian Orchestra. That thundering sound found its roots in Savatage and can be mostly shown on Dead Winter Dead.

The formula found a more sophisticated audience with a more affluent sounding name of the band by possibly using the word orchestra in the title.

This is truly classic metal with a symphonic feel. The stories are told from the street about hard working people and their everyday lives. The band mixes classical elements and contours them with one of the most underrated guitar sounds in the history of rock and Jon Oliva’s fantastically strained vocal fervor.

If I could make music, it really would be this. I plan on doing some reviews of their albums as time goes on. This entry is an opening for the band--a primer or introduction, if you will.

I highly recommend Gutter Ballet, Hall of the Mountain King, and Wake of Magellan. The song “When the Crowds Are Gone” is sheer majesty and magic.

Alice Cooper Concert Review From Bloomington, Illinois August 21, 2008: Along Came Alice

2008-08-23T07:07:00.001-07:00

“Told her that I came from Detroit city,
And I played guitar in a long haired rock and roll band.She asked me why the singer's name was ‘Alice…’
I said, ‘Listen baby you really wouldn't understand.’And I said, ‘Baby if you wanna be my lover,
You better take me home…'Cause it's a long long way to paradise
And I'm still on my own on my own.’”

--Alice Cooper from the song, “Be My Lover” from the LP Killer 1971.

Thursday evening was a coming home of sorts for me, as I saw the first artist I really “discovered” as a kid. Alice Cooper played the Bloomington, Illinois Cingular Colliseum for a two-hour and ten minute show.

In a word: fantastic.

Less supportive of the Along Came a Spider new CD, this was a greatest hits show. Alice performed two tracks from Along Came A Spider as the band plowed through two very refined versions of Wake the Dead and Vengeance is Mine, that sounded like they were in league with the Alice Cooper classics.

The band opened with No More Mr. Nice Guy, and the greatest grew from there. Hitting the high points of his career Alice Cooper performed Under My Wheels, Desperado, Is It My Body, Be My Lover, Dirty Diamonds, Lost In America, Raise Your Fist, I'm Eighteen, Hey Stoopid, Department of Youth, and so many more. It was almost like living through the seventies all over, skipping the eighties, and waking up in the late nineties and early part of the century.

The “theatrical” part of the show included almost the full version of the Welcome To My Nightmare album (and some nods to Billion Dollar Babies cuts), complete with the ghouls and demons on stage that have haunted Alice throughout his life. Along Came a Spider takes the character of Steven from the Welcome To My Nightmare album and shows him as a psychotic killer/mass murderer who acts as a Spider of sorts that spins a web of various colors of silks to store his women victims as he builds a macabre “spider” of the female victims’ remains: except he falls in love with one of the victims which leads him to the paths of fear, guilt, and ultimately redemption.

This portion of the show included such classics as Welcome To My Nightmare, Steven, Only Women Bleed, Cold Ethel, Sick Things, I Love The Dead, and others in the story. Too be honest, my date Jen thought this was a bit over the top, as the acting out of various “tortures” of mankind struck her as a bit unnecessary. I reminded her it was an Alice Cooper show, but unfamiliar folks “Just really wouldn’t understand” (see lyrics above).

The show concluded with classics like Billion Dollar Babies and School's Out and an encore that contained Poison, Elected and more. Highlight of the end of the show was the Obama vs. McCain vs. Bush “characters” battling it out for control for the country during the song Elected: none of which understood that on this stage, Alice Cooper is the President and he rules with an iron fist.

I really have not been to a pure rock show for years, so this was a healthy outlet for my missing-in-action pent-up aggression to witness a great classic band jam out with complete understanding of what the audience wanted to see.

For me, it was a return to form of the music I loved when I was fifteen and continue to love at forty-four. Thanks Alice, now go scare the Hell out of another town. You have always been the greatest shock rocker, and at sixty, you look better than ever.

If Batman Could Play Metal: The Dark Knight

2008-07-18T22:58:00.001-07:00

More Music next week, but considering this is opening weekend for the Greatest Movie of the Summer: The Dark Knight, I thought the picture was appropriate. Oh and go check out my personal blog: http://batfan63.blogspot.com/2008/07/real-dark-knight.html

for my Batman The Dark Knight review. You'll be glad you did.

A Late Night With Heavy: The Story of Metal

2008-07-13T07:16:00.000-07:00

“Taking a Ride On Heavy Metal…”

My slightly distraught Maine Coon is lying against my arm, peering up at me with his deep eyes. The poor boy is tired because he sat up until 2:00 AM with me to watch the rerun and four hours of fun that was VH1’s documentary “Heavy: The Story of Metal” last evening/early this morning. Some of the greatest bands were covered; some great interviews with movers and shakers, musicians, journalists, and even some wannabes of the Heavy Metal scene.

I loved the first, second, and fourth installment of the four hour show, but I am not a fan of the Hair Metal/Glam metal Los Angeles 1980s scene at all. David Mustaine of Megadeth said it best, “GLAM meant Gay LA Metal to me.” Correct.

And I know Sebastian Bach is not the most “heavy” of the artists, but he is funny as can be and I enjoy his snippets. I think Sabo gives great interviews and Zak Wylde is fantastic; along with the guys from Slayer.

Dee Snyder is fun as well, and one can see his intellect; but we all know (and Dee does as well) that his group would never be compared with the likes of Priest and Sabbath. He is more Glam.

It is nice to have all members of Sabbath interview, well except Bill Ward, and it is apparent in this show that Ronnie James Dio has an ego problem, as does Lars Ulrich, Alice Cooper, and the guys from Quiet Riot and Ratt.. Nikki Sixx of Motley Crue comes off as very intelligent and interesting (even though I hate that band) and Tommy Lee comes off as a scumbag (which is why I hate that band—well that and their music blows).

Still, like ‘em or love ‘em; they are all there to put their story on the screen to be dissected.

As any good fan of metal watches, check out the Rob Zombie interviews. That guy and the guys from Slipknot really come off well. I think Rob Zombie may just be the most intelligent of these artists; either him or Tony Iommi.

Still there are some very entertaining moments from the show that crack me up.

Here is one with “the Cherry Pie Guy” Jani Lane

And since I cannot show the whole show, I thought I would give you three of my favorite videos from three of the best bands in the genre.

Black Sabbath performing Sabbath, Bloody Sabbath:

Judas Priest performing Breaking The Law:

Iron Maiden performing Hallowed Be Thy Name:

Enjoy!

Sabotage: Black Sabbath's Last Hurrah

2008-06-05T21:05:00.000-07:00

“I’m really digging schizophrenia the best of the earth;

I’ve seized my soul in the fires of Hell.

Peace of mind eluded me, but now its all mine;

I simply try, but he wants me to fail.

Feel it slipping away, slipping in tomorrow…

Now I’ve found my happiness, providence of sorrow.”

--Black Sabbath from the song “Megalomania” from the album Sabotage, 1975.

I have two favorite Black Sabbath albums. One is the one I mentioned last year, Sabbath, Bloody Sabbath. The other is Sabotage. Sabotage contains three of my favorite Sabbath songs: Megalomania, Symptom of the Universe, and Thrill Of It All. The last one many may not recognize, but I think it is one of their best.

The album also contains Hole In The Sky, Don’t Start (Too Late), the eerie Supertzar, the ‘pseudo-hit’ Am I Going Insane (Radio), and concludes with the powerful The Writ.

This is Ozzy’s last hurrah with the band, even though he recorded two forgettable albums with the Sabbath line up of Tony Iomini, Geezer Butler, and Bill Ward. On this one, Ozzy’s voice is incredible and the band plays their brand of thunderous metal.

To be frank, Megalomania has a special place in my heart as among the quintessential songs that represent Heavy Metal: great lyrics, a powerful guitar, a strong voice, and a thudding bass and drum.

Something was lost by Black Sabbath after this album. I am not sure if the formula ran dry, the drugs ran too rapid, of the moment was simply lost, but the band fell on the weight of their own legacy for a few years. Perhaps the Ronnie James Dio years were a necessary break for the band, as Heaven and Hell and Mob Rules were so much better than Never Say Die and Technical Ecstasy.

This is not their heaviest album, but Sabotage is certainly their most melodic. Added to the musical accomplishments, they seem to really define the genre of Heavy Metal and the changes that were starting to ensue in the Hard Rock legacy that they set forth. Certainly by this point, the band understood their contributions and made this one their swansong.

Like Led Zeppelin’s Achilles Last Stand, Megalomania stood out as the moment that harkens back to their past while The Writ showed what the future could have been.

The latter two Ozzy albums either were misguided attempts to gain an audience that was not interested in Sabbath or they were poorly suggested ideas from management. It matters not, as Sabbath muddled through a few years of sad remnants of their past.

I always felt each Sabbath album moved forward for the band as they evolved. Sabotage was the final step in the evolution of metal and set the precedent of what could be described as the greatness of the level of musical accomplishment.

Iron Maiden Rocks The BBC

2008-06-05T16:33:00.001-07:00

“Somebody please tell me that I’m dreaming,

Its not so easy to stop from screaming.

But words escape me when I try to speak,

Tears they flow but why am I crying.

After all I am not afraid of dying,

Don’t believe that there is never an end.

As the guards march me out to the courtyard,

Someone calls from a cell, ‘God be with you…’

If there’s a God, then why has he let me die?”

--Steve Harris of Iron Maiden from the song “Hallowed Be Thy Name” from the album The Number of the Beast 1982.

Well it has been a while.

Workloads, other hang-ups, lifestyle changes with women (yeah—all those women—right), and the hustle and bustle of the real world (and road rules and other insipid shows) have slowed me down.

But summer’s here and the time is right for rockin’ in the heat.

I plan on updating my CD list in the near future in case we have any traders out there. I plan on reviewing the latest and greatest Ye Olde Metal book by Martin Popoff and I will be adding a slight criticism of my Metal friend (uh-oh!) but it is an honest trifle to be honest. Martin has thick skin.

Over the last six weeks or so, I have rediscovered my enjoyment of the Kings of the New Wave of British Heavy Metal (NWOBHM) Iron Maiden.

Via the joys of Amazon, I snagged what I consider one of the best live albums and certainly my favorite live album of Iron Maiden: The BBC Archives. Originally this was part of the Eddie Archives along with the B-Sides and Live From Hammersmith. Each was a two disk set; and I own all six now. Lots of researching and scouring for these as the Eddie Archives is a long out of print collection.

The first disk contains four tracks from the Paul Di’Anno years from the BBC Radio 1 Friday Rock Show from November 14, 1979. I like Di’Anno’s voice quite a bit. His versions of Phantom of the Opera (not on this disk) are nothing short of incredible. Running Free kicks from the set.

The rest of the disk contains the BBC production of the reading Festival from August 28, 1982 featuring Bruce Dickinson on vocals. This was from the Number of the Beast Tour. This is the BEST live set and best versions of Dickinson’s live repertoire ever recorded. Amazingly he treats the form Di’Anno songs (The Prisoner, Wrathchild) with as much care as he does the then-new material of Hallowed Be Thy Name (their greatest song) and Number of the Beast. The Maiden classic album is well-represented as Children of the Damned (humorous intro by Dickinson), 22 Acacia Avenue and Run To The Hills are played with a new-found pulse and glory.

Disk two features an earlier version of the Reading Festival from August 24, 1980 with Di’Anno shredding through such Maiden classics as Remember Tomorrow, Iron Maiden, and Prowler (and again oddly no Phantom of the Opera even though Dickinson owns the song on the previous disk).

Disk two closes with the highlights from the Donington Monster of Rock Festival from August 20, 1988. Highlights include The Trooper, Seventh Son of a Seventh Son, and Iron Maiden.

Since Maiden has been one of the rare bands that can transfer their complex studio moments so passionately on stage in the live forum, one cannot but be amazed at their ability to play as a band. Clever lyrics, a nod and a wink to the culture of metal, and incredible musicianship make them an unstoppable unit.

This one simply kicks their careers into another gear, for any who may have doubted their ability.

Kamelot's Ghost Opera: Second Coming: It is Brilliant!

2008-04-08T17:06:00.001-07:00

“Sometimes I tremble…

Like a little child,

That faces morning,

With a broken smile.

Sometimes I crumble…

When the shades unfurl,

Sometimes I feel that

I could rule the world…”
--Youngblood and Khan—“Rule The World” from the LP Ghost Opera, 2007.

Kamelot - Rule The World from Kamelot Official Vimeo on Vimeo.

Brilliant is the best word that comes to mind as I listen to the incredible second disc of Kamelot’s Ghost Opera: the Second Coming. The mix of new Ghost Opera (what—no Rule the World) with the Black Halo Live CD is incredible. This band deserves much more exposure.

They sound so powerful live and with such clarity and depth.

They have grown to be my favorite band—as perhaps the endless reviews of their material will attest.

My CD came today as I ordered it three weeks ago from Amazon.

The studio songs of include Seasons’ End (also available on The Myth and Legend of Kamelot), Pendulous Fall (found on the first edition of Ghost Opera and The Myth and Legend of Kamelot), Epilogue (also available on the Myth and Legend of Kamelot), and the Rule The World (remix) are the typical fair from Kamelot.

The Live portion includes: Solitaire; Ghost Opera; The Human Stain (is this not the greatest Kamelot song or what???); Mourning Star; When The Lights Are Down; Abandoned (awesome—especially live); The Haunting (With Simone Simon—Love her); Momento Mori; Epilogue (as good as this song is in the studio—it is brilliant live and bridges the gap between the Black Halo and Ghost Opera material); and March of Mephisto.

Kamelot continues to find ways to reinvent themselves.

After playing Disc #2, I was overwhelmed.

The first disco includes all of Ghost Opera (a staple in the car and on the IPOD) and adds a few videos: Momento Mori (Live) and The Human Stain. The Ghost Opera video is on the first edition of Ghost Opera and the Rule The World Video is on the Kamelot Website or YouTube—whichever is your pleasure.

Regular readers will note that I unashamedly endorse Kamelot; and usually I shy away from reissues of previously released material; but this band is the exception because they add unreleased material that contains the rich textures of the band’s complex style in the studio tracks. Added to that, the beautiful arrangement of the LIVE material is so fantastic.

Buy the reissue CD of the Ghost Opera: The Second Coming and enjoy the bonus CD as Kamelot’s gift to you.

God of Thunder

2008-03-27T12:43:00.000-07:00

And Rock and Roll...

ALL HAIL THOR: THE TRUE THUNDER GOD!

Thanks to my friend John for sharing the following YouTube:

The New Judas Priest Book: Marin Popoff Writes Another Classic

2008-03-26T11:42:00.001-07:00

“Hey listen don't you let them get your mind;

Fill your brain with orders and that's not right.

They're playing at a game that draws you closer;

Till you're living in a world that's ruled by fear.

Always takin' baby out that's o.k.;

What they're givin' maybe it's out of phase with me.

Told you one you're never gonna win the race;

Same old no tomorrow kicked in the face.

We are screaming, screaming for vengeance--

The world is a manacled place.”

--Rob Halford, “Screaming For Vengeance, 1982.

You must forgive my neglect on this review, as I meant to do it months ago. Martin Popoff has written another fantastic book on Heavy Metal that must be read by the masses. His latest book Judas Priest: Heavy Metal Painkillers is a fantastic look at the true pioneers of metal and hard rock. Whereas most comments about Judas Priest pretty much follow the band’s most successful albums like British Steel and Screaming for Vengeance, Popoff devotes equal time to all of the Priest moments: harkening back to their early days and following the prolific mid 1970s periods, which includes my favorites of the band: Sad Wings of Destiny, Sin After Sin, Hellbent For Leather, and Stained Glass.

Popoff delivers in a style familiar with his regular readers of dividing the history of the band by albums and reviewing each record while sprinkling interesting band history information, concert information, tour stories and the like as each album acts as a milestone of sorts.

Since the awesome Black Sabbath book of Popoff’s, his oversized books also capture memorabilia of the time and fantastic band pictures with high gloss paper and beautifully coloring and graphics.

Martin personalized mine as a tribute to me on my 44th birthday. Good guy, that Martin is, of course.

Here is my recommendation to add to the pleasure. As I read each chapter of his book, I play the album associated with it. It helps develop a feel for the pacing and the emphasis Martin Popoff offers. This was a bit tough to do with Rock and Rolla, through no fault of Popoff--it is just a really wretched album.

Aside from the familiar albums and stories some fans of Priest may already know, the Angel of Retribution chapter was excellent as Priest explains how they re-meshed, how they decided to endure, and what the future may hold. The Epilogue was equally interesting.

Closing the book is a nice discography. Also included in the book was Halford’s solo material. All in all a very complete and complex history of Judas Priest, with 378 pages of beautiful text, pictures, and wonder. How Martin Popoff is able to have the band open up and tell stories otherwise long forgotten is perhaps Popoff’s greatest strength as a writer and Metal historian. There is a skill to good interviewing techniques and Popoff has it perfected.

And if you do not think Judas Priest is the most metal of the Heavy Metal bands, seriously, read the book to find out why you are wrong.

Regular Sweetwood Metal Moments readers know how I will shamelessly hawk Martin’s books for him. In the third of the Ye Olde Metal Series, Martin sent me an email describing what to expect for Ye Olde Metal 1976:
“The chapters this time (less of them but they are quite a bit longer)

Max Webster – Max Webster: my fave Canadian band of all time. Amazing album – I got Kim in here, Pye, Terry

Scorpions – Virgin Killer: I talked to Klaus, Rudy and Uli about this record, the blasphemous German cover art etc., the concept of a “virgin killer”

Point Blank – Point Blank: Rusty, John and Philip talk about being Bill Ham’s second banana ZZ Top

Angel – Helluva Band: one of the greatest albums of all time; amazing stories about the business muscle behind the signing of the band. Frank and Mickie dish the goods.

Rex – Rex: OK, Rex is one of the most entertaining guys I’ve ever talked to. His stories about the mob and singing on the lunch room tables… funniest thing I’ve heard in years. A lot of Leber and Krebs in here too.

Moxy – II: Buddy and Earl on struggling in Canada and then saying, screw it, and playing heavy next time.

Teaze – Teaze: heaviest Canadian album of the ‘70s – bloody ‘ell, you should know about it.

Lone Star – Lone Star: What happens when your whole band becomes scientologists? Plus you’ll love Kenny’s Peter Grant/Led Zeppelin story.

Starz – Starz: OK, Rex is the best, but his brother Michael Lee is pretty funny too. Cool Kiss/Sean Delaney crossover stuff here.

Ted Nugent – Free For All: OK, the best story in here, bar none. I talk to the whole band on one of the most cherished albums of my youth. I’m jaded, so it doesn’t matter, but I hope this 16,000 word expose doesn’t destroy your faith in the Tedinator.

Boston – Boston: I had the privilege of talking to Brad Delp at length about this album before his shocking suicide. Tom provides some great stuff as well. As tribute, Brad is on the cover of the book.

Foghat – Nightshift: bloody LOVE this album, and Roger and Craig do it justice.

Kansas – Leftoverture: talked to Steve, Kerry, Phil and Robbie here. Good overview of what Kansas was getting at, and Steve let’s us get a good look at his state of mind.”

Visit Martin’s site and buy them personally from the man, and I promise that he will sign it for you and write a unique personal message. His books are also a great gift for friends as well as owning them for yourself. Do not wait; go here to order your books now: http://www.martinpopoff.com/html/bookslist.html

And in also ran news, I was sent this very kind email from a former student of mine:

Hey there Mr. Sweetwood. I don't know if you really remember me or not, but this is C. (editorial note 1: uh, nope no real names for former students on this site) I was in a few of your classes two years ago and I now am at (editorial note 2: an Illinois College and I will not list it either for the privacy of my great kids). I was randomly searching the net and I stumbled upon "Sweetwood's Metal Moments". I thought, this can't be him. But it was! Anyways, kudos on the cool website and I hope all is well.

Always a pleasure to hear from the kids—I only have the best ones and C was a great student who will be a great success in life. I only share his email because he was probably privately shocked that his former History/Psychology/Sociology teacher was a closet “Metalhead.” You just never know.

Kamelot Fourth Legacy

2008-03-01T12:40:00.000-08:00

“Settle for the journey…
Sail across the seven seas…
Carried by the spirit of the brave…
Join the New Allegiance now,
And pledge your sacred heart…
A history that no one can forsake”

--Youngblood of Kamelot, Fourth Legacy from the album Fourth Legacy.

Kamelot’s Fourth Legacy is a fantastic album that I have recently decided to replay and replay and replay again.

The true gems include the cryptic Fourth Legacy, Silent Goddess and Desert Reign/Nights of Arabia. These are the songs that set the stage for their further epics found on Karma, Epica, and Black Halo.

I also believe this was the album that set them up as the true kings of Power/Melodic/Speed Metal.

The obvious Middle Eastern Musical influences are here as well as the “epic” quality of such classics as Fourth Legacy and Alexandria.

Thematically, this is their album of searching and yearning, whether it be about a singular soul or the band searching for their identity. I think they found it.

Easily their most accessible of the “early” Kamelot albums, this is a proud step forward for the band and one that few have dared to take. The quality of the performance of Fourth Legacy and Nights of Arabia cannot be underscored.

Glad I took the time to rediscover this one.

Kamelot’s Fourth Legacy:
New Allegiance
The Fourth Legacy
Silent Goddess
Desert Reign
Nights Of Arabia >mp3
The Shadow Of Uther
A Sailorman's Hymn
Alexandria
The Inquisitor
Glory
Until Kingdom Come
Lunar Sanctum

Sonata Arctica's Debut: Ecliptica: A Lesson For All Other Power Metal Bands

2007-12-29T15:17:00.000-08:00

"What the hell am I waiting here for,
Expecting you to come and give away your life…

Just for a moment of my time,
Have a hole where I should have a heart,
I'm made of wood,
I'm falling apart,
I would give a kingdom for one more day."

Tony Kakko of Sonata Arctica from the song "Kingdom For a Heart" from the album Ecliptica, 1999.

The debut of Sonata Arctica’s first album, Ecliptica, is a lesson for every Power Metal performer.

A smashing package with a handful of “singles” that are catchy and fast. The lyrics are entertaining to a degree, but the playing is fast, furious, and articulate. I fully understand how “articulate” sounds, but these guys are technically masters of their instruments.

Blank File opens the album with the traditional Arctica high vocals and quick paced guitars.

My Land slows it down a bit to capture the heavy metal bass riffs and thundering drums with the guitars filling the air with their cutting jabs.

The next four songs capture the essence of the band and have become concert standards.

8th Commandment, the first “hit” is a song of angst that ties the band together perfectly. The bold vocals, the dicey guitar solos that soar, the keyboard solos that add a touch of flair against the background of the steady rhythm section of drums and bass are the components of a strong song. The song is about the angst of having a partner that lies and the revenge that will ensue. The opening riff sets the standard for all Power Metal that remains today.

Replica (the second hit) slows it down but the lyrics of mankind’s angst reign on this quasi-ballad.

Kingdom For a Heart (the third hit) is, in my most humbled opinion, is the best song on the album. So catchy, so reminiscent of the past; and yet so fresh. The lyrics, the changing tempos, and the music blend so perfectly in this one song.

Full Moon (the fourth hit) is another amazing moment that calls back to the realm of folklore as it is a song about a man turning into a wolf—the wolf being a later signature image of the band.

Letter To Dana is one of the weaker moments of the album. With the opening flute, it almost sounds Jethro Tull-like.

Unopened (the fifth hit) stands as one of the greatest songs in the Power Metal genre. Honestly, it is amazing that this band has so many signature tunes on one album. This one is so catchy it is unreal. The only knock is perhaps for the overuse of “tickling” keyboards. You would understand that last line if you heard the bridge of the song. It is simply about unopened letters and unrequited love.

Picturing the Past and Destruction Preventer are standard fill-in material; but no less fascinating for a band of such amazing talent.

This is an excellent debut album by a band of such promise as Sonata Arctica—and they have never failed to deliver.

The Myths and Legends of Kamelot

2007-12-09T07:42:00.000-08:00

“There's a way from it all,

Though the chances are small,

We'll come back again...

Won't you think it over...

Life is a pendulous fall...

But maybe worth the pain... And soon enough we'll go... Where nobody can touch us…”

--Youngblood and Khan “Pendulous Fall” from the CD The Myths & Legends of Kamelot, 2007.

In a somewhat common ploy for the completest collectors out there, Kamelot’s management and the band have released a European only CD of their B-Sides and added tracks called The Myths and Legends of Kamelot.

In my haste, I bid on two of them from eBay and won them both. One will be going up for auction later so I can recoup some of the money.

Before one runs madly out in a dash to search this collection (which is very good); I would offer this advice: check the bonus tracks on your CD’s. The majority of this collection is available elsewhere.

The following is the song list with their original location:

Track 1: Future King: Bonus Track from the Japanese Karma
Track 2: Like The Shadows: Bonus from Japanese Epica
Track 3: Ne Pleure Pas: Bonus from Karma (Don’t You Cry in Italian)
Track 4: Soul Society: Radio Edit from Black Halo
Track 5: Epilogue: Bonus from Japanese Black Halo
Track 6: We Are Not Separate: Bonus Track from The Expedition
Track 7: We Three Kings: Bonus Track from The Expedition
Track 8: One Day: Bonus Track from The Expedition and Japanese Siege Perilous
Track 9: The Haunting: Radio Edit From Black Halo
Track 10: March of Mephisto: Radio Edit From Black Halo
Track 11: Can You Remember: Bonus from Japanese Fourth Legacy
Track 12: Snow: Bonus Track from Epica
Track 13: Season’s End: Bonus Track from Japanese Ghost Opera
Track 14: The Pendulous Fall: Bonus Track from Ghost Opera
Track 15: Epilogue (Live): Bonus Track from Japanese One Cold Winter’s Night

Since I own many of these on the CD’s, there were a few I did not have: namely Future King, Like The Shadows, Epilogue, and Season’s End. The rest I had in some form or another.

It makes me think that the Japanese CD’s are THAT much better. No wonder they always sell on eBay.

The tracks offered herein are relatively reflective and more of the orchestrated offerings of the band. This is not meant as a put down of sorts, but they are the tracks most likely to be cast off an album for a power metal band. They capture Khan’s voice and Thomas Youngblood’s guitars and writing style. They also always capture the magnificence of keyboard player Oliver Palotai, bassist Glenn Barry, and drummer Casey Grillo.

Any offering from Kamelot is, of course, excellent. Still it is interesting to note that SPV has chosen this as a European release and has ignored the American market where so many of these tracks remain unavailable.

Seek it out, but before so, check the various songs on the various Kamelot collections owned.

Sonata Arctica Reckoning Night--A Therapy Session

2007-12-01T13:42:00.000-08:00

"I am your poison candygram,

The love that's meant to fade away.

Vade retro, alter ego, move aside, I'm choking on this life...

I think I tolerate your hate, as long as you're afraid.

All I wanted was to be with you and suffer every day...”

Apparently Tony Kakko, lyricist of Sonata Arctica must have been going through some rough patches on an emotional rollercoaster as the Reckoning Night CD might show. That or he was breaking the bonds with someone for whom he once cared. Whatever the case, Reckoning Night was as much of a listening pleasure as it has been theraputic for me.

I love the orange cover and the signature “Wolves art/homage” that Sonata Arctica is known for. The ship in a sea of turmoil fits the verbal imagery perfectly.

Misplaced, Blinded No More, Ain’t Your Fairytale, Don’t Say A Word, My Selene, Wildfire, and Shamandalie are all pretty much about the bitterness of unrequited, unfulfilled, and rejected love.

That said, this album has some of the bands best songs.

Ain’t Your Fairytale and Don’t Say A Word (actually using the word “whore” throughout the song) standout as the classic Sonata Arctica standards. Misplaced, Blinded No More and Wildfire are among my favorites though. This one is the one that really rocked for the band, followed by the often criticized Unia. There were the greatest hits and best of packages that followed along with the For The Sake of Revenge CD/DVD live combo. Still, I think this one has their best playing as a band. Yes, please ignore the Boy Who Wanted To Be A Puppet. I cannot believe they made a single out of that one; lyrically lame but kind of catchy.

The band has an edge that takes them to a higher level as a Power Metal Band. The vocals have bite, the keyboards are incredible, and the guitars are crisp. The rhythm section could use more thunder and power for me, but a minor complaint as on this album—they shine. This album’s production is a bit muddy, but I am no expert here.

Reckoning Night has it all, a purpose in the lyrics, speed and flash in the guitars, clever tunes and true melodic power. It also was the first Sonata Arctica I owned, and I have revisited it a few times in the recent weeks (for reasons look at the first paragraph of the text) and it has also given me a bond to share.

"Reckoning Night" (2004)

Misplaced

Blinded No More

Ain't Your Fairytale

Reckoning Day, Reckoning Night

Don't Say A Word

The Boy Who Wanted To Be A Real Puppet

My Selene

Wildfire

White Pearl, Black Oceans

Ye Old Metal 1973-1975

2007-11-15T16:46:00.000-08:00

“Comin' to you across country

Hoping boogies still allowed…

You ask do we play heavy music;

Well are thunderheads just another cloud, we do

Not Fragile, straight at you.

Then we vanish to the night,

Still in your ears but out of sight

Not Fragile.”
--Randy Bachman of BTO; Not Fragile, 1973.

Martin Popoff has done it again. I just received my latest book from Martin, Ye Olde Metal Volume II: 1973 to 1975.

I was impressed with the volume of insight on some key albums of the time period that Martin included. There are interviews with band members about key tracks and the formation of the music of the albums as well as tours and the like.

In this fantastic volume, Martin explores some of my favorite hard rock/early metal albums. They include:
Piledriver by Status Quo
Billion Dollar Babies by Alice Cooper
New York Dolls by The New York Dolls
Sweet Freedom by Uriah Heep
Loud ‘N’ Proud by Nazareth
Montrose by Montrose
II by Bachman Turner Overdrive
Burn by Deep Purple
Bridge of Sighs by Robin Trower
Only Want You For Your Body by Buffalo
Not Fragile by Bachman Turner Overdrive
Welcome To My Nightmare by Alice Cooper
Hair of the Dog by Nazareth
Go Girl Crazy by The Dictators
Fandango by ZZ Top
Bandolier by Budgie
Fool For The City by Foghat
Come Taste The Band by Deep Purple.

Now of these releases, on CD, I own both Alice Cooper albums, both BTO albums, both Deep Purple albums, both Nazareth albums (as everyone who knows me is still puzzled by my love of Nazareth), The New York Dolls album, and Fandango by ZZ Top. After reading the review, I have ordered the Robin Trower CD.

I have to admit to not heard any Budgie and not knowing anything about Foghat other than Foghat Live. Buffalo I have never heard of; I admit further that I really think Montrose is over-rated. I also was under the delusion that The Dictators was more of a punk band; but that might be my misinterpretation. I am confident that Martin will correct me somewhere down the line. I once owned the Uriah Heep album on LP; no Uriah Heep on CD.

As far as the others, my brother Mark owned the BTO’s as I stole his LPs when he left for college. Sorry Mark, that is what happened to them. Not Fragile is their best, and I played it last evening when reading Martin’s review. The treasure to me in this book was reading the Alice Cooper reviews as Billion Dollar Babies is my favorite Alice Cooper album and one that I would argue is among the best albums of the mid-1970s. Martin’s interviews with band members like bass player Dennis Dunaway, and commentaries about Michael Bruce, really gives an insight that is otherwise unknown.

What I also enjoyed in this book is how open the musicians are about what they were doing and thinking when the albums were made. The BTO stuff is just filled with incredible bits and pieces of unique trivia.

I also loved that one of my all-time favorite albums, Burn by Deep Purple was included, as it is one of the most often ignored albums by the band.

I once proudly announced to my friends that through imports and the like that I owned every Nazareth album on CD. I remember buying the eight-track of Hair of the Dog when I was a sophomore in high school in 1979, and playing it while driving with Will Parks at 70 miles per hour on Canal Road in Ottawa, Illinois blasting it through the speakers of Will’s Ford Maverick as Bob Weber was tossing his lunch in the back seat. Those days were fun. I loved it; especially Don’t Judas Me and Changin’ Times. OK, Hair of the Dog said “son of a bitch” and Love Hurts was the hit; but this is such a rich and rugged album; I could not understand how the arrogant snobs at Rolling Stones referred to all Nazareth albums as “Dog Food” in their record review book. I also love the Close Enough For Rock ‘N’ Roll album (thanks for buying it for me Mark, in 1981) as a favorite and I hope Martin includes it in the 1976-1977 volume (hint hint as I will send him this review and politely ask for a comment).

If you like the albums listed, if you were alive in this time and listening to music, and if you have any interest in the formation of hard rock and heavy metal, go here and buy Martin’s book as he will give you a numbered edition and personalize it for you: http://www.martinpopoff.com/. He also has Ye Olde Metal Volume I (awesome material); his very honest reviews in his The Collector’s Guides To Heavy Metal that cover the 1970s, 1980s and 1990s in three volumes; and books on such diverse groups as Blue Oyster Cult, Dio, Black Sabbath (arguably the best Rock Music book I have ever read), UFO, and Rush among others. How often will you see a book on UFO or BOC for goodness sake? His writing is engaging and informative and he considers all aspects of the music. I cannot wait for his Judas Priest book.

I have to blame Martin for my lack of sleep last night, and my neighbors will blame him for the loud “Miss Misery” blaring from the speakers as I listened to the albums as I read his album stories.

And lest you think I get a cut, I merely struck an email to Martin last year and he was kind enough to email me back and establish positive rapport, as he does frequent this site upon occasion. Thanks Martin, and I am envious of his job. He is a good guy with brilliant commentary and the ability to “get the story” from these musicians who very well may be reluctant to talk. Buy his stuff and learn the stories behind the greatest music created.

2007-10-28T12:50:00.001-07:00

A special Message this week for my foreign guests--leave a comment if you would.

Lately I have had many of my European friends as well as South American and Asian friends visit.

Do me a favor, just leave a comment and let me know what you think.

Since Germany, or Deutschland, has had the most visits, I left a great German band’s video for you. Go Scorpions!

Thanks and best of the best for you for bringing an interest to my site.

Deepest Purple

2007-10-21T05:16:00.001-07:00

“Black night, black night,
I dont need black night,
I cant see dark night.
Maybe I'll find on the way down the line
That I'm free, free to be me.
Black night is a long way from home.”
--Ritchie Blackmore of Deep Purple from the single “Black Night.”

As I was playing the Heavy Metal Box Set, I was surprised and pleased by some of the artists/selections chosen.

I have always been a Deep Purple fan and have always felt that a box set of the band is long long overdue.

Noting that, the selection from Heavy Metal Box Set, Highway Star, is better than the obvious Smoke On The Water, but I would have preferred Black Night.

Minor whining, I suppose—as Speed King would be another great choice.

Since all of the Deep Purple albums have been remastered and now are available, I would highly recommend snagging them. The band has a long and entertaining history, as I am more convinced now than ever that Ritchie Blackmore is a true originator in the classification of Heavy Metal—considering his solo work, his work with Rainbow, and of course his groundbreaking talent in Deep Purple.

For an excellent book on Deep Purple, I recommend The Complete Deep Purple by Michael Heatley http://www.amazon.com/Complete-Deep-Purple-Michael-Heatley/dp/1903111994/ref=pd_bbs_2/104-4229849-1028705?ie=UTF8&s=books&qid=1192968229&sr=1-2

The best albums (in my opinion and in order) are In Rock, Machine Head, Fireball, Burn, Come Taste The Band, Stormbringer, Who Do We Think We Are, and The Battle Rages On. For a nice discography, go here: http://www.thehighwaystar.com/rosas/jouni/discoidx.html

In the meantime, some of these albums are available at Yahoo Music for a try. This is truly the band that set the tone for what today has been classified as Metal. Lemmy agrees with me that Deep Purple are the true original Metal Band, not Sabbath.

The NEW Heavy Metal Box Set From Rhino

2007-09-23T07:14:00.001-07:00

“Yeah, billion dollar baby

I got you in the dime store,

No other little girl could ever hold you

Any tighter, any tighter than me, baby.

Billion dollar baby

Reckless like a gambler, million dollar maybe

Foaming like dog that's been infected by the rabies.

We go dancing nightly in the attic

While the moon is rising in the sky.

If I'm too rough, tell me,

I'm so scared your little head will come off in my hands.

Million dollar baby,

Billion dollar baby,

Trillion dollar baby,

Zillion dollar baby.”

--Alice Cooper, 1972.

Ok, this is a departure of sorts for me.

I am about to review something I do not own; and will not own for a few weeks.

No, I have not played it yet on Yahoo or anything like that; and I even own the majority of it.

Rhino has done what many people consider to be a Herculean if not Impossible task and created a Heavy Metal Box Set.

I ordered mine last week. I really should not be spending the money right now, but this was too good to avoid.

For the fans of Spinal Tap, the box itself looks like an amp that has knobs that one can push up to eleven—other amps only go to ten--still among the most humorous moments from the film.

The song list has some fairly expected and unexpected material. As shown on the Rhino site:

In-A-Gadda-Da-Vida - Iron Butterfly
Summertime Blues - Blue Cheer
Easy Livin - Uriah Heep
Highway Star - Deep Purple
Billion Dollar Babies - Alice Cooper
Lost Johnny - Hawkwind
Bad Motor Scooter - Montrose
Working Man - Rush
Man On The Silver Mountain - Ritchie Blackmore's Rainbow
Detroit Rock City - Kiss
The Ripper - Judas Priest
Cat Scratch Fever - Ted Nugent
Lights Out - UfO
Godzilla - Blue Oyster Cult
Demolition Boys - Girlschool
White Witch - Angel Witch
The Phantom Of The Opera - Iron Maiden
Neon Knights - Black Sabbath
Ace Of Spades - Motorhead
Am Evil? - Diamond Head
Nice Boys - Rose Tattoo
Attack Of The Mad Axeman -Michael Schenker Group
Denim And Leather - Saxon
Blitzkrieg - Blitzkrieg
Gangland - Tygers Of Pan Tang
Witching Hour - Venom
You've Got Another Thing Comin' - Judas Priest
The Number Of The Beast - Iron Maiden
Star War - Raven
Say What You Will - Fastway
Black Funeral - Mercyful Fate
Animal (F**k Like A Beast) - W.A.S.P
Mean Streak - Y&T
Holy Diver - Dio
Queen Of The Reich - Queensryche
Whiplash - Metallica
Rock You Like A Hurricane - Scorpions
Metal Health - Quiet Riot
Into The Fire - Dokken
Balls To The Wall - Accept
Round And Round - Ratt
Wanna Rock - Twisted Sister
The Boulevard Of Broken Dreams -Hanoi Rocks
Midnite Maniac - Krokus
I'll See The Light, Tonight - Yngwie J. Malmsteen's Rising Force
Crazy Nights - Loudness
Shake Me - Cinderella
Watch The Children Pray - Metal Church
To Hell With The Devil - Stryper
A Little Time - Helloween
Wrecking Crew - Overkill
Caught In A Mosh - Anthrax
Peace Sells - Megadeth
Still Of The Night - Whitesnake
Rock Me - Great White
Talk Dirty To Me - Poison
Bathroom Wall - Faster Pussycat
Hall Of The Mountain King - Savatage
Kiss Me Deadly - Lita Ford
Hail And Kill - Manowar
Trial By Fire - Testament
Welcome Home - King Diamond
South Of Heaven - Slayer
One - Metallica
Cult Of Personality - Living Colour
Youth Gone Wild - Skid Row
Cowboys From Hell - Pantera
Beg To Differ - Prong
Dead Embryonic Cells - Sepultura

Yep, seems like quite a few tracks and the “experts” will argue with what shows up and what does not. For example, who does not expect “Summertime Blues” by Blue Cheer? Yet, Highway Star over Smoke on the Water? I understand it, as I made a traveling Metal CD for my car and chose Black Night by Deep Purple over either of those two selections.

Most of these songs I own, but I am intriqued by a few tracks: namely
the Hawkwind, Montrose, Girlschool, Angel Witch, Diamond Head, Rose Tattoo, Michael Schenker Group, Blitzkrieg, Raven, Fastway, Hanoi Rocks, Krokus, Yngwie J. Malmsteen's Rising Force, Metal Church, Overkill, Anthrax, Faster Pussycat, Testament, King Diamond, Prong, and Sepultura songs. Which essentially means I do not own these songs—I think.

The rest offers some unique moments like a Savatage cut—and one of my personal favorites on that one; Mercyful Fate; Lights Out by UFO is one of my all-time favorite songs by one of my all-time favorite bands; Ace of Spades is, if not THE greatest song ever released certainly among the top ten; a predictable yet fun BOC song (hey, someone sometime place Red and Black or Astronomy on something for the TRUE Blue Oyster Cult fans); The Saxon track is great; and Gangland is among the best cuts of NWOBHM (new wave of British Heavy Metal).

The tracks by others range from predictable (Another Thing Coming by Priest) to “HUH?” Like, and this is a minor bitch, but no “Breaking the Law” by Priest? Come Now. “Number of the Beast” and “Phantom of the Opera” by Maiden yet no “Fear of the Dark?” Alas, the fans will argue. It should be further noted that I refuse to not buy it because of the lameness of “Glam” bands like Poison, Ratt, Quiet Riot and the like; although I am fully aware that Rhino's Offices are located in Los Angeles.

I also figure contract/rights options must have eluded Rhino’s ability to put any Ozzy Osbourne Black Sabbath material or early Van Halen. And to be fair, some of the lines between what is Heavy Metal has blurred with Classic Rock; so that Sabbath and Van Halen might now have changed their position as metal bands; although I am betting even money this is a rights/distribution matter.

Personally, I miss the lack of current Power Metal and I think a bit more Thrash is offered here; but again my bias is showing.

None of my criticisms will squelch my enthusiasm for this Box Set to be released in early October. Finally someone has taken this vast form of music and try to give it a more definitive history. Who knows, maybe if this takes off, they will do a Power Metal, Thrash Metal, and Classic Metal box (someone email this blog column to Rhino).

Go reserve yours now; even if like me you own over half the songs. I am more than confident that the booklet included in the picture of the box set will be done in Rhino's committed style to detail and their professional quest of excellence. Thankfully someone had the foresight and the ability to make this Heavy Metal Box Set; I am very very pleased.

Viking Metal--Falkenbach--Heralding: The Fireblade

2007-09-15T12:28:00.000-07:00

“The night the long swords where grinded

And the shields were forged in blood,

By the hands of most dexterous blacksmiths,

And sacrifices were given to the Goddesses and the Gods,

In the woods by the mighty tree,

Known in heathen kingdoms as the mighty Irminsul,

That was built as an immense landmark

Of heathen pride and honor

And a symbol of what shall be....”
-- Falkenbach “Heralder” from Heralding: The Fireblade

Lately I have been playing some Viking/Pagan metal.

No, really.

Some great moments exist on these albums, my current favorite is Falkenbach—Heralding: The Fireblade.

There is a beer hall chorus at least one of these songs on all albums. Usually there is some type of flute or winded instrument that rises to the forefront over the heavy bass and drum.

The guitars are more rhythm-ish in this style of music, often giving way to the background while a Mandolin or glockenspiel takes the center stage.

The bands also have an old age “pagan” sounding chorus at some point. Often the bands will sing in their native Nordic tongue. Falkenbach is considered among the most influential.

The keyboards act as symphony of sorts.

On Heralding the Fireblade, the opening track is very typical of Viking Metal. Heathen Foray has every above element and manages to sound very fresh and innovative.

On the second track, the guttural, screeching vocals of a crazed Norseman is heard as the guitars have a distinctive “POWER METAL” sound. Still, enough background sounds remind the listener of the past Norse conquests. Heralder is among my favorites on this one.

The rest follow the pattern of softer/melodic songs followed by the bellow and strength of thudding and thundering metal sounds.

Refined in such countries as Germany, Finland, Iceland, Denmark, and the like; this is a relatively untapped sound in the US.

And no, I do not consider HammerFall as Viking or Pagan metal.

Falkenbach-- Heralding: The Fireblade
Heathen Foray
Of Forests Unknown
Havamal
Roman Land
Heralder >mp3
Laeknishendr
Walkiesjar
Skirnir

Megadeth: Metal Sells And I Am Buying

2007-08-15T07:16:00.000-07:00

“Can't say what's on my mind

Can't do what I really feel

In this bed I made for me

Is where I sleep,

I really feel I warn you of the fate

Proven true too late

Your tongue twists perverse

Come drink now of this curse A

nd now I fill your brain

I spin you round again

My poison fills your head

As I tuck you in your bed

You feel my fingertips

You won't forget my lips

You'll feel my cold breath

It's the kiss of death”
--Dave Mustaine of Megadeth; “Tornado of Souls” from Rust In Peace, 1990.

I recently went to a garage sale and snagged every remastered Megadeth CD. I had owned some and then sold them all on eBay as a big lot. Realizing soon after that is was a tactical error of judgment, I decided to find them “eventually” and simply bought a “Best of” collection.

I replayed three of them this weekend and was amazed at the dynamic qualities of each.

Rust in Peace is my favorite at this time because of the hard edge and clever lyrics. The most “accessible” to the general person is Countdown to Extinction as it seems to have the most “hits.” Peace Sells, But Who’s Buying was the third I played. I like that one a bit, although the misguided version of Ain’t Superstitious really does not belong on the album.

I often wondered why Megadeth is often viewed as “an also ran” when it comes to fan choices as I know the comparisons to Metallica exist. I blame leader Dave Mustaine for the comparisons as he just cannot let some things go. For those not in the know, Mustaine (lead guitarist and vocalist and visionary of Megadeth) was once a member of Metallica. Depending on which story is old at any given time, Mustaine was either too “under the influence,” too obnoxious, too different, wanted to be too much of the front man, or too pissed to stay in Metallica. The fallout affected his relationship with James Hetfield, though he has remained fairly friendly with Lars Ulrich.

Not that it is of consequence, Mustaine seems the one who cannot move on; which tends to hinder the efforts of Megadeth.

Silly posturing aside, I enjoyed the CDs on a second run-through of sorts by repurchasing them and enjoying them again. For a mere dollar per CD, quite a nice deal to own a very good chunk of the Megadeth catalogue for $9.00.

The Worst of the Worst: Volume I

2007-08-02T06:29:00.001-07:00

“You Sold Me Out…”
Ray Davies of the Kinks.

I kind of hate to say it, but there really are some bad albums/groups/songs out there that fit in the genre of metal. My least favorite is the GLAM Metal music, which someone from Anthrax referred to GLAM as Gay Los Angeles Metal. Poison, Crue, Ratt, Cinderella, and the like are terribly wretched in excess and lack of musicianship. Still, I offer some of my least favorite hard rock and metal moments.

Kiss Dynasty, Unmasked, the Solos, and Music From The Elder are very weak. Dynasty is disco; Unmasked is horrid and misguided. The solos are really really horrible; Music From the Elder is insane: a concept album with the tendancies towards the fantasy genre--too insipid for words. Do I really consider Kiss metal; no, but there are those who do.

Alice Cooper’s Lace and Whiskey and Goes to Hell. Alice lost his sense of sick humor on both of these weak efforts. Cooper’s trademark ability to let the guitars rock are also missing. There is no reason to own these.

Anything by Everon is a waste of time and money. Everon was billed as Progressive Power metal; it sounds like Journey except Journey rocks more. That is all I need to say.

Take your pick on GLAM. This genre is also known as 80s Hair Bands. All of it stinks for the most part and was an excuse to make hard rock and metal marketable for the MTV audience. It did so, but in the process made hard rock bands look like cartoons. The best thing of the genre, I must admit, is that it pissed off some folks who decided to pick up their guitars and play: thus Metallica, Anthrax, Slayer and others who admit that they started their evolution as a result of hating GLAM or Hairband metal. This proves the point that good things can come from bad or every dark cloud has a silver lining; although I doubt the members of Slayer would like that analogy.

Later Metallica efforts have bored me. I like St. Anger; but most of the rest of the last decade’s version of Metallica has left me wishing for the past. Metallica is not the only band that has done this, but they are the most surprising.

Later Van Halen efforts have done the same as Metallica. For Unlawful Carnal Knowledge (follow the first letters, kids and see what Van Halen has done for you) and one gets the idea. When I saw “Right Now” on a Pepsi commercial, it was obvious the boys (see those first letters again) “blanked” us all.

More as time permits; but this will keep you rolling. Oh and enjoy the Kiss clip; absolutely the worst song of the genre in my most humble opinion.

Ayreon Human Equation: Is It Ayreon or is it Pink Floyd?

2007-07-19T06:01:00.000-07:00

“Move to the truth

Breath the sunlight burning in her open arms

Break the chains that

Bind you to a past that feeds this bitter days

Seize your only chance

Follow the stars that beckon you through blackened skies”
--from Ayreon “Signs,” 2004.

Ayreon’s Human Equation is a progressive metal concept album about how complicated one’s past can make ones present…to a degree.

The album’s musical talent is the rock opera mogul Arjen Anthony Lucassen. The trick in the music is to make the metal standup to a backdrop of a story—in this case a relatively simple one where an auto accident victim’s best friend and girlfriend watch over him as he suffers from a coma. Each day of his twenty day ordeal develops a different emotion, not only for the victim, but for those watching over him.

The album is interesting to listen to and unique; my problem is that it has way too many prog-rock Pink Floyd, Moody Blues, and Jethro Tull overtures. I love the bands I just listed, but when I play metal, I expect…well...metal.

Certain ideas of concept albums I respect (Kamelot’s Epica and jag Panzer’s Thane to the Throne as examples) and others bore me (Tommy By The Who or Wish You Were Here by Pink Floyd).

The music in this one saves me to a degree from being bored; but I cannot give it a whole-hearted hoorah. It is simply indulges and outright copies Pink Floyd song structures and signatures far too often for my tastes.

I will try it again when I feel more relaxed and not in the mood for a “Metal” album and perhaps my feelings might change.

Ayreon Human Equation Tracklist:

CD 1
Day One: Vigil
Day Two: Isolation
Day Three: Pain
Day Four: Mystery
Day Five: Voices
Day Six: Childhood
Day Seven: Hope
Day Eight: School
Day Nine: Playground
Day Ten: Memories
Day Eleven: Love
CD 2
Day Twelve: Trauma
Day Thirteen: Sign
Day Fourteen: Pride
Day Fifteen: Betrayal
Day Sixteen: Loser
Day Seventeen: Accident?
Day Eighteen: Realization
Day Nineteen: Disclosure
Day Twenty: Confrontation

Primal Fear: For the Fans of Judas Priest

2007-06-30T13:06:00.001-07:00

“Free choices always had the chance

To play the music you like true and faithful

You support this sound and rhythm

You back up it's future from deep in your heart

Faster beats are pounding

While the fans are shouting

Metal is forever

In every single matter

Metal is forever

Nations come together.”
--“Metal is Forever” by Primal Fear from Devil’s Ground, 2004

Often the most sincere for of flattery is imitation.

Hence Primal Fear. Their albums are great exercises of tough, no-nonsense, straight-forward and basic Heavy Metal. Tough dueling guitars, the heavy thud of the drums, the perfectly timed bass riffs, and the screaming vocals are all pleasure to the ear.

But wait, you have heard this before.

Known as Germany’s version of Judas Priest, they truly sound that way. Perhaps the most unique departure from their usual hum is Seven Seals. More melodic than many of the counterparts, this is a fine album.

The rest are good enough, but the Judas Priest sound is very apparent. The video for Angel in Black shows the depth and consistency of the above.

Enjoy them, as they are a great band; but beware the repercussions of Screaming for Vengeance.

Ghost Opera: An Amazing Triumph for Kamelot

2007-06-19T17:51:00.000-07:00

Welcome all to curtain call

At the opera

Raging voices in my mind

Rise above the orchestra

Like a crescendo of gratitude

This is my song

Like the dead

am on the other side

Their howling in my head

No remorse and no redemption

Hush my dea

Let the music fill the night

And soon it’s all we hear

--Kamelot “Ghost Opera,” 2007.

I loved, I mean LOVED, Black Halo from Kamelot.

Ghost Opera has changed my opinion of the group.

Not only are they masters of intricate feelings, masterful musicians, and quality craftsman; they are also capable of changing tempos and themes.

The intro to Ghost Opera Solitaire and Rule The World are heavy in approach, classical in approach as well. These guys could have fit in Wagner’s world as easily as the world of Judas Priest.

The third track Ghost Opera is an essential song in their often spirited and musical repertoire. Speed meets classical overtones encompass the essence of this track. The bass playing is so crucial in this song. It also musically hearkens back to Black Halo. This track methodically and orchestrally plods along to an incredible crescendo.

Among my favorite tracks is the keyboard laced fourth track: The Human Stain. This is a true triumph of Kamelot. The background vocals, the melodies and the tenderness of Khan’s voice are essential to their “sound.”

When I first heard the fifth track, Blucher, I was instantly reminded of their LP Epica it would fit their scope of that album. Slightly bouncy and totally jarring in the rhythm section; this is the track that perhaps is the heaviest on the album.

The sixth track, Love You To Death, is classic Kamelot that gives a nod to Karma. Middle-Eastern influence is common in this song. The heavy bass pounds and resonates as the violins interplay with the keyboards. And against the background of the female vocals mixing with Khan adds to the layered and textured depth that Kamelot fans have grown accustomed to experiencing.

The seventh track Up Through the Ashes continues the themes of the sixth track, with more guitars.

The eighth cut, Mourning Star, has a Celtic and monk-influenced style. To be frank, it is a pleasure for the ear as it begins, followed by the metal power.

Silence of Darkness follows a nine and is one of the more quick numbers on the album; played with Kamelot’s (and power metal’s) speed guitar and double base. This track is probably the most similar to the Kamelot that most fans know.

The tenderness of the band is shown in the tenth track—Anthem. This is simply stated beautiful music.

Eden Echo closes the album in pure power/speed metal form. This is yet another Kamelot track that would sound so awesome live.

On The American release, the “bonus” track is a dispensable one—The Pendulous fall. Not among my favorites, it is a strong, yet formulaic Kamelot number.

As one can tell, I highly recommend this one. I have waited for Kamelot’s Ghost Opera for months and was far from disappointed.

Kamelot: The Ghost Opera:

Solitaire
Rule The World
The Ghost Opera
The Human Stain
Blucher
Love You To Death
Up Through The Ashes
Mourning Star
Silence of Darkness
Anthem
Eden Echo
Pendulous Fall

Unia from Sonata Arctica: A More Commercial Triumph

2007-05-27T08:56:00.000-07:00

“It's hard for me to love myself right now

I waited, hated, blamed it all on you

It's hard for me to love your face right now

I'm waiting, hating, needing, being me

I need you less and less

And every day leads us farther away

From that moment

It's hard for me to hate myself right now

Finally I'm understanding me

One day we may have whole new me's and you's

But first I need to learn to love me too.”
--from Paid In Full by Sonata Arctica

Sonata Arctica’s latest CD is Unia.

This is a bit of a departure from their usual Power/Melodic Metal to a more commercial mainstream. Still, it works on many levels.

Quite frankly, it seems to me that the Fins have borrowed a page from Kamelot’s successful and commercial release of Black Halo.

The albums starts with an up-tempo number: In Black And White—the pure speed of the band and the intricacies of how they play is duly noted. The band follows with the first “single” Paid In Full, as the lyrics at the beginning note: this is the song of redemption for leaving a relationship after feeling the pain and blame. Hits a bit close to home for me personally right now going through a separation (and I must admit that do not HATE anyone), but it rocks and moves and sounds fantastic. For The Sake of Revenge is perhaps my favorite track on the album, although I am sure that will change. There is a serious tone and a “feel” to this one that is different from many other Sonata Arctica songs. This is perhaps their most introspective.

Many of the other songs are in the vein of Broken from Winterheart’s Guild. They seem to sway and flow and then show the metalesque quality of Power metal. The song Caleb is kind of odd to be honest, haunting and creepy in the beginning, and then turns into a thundering moment. I am really not sure how to take it, but it is different. Harvest and World’s Forgotten soar towards the end of the CD, Fly With A Black Swan is one of the heaviest on the CD and I think a great choice for a second single would be Good Enough Is Good Enough: a great retrospective moment.

Critics have hit this one for being too soft and too much “marked at a commercial market,” but to be frank, this could very much be a breakthrough album for the band. I have played it for five days straight in the car thus far and I can attest that it grows more and more interesting with repeated listens.

Sonata Arctica’s Unia Track list and lyrics hyperlinks:
1) In Black And White

2) Paid In Full

3) For The Sake Of Revenge

4) It Won't Fade

5) Under Your Tree

6) Caleb

7) The Vice

8) My Dream's But A Drop Of Fuel For A Nightmare

9) The Harvest

10) The Worlds Forgotten, The Words Forbidden

11) Fly With The Black Swan

12) Good Enough Is Good Enough

You Tube Paid In Full Video:
http://www.youtube.com/watch?v=G1zkXdqcajk

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

And now, for a quick free plug of fun.

If you like older metal (and hey, who doesn’t?), I just received an email from my correspondence friend and my favorite metal writer Martin Popoff that may be of interest. Martin has written the BEST Metal Guides and Band Books on the Planet. His BOC and Black Sabbath books are interesting, fun, and just beautiful to look at. He has also written excellent books on Rush, UFO, Dio; as well as the Top 500 Metal Songs, Top 500 Metal Albums, and Guides to the 1970s and 1980s Metal.

He is also a good guy.

To quote from Martin’s email:

It’s been a long time since I’ve had a new book …It’s almost like an academic journal, the very first of a series, the intention being a little library of similar books covering a pretty big chunk of metal history.

Ye Olde Metal: 1968 To 1972

The Concept:
Detailed examination of early hard rock albums, many lost to the sands of time, some merely in need of a celebratory re-visit. Primarily through the use of new, exhaustive interviews with the band members who were there – the focus being on one classic album - Martin meticulously pieces together the complete story of each album, lending his respected critical eye to the record, massaging in bucket loads of trivia previously unpublished.

The Records:
Blue Cheer – Vincebus Eruptum, MC5 – Kick Out The Jams, Sir Lord Baltimore – Kingdom Come, Bloodrock – Bloodrock, Warpig – Warpig, Cactus – One Way… Or Another, Mountain – Nantucket Sleighride, Uriah Heep – Look At Yourself, Nitzinger – Nitzinger, Dust - Hard Attack, Humble Pie – Smokin’, Buffalo – Dead Forever…, Captain Beyond – Captain Beyond, Trapeze – You Are The Music… We’re Just The Band.

The next one in the series will cover the years 1973 to 1975, and I’m working on it already.

The book is full trade size 6” x “9 format, 230 pages, and includes front and back cover shots of all the records discussed.

Contact Martin Popoff at: martinp@inforamp.net if interested. You can also check out his website from my links below.

Hope to hear from everyone reading this post and/or other posts in the blog responses.

Radio and Power Metal

2007-05-13T13:15:00.000-07:00

“The walls around me, eyes surround me, feed my fear again.

I must be freed or I will die before the harvest moon, my friend.

I do not have another year in me, you've gotta set me free.

The dream is alive, I can run up the hills every night,

Go around and see another side of the tree.

Freedom has a meaning for me, howl with me.”

--Sonata Arctica from The Cage, from the LP Winterheart’s Guild, 2003.

Not to highlight a band this week, I thought I would explain a slight advantage of AOL.

No, really.

Many of you have heard me rail against corporate America (Time/Warner owns AOL) on my major blog site (see below’s link list).

Not this time, though.

AOL Radio has some XM sites and a few of their own. In fact, AOL has the most comprehensive metal stations available. My favorite, when searching the net, is to play Power Metal. In the space that it is taken me to type this and this morning while surfing, I have heard Manowar’s Odin’s; Iced Earth Star Spangled Banner; Stratovarius’s Kiss of Judah; Avantasia’s Chalice of Agony; Blind Guardian’s Myth; Rhapsody’s Erian’s Mystical Rhyme; Hammerfall’s Heeding The Call; something from Elvinking I do not recall; Stratovarius’ Black Diamond; A live track from Sonata Arctica; Sonata Arctica’s The Cage; Dragonforce’s Pound and Ground; Edguy’s Super Heroes; Kamelot’s Karma and more.

This shows a great mix of various incantations of power metal.

I usually will find a group I have not heard of previously by playing this channel. For example, Wuthering Heights—a great band—was found on this station. I am not sure of the cut, but they played one from The Shadow Cabinet. I immediately ordered it from Den at Sentinel Steel (also see the Links List below) at a great discount.

So if you have AOL Radio, the commercials at a minimal, they know their metal—take a chance.

There is a Classic Metal Station; Liquid Metal Metalcore; Metal Moshpit; Hair Metal Death Metal; Black Metal; All Slayer; and All Metallica stations.

Now if I could only download it at work, my life would be more complete.

The First Metal Album: Deep Purple In Rock, 1971

2007-05-06T08:56:00.000-07:00

“Saturday night and I just got paid…

Gonna fool about ain't gonna save.

Some people gonna rock some people gonna roll…

Gonna have a party to save my soul.

Hard headed woman and a soft hearted man…

They been causing trouble since it all began.

Take a little rice take a little beans…

Gonna rock and roll down to New Orleans.

I'm a speed king--you go to hear me sing;

I'm a speed king see me fly.”

--Deep Purple “Speed King” from In Rock, 1971.

So what is the first “metal” group?

I was rewatching Sam Dunn’s Metal: A Headbanger’s Journey the other day and I was trying to piece together the first groups and songs.

Blue Cheer’s Summertime Blues is too Psychedelic for me. I would also add that whenever I hear it, I think of The Who.

Steppenwolf’s Born to Be Wild is too “biker bar/Harley” for me. I think the term may have gotten a nod from the song, but this is like saying Muddy Waters was the first rock artist because he used the term rock and roll.

Dunn’s approach, as with many band members, was that Black Sabbath was the first; but I would argue that Deep Purple’s In Rock, Fireball, and Machine Head were actually the first Heavy Metal Albums by the first Heavy Metal band—even though they have a keyboard—sorry Jon Lord.

Deep Purple’s greatest album, In Rock, has the quintessential “Speed King;” truly the first sustained speed metal rocker that clashed through the speakers with speed and crunch. It also contains Blood Sucker and Child in Time. Both simply rock hard—with Child in Time being the first Metal Anthem. Flight of the Rat is not my personal favorite, but it follows the pattern and Into The Fire, Living Wreck, and Hard Lovin’ Man truly make this the first classic of the genre.

This is nothing to do with Black Sabbath and is not meant as an insult to Sabbath, but this is the sustainable album that churns and offers glimpses of speed dominance, power chords, a high pitched vocal, and heavy thudding rhythm sections against the backdrop of Ritchie Blackmore’s fantastic guitar solos.

In Rock is an album all rock fans and Heavy Metal fans can agree upon.

“Come taste the band” (a latter effort by Deep Purple) and enjoy the first TRUE Heavy Metal classic album: Deep Purple In Rock, 1971.

Deep Purple: In Rock, 1971
Speed King

Epica: The Phantom Agony: Opera Metal At Its Best

2007-04-29T15:00:00.000-07:00

“Follow your common sense

You cannot hide yourself behind a fairytale forever and ever.

Only by revealing the whole truth can we disclose,

The soul of this bulwark forever and ever…

Forever and ever.”

--Epica from Cry For The Moon, The Phantom Agency, 2004.

Epica’s The Phantom Legacy is among the best Melodic/Opera-influenced Metal albums made.

Simone Simon’s vocals are incredible—there is a hint of soft yearning mixed with the power of self-confidence and sheer energy.

Mark Jansen adds the guitar and his guttural growls. Jeroen Simons on drums is a true talent. Ad Sluijter craftily plays the unique guitar riffs while Coen Janssen (no relation to the former) adds the keyboard magic and Yoes Huts thunders on the bass riffs.

The "hidden" talent of Epica is they add three violins, two violas, two cellos, and background vocals.

Phantom Legacy has their classics in Cry For The Moon (see the You Tube track) as well as Sensorium, Feint, and Illusive Consensus.

This is a band that understands that great tunes and sharp lyrics adds to the pleasure for the listener--and it does not hurt that I agree with their smart and liberal themes.

Simone Simons is a favorite of the band Kamelot, who named their fifth album after this group. Simons joins Kamelot on "The Haunting" and other moments from Black Halo. Her vocals are nothing short of amazing.

The sheer power of Epica (as their name suggests) is the “epic” quality of the classic musical influences which is presented as a backdrop to heavy metal musical moments.

The Phantom Agony contains their freshest moments as well as some surprises.

Epica has just signed with Nuclear Blast—which will hopefully lead to greater exposure.

If they are good enough for Kamelot, they are good enough for me. Try Epica's Phantom Agony, as it will not disappoint.

Sonata Arctica Provides Relief Against The Cold

2007-04-26T20:42:00.000-07:00

“Time has come for everyone, to think what we have done.

Open your eyes and see, it's not a dream.

You aim for a common goal, you are one with your foe.

If only we could wake up soon and scream.”
--Sonata Arctica “Abandoned, Pleased. Brainwashed, Exploited” from the LP Winterheart’s Guild, 2003.

Sonata Arctica’s 2003 release of Winterheart’s Guild is among the greatest examples of Power/Melodic Speed Metal that exists.

The opening track, “Abandoned, Pleased. Brainwashed, Exploited,” sets the tempo for the rest of the albums, as it is lyrically interesting and played at an incredible speed.

The album then slows to “Gravenimage,” one of the less appreciate tracks, and then segues into what could be the greatest tracks of the genre—“The Cage” and “Silver Tongue.” Both are brilliant with the flash of guitars and keyboards against the power of the rhythm section that meshes the sound into pure delight. “The Cage” is such a powerful song, one that truly defines this band.

The entire rest is pure delight, with “Broken” and “Ruins of My Life” standing out.

The album is so pure and giving.

I played this one for some students and most were blown away. The speed, the vocals, and the power of the album is what truly shows the standout quality of the work.

The band is from Finland and can play like no one else. Their brand of metal touches us with their bestial sense of longing and rejection overlaying the entire compositions set against nature and natural scenes. This is truly a remarkable piece of work.

Tracklist:
Abandoned, Pleased, Brainwashed, Exploited
Gravenimage
The Cage
Silver Tongue
The Misery
Victoria's Secret
Champagne Bath
Broken
The Ruins Of My Life
Draw Me

Jag Panzer: Thane To The Throne

2007-04-15T07:13:00.000-07:00

“The mirror knows a face no one else can know

Points to the path that I must go”
--Briody/Conklin of Jag Panzer from “King At A Price” from Thane To The Throne, 2001.

In high school, I performed Macbeth—I played Ross—not really a worthy part as his name is not mentioned in Jag Panzer’s Thane To The Throne 2001 Release.

Jag Panzer has been on the metal scene since the 1980s and has won over fans for their fast and furious bass riffs courtesy of John Tetley (good beer name) and incredible drumming of Rikard Stjernquist—followed by the lyrical and guttural growls of Harry “The Tyrant” Conklin, the shared keyboards and guitars of Chris Brodrick and co-founder and writer Mark Briody. Often criticized as being little more than a Judas Priest knock-off, the band scored to incredible heights with Thane To The Throne.

By the way, is being compared to the greatness of Judas Priest really a bad thing?

Thane To The Throne takes the highlighted moments of Shakespeare’s tragedy and breathes new life in the angst of murder and the human greed of betrayal—and does so in a backdrop of thunder. Quiet and reflective moments of classical music exists on this masterpiece as well, but the thunder of taking an inward look at the cruelty of Macbeth’s vaulting ambition is the key to the music of the CD.

Lyrically, Jag Panzer borrows a few good lines from Shakespeare, and why not? It is impossible to beat the Master of the language. Thematically, the murder of Banquo—the loss of one’s closest ally for no reason other than greed—is explored and given a very modern sense of inner destruction. The battle with Macduff of the young upstart who has a sense of justice over Macbeth’s lust for power is also powerfully explored.

It is impossible to single out any particular moments or songs, as the piece should be viewed as a whole, but the first track “Thane of Cawder,” the second track “King At A Price,” and the final track “Tragedy of Macbeth,” all standout among the best of Jag Panzer’s best album.

For me, it was a somewhat personal journey, playing the CD, from my past as I have performed Macbeth 25 years ago and taught Macbeth every year for the first decade of my career. For fans of the play, this work will not disappoint. For fans of Metal, this is Jag Panzer at their best.

Jag Panzer: Thane To The Throne, 2001
Thane Of Cawdor
King At A Price
Bloody Crime
The Premonitions
Treachery's Stain
Spectres Of The Past
Banquo's Final Rest
Three Voices Of Fate
Hell To Pay
The Prophecies (Fugue In D-Minor)
Insanity's Mind
Requiem For Lady MacBeth
Face Of Fear
Fall Of Dunsinane
Fate's Triumph
The Downward Fall
Tragedy Of MacBeth

You Tube:

Jag Panzer King At A Price:

http://www.youtube.com/watch?v=9mEEVGTSGBM

Oh, Those Lists Will Kill You Every Time!

2007-03-25T09:24:00.000-07:00

“We’ve taken too much for granted,

And all the time it had grown.

From techno seeds we first planted,

Evolved a mind of its own.

Marching in the streets…

Dragging iron feet.

Laser beaming hearts…

Ripping men apart.

From off I’ve seen my perfection,

Where we could do as we please.

In secrecy this infection,

Was spreading like a disease.

Hiding underground…

Knowing we’d be found.

Fearing for our lives…

Reaped by robots scythes.

Metal gods

Metal gods”

--Rob Halford of Judas Priest from “Metal Gods” from the LP British Steel, 1980.

I bought an issue of Kerrang recently that listed the top 100 Greatest Rock albums. Now, these things are always up for debate, but Kerrang is basically a metal magazine and they can for the most part, have a metal bias. All of which is fine with me, when you know the audience, do what you wish. Anyway, the top twenty were:

20. The Wildhearts—Earth vs. The Wildhearts
19. The Clash—London Calling
18. Judas Priest—British Steel
17. Van Halen—Van Halen
16. Led Zeppelin—Led Zepplin
15. Metallica—Metallica (AKA the Black Album)
14. The Ramones—The Ramones
13. Green Day—American Idiot
12. Motorhead—No Sleep ‘Til Hammersmith
11. Pantera—Vulgar Display of Power
10. Nirvana—Nevermind
09. Slayer—Reign In Blood
08. Bon Jovi—Slippery When Wet
07. The Sex Pistols—Never Mind The Bollocks
06. Iron Maiden—The Number of theBeast
05. Black Sabbath—Black Sabbath
04. Led Zeppelin—Physical Graffiti
03. AC/DC—Back in Black
02. Metalica—Master of Puppets
01. Guns ‘N’ Roses—Appetite For Destruction.

OK, now I know I should not do this, but WHAT?!

Some I would put on a list, but, JON BON JOVI? Uh…NO! Physical Graffiti is a fine album, but it is not heavy or hard—it is more bluesy. Sex Pistols, Ramones, Green Day are all punk—as I would argue Nirvana is grunge. The Wildhearts I just have NEVER heard of, so no fair judging, but still.

So I am offering my top ten Hardest and Best Metal and Power Metal—feel free to pick apart and judge.

10. Kamelot—The Black Halo
09. Stratovarius—Visions
08. Alice Cooper—Billion Dollar Babies
07. Dio—Last In Line
06. Iron Maiden—Piece of Mind
05. Rush—Moving Pictures
04. Black Sabbath—Sabbath Bloody Sabbath
03. Deep Purple—In Rock
02. Metallica—And Justice For All…
01. Judas Priest—British Steel

Honorable mentions include Rainbow Rising by Rainbow, Reign In Blood by Slayer, The first Black Sabbath Album, The debut of Van Halen, Heaven and Hell by Black Sabbath, Back In Black by AC/DC, The Glorious Burden by Iced Earth, Epica by Kamelot, Number of the Beast by Iron Maiden, School’s Out by Alice Cooper, Highway To Hell by AC/DC, Sad Wings of Destiny by Judas Priest, Hair of the Dog by Nazareth, The Black Album by Metallica, Blizzard of Oz by Ozzy Osbourne, The Heavy Metal Soundtrack, Agents of Fortune by Blue Oyster Cult, Power of the Dragonflame by Rhapsody, Fire of Unknow Origin by Blue Oyster Cult, Lights Out by UFO, Jaws of Death by Primal Fear, Chapter V by Hammerfall, Master of Puppets by Metallica, Virgin Killer by The Scorpions, Destiny by Stratovarious, Blackout by The Scorpions, Infinite by Stratovarius, Eric the Red by Tyr, and Inhuman Rampage by Dragonforce.

Have fun picking me apart.

Oh, and from YouTube: Metal Gods by Judas Priest--enjoy!

http://www.youtube.com/watch?v=YeqsR314erg

Sabbath, Bloody Sabbath Review--My First "Real" Metal Album

2007-03-16T18:40:00.000-07:00

"Just remember love is life,

And hate is living death.

Treat your life for what it's worth,

And live for every breath.

Looking back I've lived and learned,

But now I'm wondering.

Here I wait and only guess--

What this next life will bring."

--Geezer Butler, from "National Acrobat," from the LP, Sabbath Bloody Sabbath, 1973

What a great album; one that I think is well ahead of its time. This is still probably my favorite of the Sabbath albums—the first six are incredible—and this one also has the most “pop” sounding songs.

My favorite is the opening riff of Sabbath, Bloody Sabbath which set the tone for the entire album. This was a heavy rock album. Iommi outdid himself on this one. The song changes tempo and builds on the opening riff again and again.

The second cut, a National Acrobat is one of the most classically melodic of the Sabbath catalog, cutting in and out of rock’s steady beat with a rhythm section that thunders. I am not as much a fan of Fluff, as I am of the others, but it has a nice tranquil moment. Sabbra Cadabra has another enchanting opening riff that builds as the song progress, with choppy drums and a thundering bassline. Ozzy’s vocal blast through on this number—almost as tough as they are on the next cut: Killing Yourself To Live.

Who Are You is the made-ready for radio hit that everyone ignored. Perhaps relying too much on the synthesizer sound, this easily sounds the most dated.

The album closes with the two best songs in my opinion. Looking For Today almost has a Jethro Tull-esque quality to them—perhaps the flute—perhaps not; as they are treasures for the ear and the mind. Looking For Today thumps and thunders along with a familiar “Metal” chug and churn. Spiral Architect has a beauty and wonderment about it that is perhaps the most unique cut at the time for the band. There is some philosophy in the lyrics, some strain in the vocals—a strain that is controlled. The guitars swirl and the rhythm section takes the listener along for a ride.

My bias shows as I love this album; but I think it is the one most fans would agree shows a grace of Black Sabbath. This is a classic Metal album that sounds somewhat fresh and clearly inventive—even today.

Tracklist:
Sabbath Bloody Sabbath
A National Acrobat
Fluff
Sabbra Cadabra
Killing Yourself To Live
Who Are You
Looking For Today
Spiral Architect

The “rare” Sabbath, Bloody Sabbath promo video from YouTube: http://www.youtube.com/watch?v=1uReAUILc1w

Staying Up Too Late--Kamelot's Epica

2007-03-09T21:41:00.000-08:00

If the war by heavens gate released desire,
In the line of fire someone must have known
That a human heart demands to be admired,
Cause in the Center of the Universe,
We are all alone.

I have played Kamelot’s Epica for the second time this evening, and I have enjoyed it once again.

Taken from Goethe’ s Faust, the power metal outfit have composed a great album of songs about the journey from this world to the Nether regions of Hell, only to save a true beauty of humanity and find the vain suffering of mankind.

This is heady stuff to be certain.

The opening riff and power of Center of the Universe (see the YOU TUBE Link) is one of the better examples of power metal I can imagine—an incredible voice in Kahn, the keyboards that add a symphonic quality, the heavy chug of the bass, the clarity of the drums, and the speed of the guitar chords.

Edge of Paradise offers a “classic” sound quality of Ancient times that begs for attention.

The silent moments, as it were of Wander and On The Coldest Winter Night give the listener a reflective time.

The power and bombastic grandeur of the rest of the album has a subtle hint of loss, decadence, and desire.

One can feel the ache of loss and mounting fear of Feast For The Vain and Lost And Damned. The musical interplay of Mouring After and III Ways To Epica close the album on a strong note.

Take a listen and take a chance with what I consider Kamelot’s strongest album.

Kamelot—Epica, 2003
Tracklist:
Prologue
Center Of The Universe >mp3
Farewell
Interlude I (Opiate Soul)
The Edge Of Paradise
Wander
Interlude II (Omen)
Descent Of The Archangel
Interlude III (At The Banquet)
A Feast For The Vain
On The Coldest Winter Night
Lost & Damned
Helena's Theme
Interlude IV (Dawn)
The Mourning After (Carry On)
III Ways To Epica
Snow (Bonus Track)

http://www.youtube.com/watch?v=vNFfjoKfUgQ

The Rest of the List

2007-03-05T21:29:00.000-08:00

"What can this device be?
When I touch it, it gives forth a sound;
It has wires that vibrate and give music;
What can this device be that I found?"

--Geddy Lee from Rush 2112, 1975.

Here is the rest of the list of the CD's owned. Notice some "Classic rock" and "Hard Rock" is included, and I put Cheap Trick In There because...uh...I do not know, I just like them and they have a harder edge.

-AC/DC-
High Voltage
TNT
Powerage
Let There Be Rock
Dirty Deeds
Highway To Hell
Back In Black
For Those About To Rock
Blow Up Your Video
Live
Flick of the Switch
Razor’s Edge
Fly On The Wall
Ballbreaker
Stiff Upper Lip
Volts
Live From Atlantic Studios

-Aerosmith-
Aerosmith
Get Your Wings
Toys In The Attic
Rocks
Draw The Line
Night In The Ruts
Greatest Hits
Permanent Vacation
Pump
Get A Grip
Nine Lives
Young Lust
Just Press Play
Oh Yeah
Honking On Bobo
Live San Antonio 10/28/02

-Bachman Turner Overdrive-
II
Not Fragile
Four Wheel Drive
Freeways
BTO’s Greatest

-Black Sabbath-
Black Sabbath
Paranoid
Masters of Reality
Volume IV
Sabbath, Bloody Sabbath
Sabotage
Never Say Die
Technical Ecstasy
We Sold Our Souls For Rock and Roll
Heaven and Hell
The Mob Rules
Born Again
Live Evil
Eternal Idol
Headless Cross
Cross Purposes
Tyr
Forbidden
DeHumanizer
Reunion
Past Lives

-Blue Oyster Cult-
Blue Oyster Cult
Tyranny and Mutation
On Your Feet or On Your Knees
Secret Treaties
Agents of Fortune
Spectres
Cultosaurus Erectus
Mirrors
Fire of Unknown Origin
Extraterrestrial Live
Club Ninja
Revolution Of The Night
Best of BOC
Worshippers of the Telescopes
Tales Of The Psychic Wars
Heaven Forbid
Curse Of The Hidden Mirror
Essential Blue Oyster Cult

-Boston-
Boston

-Cheap Trick-
Cheap Trick (CBS/Epic--1977)
In Color
Heaven Tonight
Live At Budokan Complete 2 CD Concert
Dream Police
All Shook Up
One On One
Next Position Please
Standing On The Edge
The Doctor
Lap Of Luxury
Busted
Budokan II
Greatest Hits
Woke Up With A Monster
Sex America (CBS-Epic Anthology)
Cheap Trick (Red Ant--1997)
Authorized Greatest Hits
Silver
Essential Cheap Trick
Music For Hangovers
Rockford
Milwaukee 1997
Sitting On The Stools
Trick’d Again—Hard Rock Café Live

-Alice Cooper-
Love It To Death
Killer
School’s Out
Billion Dollar Babies
Goes To Hell
Welcome To My Nightmare
From The Inside
Lace and Whiskey
Flush The Fashion ‘80
Special Forces
Raise Your Fist And Yell
Dada
Zipper Catches Skin
Constrictor
Trash
Hey Stoopid
Mascara and Monsters: Best of Alice Cooper
Last Temptation
Classicks Live
Box Set

-Corrosion of Conformity-
In The Arms Of God

-Deep Purple-
Shades of Deep Purple
Book Of Talisman
Deep Purple
Fireball
Machine Head
Made In Japan
Who Do We Think We Are
Storm Bringers
Burn
Come Taste The Band
Made In Europe
Last Concert In Japan
In Rock
Powerhouse
When We Rock, We Rock
Perfect Strangers
The House Of The Blue Light
Nobody’s Perfect
Slaves And Masters
The Battle Rages On
Purpendicular
Single Hits I, II, III

-Def Leppard-
On Through The Night
High ‘N’ Dry
Pyromania
Hysteria
Adrenalize

-Ronnie James Dio-
Carolina County Ball (W/ELF)
Trying To Burn the Sun (W/ELF)
Holy Diver
Last In Line
Sacred Heart
Dream Evil
Lock Up The Wolves
Master Of The Moon
The Very beast of Dio

-Dokken-
The Very Best of Dokken

-Dream Theater-
Train Of Thought

-Fight (Rob Halford)-
War of Words

-Filter-
Short Bus

-Free-
Fire And Water
Highway

-Fuel-
Monuments To Excess
Sunburn
Something Like Human

-Fury In The Slaughterhouse-
Mono

-Godsmack-
Godsmack
Awake

-Grand Funk Railroad-
We’Re An American Band
Some Kind Of Wonderful

-Guns ‘N Roses-
Appetite For Destruction
G ‘N’ R Lies
Use Your Illusions I
Use Your Illusions II
The Spaghetti Incident

-The Guess Who-
Best Of The Guess Who (RCA)

-Helloween-
Keeper Of The Seven Keys I
Keeper Of The Seven Keys II
Walls Of Jericho
Helloween
Master Of Rings
Judas
Chameleon

-Iced Earth-
The Blessed And The Damned
The Glorious Burden

-Iron Maiden-
Iron Maiden
Killers
The Number of the Beast
Piece of Mind
Seventh Son of a Seventh Son
No Prayer For The Dying
Power Slave
Singles Collection
Fear Of The Dark
Live After Death
Somewhere In Time
Fear Of The Dark
The X-Factor
Virtual X
Brave New World
Best of the Beast
Best of the B-Sides
Bonus Tracks
Dance of Death
Matter Of Life And Death

-Judas Priest-
Rocka Rolla
Sad Wings of Destiny
Sin After Sin
Stained Glass
Unleashed In The East
Killing Machine
British Steel
Point of Entry
Screaming For Vengeance
Defenders of the Faith
Turbo
Ram It Down
Painkiller
Box Set
Angel Of Retribution

-Kiss-
KISS
Hotter than hell
Dressed to kill
Alive
Destroyer
Rock and Roll Over
Love Gun
Alive II
Double Platinum
Ace Frehley solo album
Gene Simmons solo album
Paul Stanley solo album
Peter Criss solo album
Dynasty
Unmasked
The Elder
Killers
Creatures of the Night
Lick It Up
Animalize
Creatures of the Night (U.S Edition)
Asylum
Crazy Nights
Revenge Alive III
Peter Criss Solo--Out of Control
Ace Frehley’s Solo--Ace Frehley’s Comet
Ace Frehley’s Solo--Trouble Walkin’

-Korn-
Korn
Life Is Peachy
Follow The Leader
Issues

-Led Zeppelin-
I
II
III
IV--The Ruines Album(AKA Zoso)
Houses Of The Holy
The Song Remains The Same Soundtrack
Physical Graffiti
Presence
In Through The Out Door
BBC
Early Days
Boxed Set 2

-Marilyn Manson-
Antichrist Superstar
Mechanical Animals

-Mastodon-
Leviathan

-Meatloaf-
Bat Out of Hell
Dead Ringer
Bad For Good (Jim Steinman solo)
Bad Attitude
Midnight At The Lost and Found
Blind Before I Stop
Bat Out Of Hell II: Back Into Hell
Welcome To The Neighborhood
Very Best Of Meatloaf
VH1 Storytellers
Live & Alive (Bootleg)
Bat Out Of Hell III: The Monster Is Loose

-Megadeth-
Capitol Punishment
The World Needs A Hero

-Metal Church-
Blessing In Disguise

-Metallica-
Ride the Lightning
Master Of Puppets
And Justice For All
Metallica
Garage, Inc.
Load
ReLoad
St. Anger

-Motley Crue-
Too Fast For Love
Shout At The Devil
Theatre Of Pain
Dr. Feelgood
Girls, Girls, Girls
Decade Of Decadence

-Motorhead-
Best of Motorhead

-Nazareth-
Nazareth
Exercises
Razamanaz
Loud ‘N’ Proud
Rampant
Hair of the Dog
Play ‘N’ The Game
Close Enough For Rock ‘N’ Roll
Hot Tracks
Expect No Mercy
No Mean City
Malice In Wonderland
The Fool Circle
2XS
Sound Elixir
The Catch
Cinema
Snakes ‘N’ Ladders
No Jive
Move Me
Greatest Hits
Dan McCaffrey Solo--Dan McCaffrey Into the Ring

-Nine Inch Nails-
Pretty Hate Machine
Downward Spiral
Further Down The Spiral

-Ted Nugent-
Free For All
Live At Hammersmith ‘79
Out Of Control
The Ultimate Ted Nugent

-Ozzy Osbourne-
Blizzard of Oz
Diary of a Madman
Ultimate Sin
Tribute
No More Tears
The Ozzman Cometh
The Osbourne’s Soundtrack
Live At Budokan

-Jimmy Page/Robert Plant-
Unledded

-Powerman 5000-
Tonight The Stars Revolt

-Queen -
Queen I
Queen II
Sheer Heart Attack
A Day At The Races
A Night At The Opera
Jazz
News Of The World
Live Killers
The Game
Greatest Hits Volume I (British Import)
Hot Space
The Works
A Kind of Magic
Live Magic
The Miracle
Live At Wembley
Innuendo
Greatest Hits Volume II (British Import)
Made In Heaven
Greatest Hits Volume III
Back To The Light (May Solo)
Mr. Bad Guy (Mercury Solo)
Great Pretender (Mercury Solo)
Barcelona (Mercury Solo)

-Queensryche-
Operation Mindcrime
Greatest Hits

-Quiet Riot-
Mental Health

-Rainbow-
Rising
Final Vinyl
Long Live Rock ‘N’ Roll
Bent Out Of Shape

-David Lee Roth-
Crazy From The Heat
Gold

-Rush-
Rush
Fly By Night
Can’t Fight It Live 5/17/75
Caresses of Steel
2112
Hemispheres
All the World’s A Stage
A Farewell To Kings
Permanent Wave
Moving Pictures
Exit…Stage Left
Signals
A Show of Hands
Hold Your Fire
Presto
Test For Echo
Chronicles
Counterparts
Vapor Trails
Feedback

-Scorpions-
Lonesome Crow
Fly To The Rainbow
In Trance
Virgin Killer
Taken By Force
Lovedrive
Animal Magnetism
Blackout
Love At First Sting
Savage Amusement
Crazy World
Face The Heat

-Slade-
Play It Loud
Slayed?
Slade Alive
Sladest
Old, New, Borrowed, And Blue
Slade In Flames
Nobody’s Fool
Whatever Happened To Slade?
Slade Alive Volume II
Return To Base
We’ll Bring The House Down
Till Deaf Do Us Part
The Amazing Kamikaze Syndrome
Keep Your Hands Off My Power Supply
Rogues Gallery
You Boyz Make Big Noize

-Slayer-
Reign In Blood
South Of Heaven
Seasons In The Abyss
Hell Awaits

-Soundgarden-
Soundgarden

-Staind-
Break The Cycle
Dysfunction
Shout It Out (Live 08/25/99)
14 Shades of Grey

-Therion-
Deggial

-Thin Lizzy-
Very Best Of Thin Lizzy

-Three Doors Down-
The Better Life

-Twisted Sister-
Big Hits And Nasty Cuts

-Two (Rob Halford)-
Voyeurs

-UFO-
Force It
Lights Out
Obsession
Strangers In The Night
No Heavy Petting
No Place To Run
The Wild, The Willing, The Innocent
Mechanix

-Van Halen-
Van Halen
Van Halen II
Women and Children First
Fair Warning
Diver Down
1984
5150
OU812
For Unlawful Carnal Knowledge

-Vent-
Head

-Rob Zombie-
Past, Present, and Future

-ZZ Top-
ZZ Top
Rio Grande Mud
Tres Hombres
Fandango
Tejas
Deguello
El Loco
Eliminator
Afterburner
Recycler
Antenna
Greatest Hits

Rhythmeen

So In The End...

2007-03-05T08:57:00.000-08:00

So now we fly ever free;
We're free before the thunderstorm;
On towards the wilderness our quest carries on;
Far beyond the sundown, far beyond the moonlight;
Deep inside our hearts and all our souls.

--Dragonforce from the song Through The Fire and The Flames from the LP Inhuman Rampage, 2006

Last year I had my second heart surgery in eighteen months to repair a birth-defected valve.

In my recouping stage, I started playing more and more metal. A friend named John gave me a few CD’s from his collection—Lucca Turrelli solo albums: he being the guitarist of Rhapsody; Hamerfall Chapter V; Nightwish; Celesty; and Kamelot’s Black Halo. John referred to it as power metal. It had elements of Queen, Meatloaf, Classical Music, Goth Music; Moody Blues, Judas Priest, and something I had never heard before or since. I was hooked.

To help understand more, I ordered metal books to read during the recovery process—not necessarily Power Metal books, but not avoiding them either.

I chose a few books by Martin Popoff, a Canadian writer who had a passion for U.F. O., Rush, and Blue Oyster Cult. He also wrote numerous “Singles” and “Album” Guides on Metal. Seemed like a good place to begin—noting that one writer certainly has a bias. He seemed similar in age to me and musical interests; so I gave it a shot.

The eBay dealer I worked previously had tons of “Power Metal,” so I ordered quite a bit at a great discount. I also made my way to Amazon and found all of the Kamelot CD’s cheap. They were quickly becoming a favorite as the eBay dealer had the Hammerfall, Stratovarius, Mob Rules, Sonata Arctica, Rhapsody, and the like.

I was looking for a couple of Sonata Arctica and Rhapsody CD’s to fill in the gaps, when I came across a great Mail-In Discount Dealer called Sentinel Steel. They almost exclusively deal with Power Metal and sell them at a discount: check them out on my links.

So the list grew and grew and between Mail-order, eBay, Amazon, scouring pawn shops (uh, cheapest there because most people here in the Mid-West do not know what it is and they run a dollar or so per CD), I immersed myself in Power Metal. Noting the “Fantasy” themes of the music, I have always been a fan of Gothic literature, Myths, and the like—so it was a natural fit.

Then something strange happened; I began playing some of this music to set tones for my freshman Ancient History classes. We cover Vikings, I played some Tyr, Hammerfall, and the like. When covering Elizabeth Bathory—I played some Bathory music; when covering Ancient Greeks, Kamelot was playing occasionally in the background. Kids would copy it for power points or show some interest. Music and culture go hand-in-hand and the students began to incorporate themes studied with the music in power-points and other assorted projects. I wrote to Kamelot’s management and Hammerfall’s management and they were thrilled—so much so the students were sent autographed pictures of posters and photos for the classes.

I also noted the tax-paying bodies of my district were not giving their hard-earned wages for “Devil Music” or wasting time. I understood that and every time I played something, it was during “study time” or used to set tones—with my emphasis that music made today would not have been possible in ancient times. I never played anything vulgar or inappropriate, and I never will. Still, the themes of discovery, victory, quests, defeat, human frailties and the like certainly existed within the music I chose. Considering most of the music was not “American” per se and dealt with a more traditional “European” edge, the students saw it as a reflection of an occidental “other” that seem to dot the thematic study and approach of Ancient History.

Seems as if I am justifying myself, and perhaps I am.

When one is recovering from surgery, I could have taken a more submissive role, but I was playing things to “get the heart moving.” I felt a more stand and deliver feeling, especially after the second surgery. I felt some anger for going in again, but also some relief when it was all over.

So I decided to quit pretending and pleasing everyone to a degree in all aspects of my newly found and newly changed life, as I decided that Ricky Nelson was right: “It’s all right now, I learned my lesson well; you can’t please everyone so you got to please yourself.” (Uh…not something to write in a “Metal” site, I understand; but it fit).

Relationship changes, rediscovery, re-emphasis on that which is important and perhaps some clearing and de-cluttering of life and music lead me to the path I am on.

So I will use this site to explore and offer up some musically distant choices. I have always loved classical and the themes explored and I found a modern version of it in these recent months. And in my exploration here is a fairly complete—probably missing a few—CD’s over the last eight months that have joined the collection. If you can offer suggestions, please feel free to do so, in the meantime—take a look:

ANGRA Angel’s Cry
ANGRA Fireworks
ANGRA Holy Land
ANGRA Temple of shadows
ANGRA Rebirth
ANGUISH Symmetry
ASTRAL DOORS Astralism
AXENSTAR Perpetual Twilight
AXENSTAR Far From Heaven
BATHORY Hammerheart

BATHORY Oktagon 1995

BLIND GUARDIAN A Night at the Opera
BLIND GUARDIAN
CHINCHILLA Madness
CIRCLE II CIRCLE (Savatage) Watching In Silence
CREMATORY Illusions

DARK MOOR Dark Moor
DARK MOOR The Gates of Oblivion
DARK MOOR Shadowland
DARK MOOR Beyond the Sea
DARK MOOR Hall of Olden Dreams
DIO / ELF Dream Evil & Trying To Burn The Sun

DIO Lock Up The Wolves
DIO Master of the Moon
DIONYSUS Sign of Truth
DOMINE Dragonlord
DRAGONFORCE Sonic Firestorm
DRAGONFORCE Valley Of The Damned
DRAGONFORCE Inhuman Rampage
DRAGONLAND Battle of the Ivory Plains
DRAGONLAND Holy War
DRAGONLAND Astronomy
EDGUY Kingdom Of Madness
EDGUY Theater Of Salvation

EDGUY The Savage Poetry

EDGUY Hellfire Club

EDGUY Rocket Ride

EPICA The Road To Paradiso

EPICA Consighn To Oblivion

EPICA The Phantom Agony

EPICA We Will Take You With Us
ETERNA Terra Nova
EVANESCENCE Fallen Angel

EVANESCENCE The Open Door
EVERON Paradoxes

EVERON Flood

EVERON Venus

EVERON Fantasma I

EVERON Bridge

FAULKENBACH Heralding The Fireblade
FREEDOM CALL Stairway To Fairyland
FREEDOM CALL Crystal Empire
FREEDOM CALL Eternity
FRETERNIA A Nightmare Story
GRIM REAPER Rock You To Hell
HADES The Downside
HAMMER FALL Legacy of Kings
HAMMER FALL Crimson Thunder
HAMMER FALL Glory to the Brave
HAMMER FALL Renegade
HAMMER FALL Chapter V: Unbroken
HAMMER FALL Threshold
HARMONY Dreaming Awake
HEAVENLY Virus
HELLOWEEN Helloween & Master Of The Rings

HELLOWEEN Walls of Jericho & Keeper of the Seven Keys Part I HELLOWEEN Keeper Of The Seven Keys Part II & Judas

HELLOWEEN Chameleon & Power

HELLOWEEN Pink Bubbles Go Ape & Future World

IRON FIRE Revenge
IRON MASK Horders Of The Brave
JACK STARRS Guardian of the Flame
JAG PANZER Thane to the Throne
JAG PANZER Casting Stones
KAMELOT Dominion
KAMELOT Siege Perilous

KAMELOT Epica
KAMELOT Karma
KAMELOT The Fourth Legacy
KAMELOT The Black Halo
KAMELOT One Cold Winter’s Night
KENZINER Prophecies
LABYRINTH Sons of Thunder
LABYRINTH Return to Heaven Denied
LABYRINTH Freeman
LUNATICA Fables 7 Dreams

LUNATICA The Edge Of Infinity

MANILLA ROAD Out Of The Abyss

MANILLA ROAD The Courts Of Chaos

MANILLA ROAD The Circus Maximus

MANILLA ROAD Atlantis Rising

MANILLA ROAD Spiral Castle

MANILLA ROAD Gates Of Fire
MANOWAR Battle Hymns & Sign Of The Hammer

MANOWAR Into Glory Ride & Hail To England
MASQUERADE Surface of Pain
MOB RULES Among The Gods

MOB RULES Hollowed By The Name
MYSTIC PROPHECY Regressus
NEW EDEN Obscure Master Plan
NIGHTSHADE Wielding The Scythe
NIGHTWISH Oceanborn
NIGHTWISH Wishmaster
NIGHTWISH Wishsides
NIGHTWISH Best of…
NOCTURNAL RITES The Sacred Talisman
NOCTURNAL RITES Shadowland
NOCTURNAL RITES New Messiah
NOSTRADAMEUS Words Of Nostradameus

NOSTRADAMEUS Prophet Of Evil

NOSTRADAMEUS The Third Prophecy

NOSTRADAMEUS Hellbound
OPUS ATLANTICA Opus Atlantica
PARADISE LOST Draconian Times
PLATITUDE Nine
POWER SYMPHONY Lightbringer
PRIMAL FEAR Primal Fear
PRIMAL FEAR Jaws of Death

PRIMAL FEAR Nuclear Fire
PRIMAL FEAR Black Sun

PRIMAL FEAR Devil’s Ground
PRIMAL FEAR Seven Seals
RAINBOW Long Live Rock ‘N’ Roll & Bent Out Of Shape
REPTILIAN Castle of Yesterday

REPTILIAN Thunderblaze
REQUIEM The Arrival

REQUIEM Mask of Damnation

RHAPSODY Dawn of Victory
RHAPSODY Rain of a Thousand Flames
RHAPSODY Symphony of Enchanted Lands
RHAPSODY Power Of The Dragonflame 2002
RHAPSODY Symphony Of Enchanted Lands II
RHAPSODY OF FIRE Triumph Or Agony
RIVAL State of Mind
SACRED STEEL Bloodlust
SAVATAGE Sirens
SAVATAGE Power Of the Night
SAVATAGE Poets And Madmen
SAVATAGE Ghost in the Ruins

SAVATAGE Hall of the Mountain King
SAVATAGE Edge of Thorns

SAVATAGE Fight for the Rock
SAVATAGE Gutter Ballet

SAVATAGE Handful of Rain

SAVATAGE Power of the Night

SAVATAGE The Wake of Magellan
SAXXON The Very Best Album Ever
SECRET SPHERE Mistress of the Shadowlight
SECRET SPHERE Heart & Anger

SERAPHIM Ai (Beauty and some Beast)
SEVEN SERAPHIM Believe In Angels
SEVENTH WONDER Waiting In The Wings

SHADOWS FADE Shadows Fade
SKYLARK Wings
SLAYER Seasons In The Abyss
SONATA ARCTICA Ecliptica
SONATA ARCTICA Silence
SONATA ARCTICA Reckoning Night
SONATA ARCTICA Winterheart’s Guild
STEEL ATTACK Where Mankind Falls
STEEL PROPHET Dark Hallucinations
STRATOVARIUS Fright Night
STRATOVARIUS Twilight Time
STRATOVARIUS 4th Dimension
STRATOVARIUS Destiny
STRATOVARIUS Episode
STRATOVARIUS Dreamspace
STRATOVARIUS Elements I
STRATOVARIUS Elements II
STRATOVARIUS Intermission
STRATOVARIUS Visions
STRATOVARIUS Infinite
STRATOVARIUS Chosen Ones
STRATOVARIUS Stratovarius
SUPREME MAJESTY Elements of Creation
TAD MOROSE Undead
TAD MOROSE Modus Vivendi
LUCA TURILLI Prophet of the Last Eclipse
LUCA TURILLI King of the Nordic Twilight
TYGERS OF PAN TANG Best of the Tygers of Pan Tang
TYR Eric The Red
WUTHERING HEIGHTS Shadow Cabinet
ZONATA Buried Alive

The Middle...

2007-03-04T22:11:00.000-08:00

"I am a man who walks alone,

And when I'm walking a dark road,

At night or strolling through the park,

When the light begins to change,

I sometimes feel a little strange,

A little anxious when it's dark.

Fear of the dark,fear of the dark,

I have constant fear that something's always near.

Fear of the dark,fear of the dark,

I have a phobia that someone's always there."
--Bruce Dickerson, Iron Maiden from “Fear of the Dark,” 1992.

During my post-college years, I was busy establishing myself as an eighties “decent music” argument maker. There were great music by the likes of Costello, The Clash, Cheap Trick, The Ramones, and the like.

I was also playing stuff the kids gave me and became interested in grunge and alternative music.

Then eBay happened.

I started buying tons of discs to sell at garage sales and local pawn shops. I was good, very good; in knowing what was out-of-print and/or rare.

I also knew what sold.

Then I hit upon a few Goldmines. One was a guy who had a ton of Metal CD’s that he was unloading because his brother did not pay him rent. I snagged tons of CDs by such artists as Metallica, Megadeth, Anthrax, Slayer, and Pantera. I started selling these at a small fortune—so I burned a few to play. I liked some Megadeth and all of the Metallica.

I also found a guy who had the rare Castle British Two-fers of the first six Iron Maidens CD’s for a mere price of $1.50 each. These were selling for $35.00 a pop on eBay. I also copied all of these.

I was never much of a fan of Iron Maiden—probably because I did not listen to it, but mostly because I had not heard any of it on the radio and the like and because I worked on a newspaper with an editor in college who was a big Maiden fan. I felt he was an idiot and anything he liked had to be just awful—so I avoided it. Call it self-motivated snobbery.

Anyway, I started playing and liking Maiden. Pam (the former wife) was into Guns ‘N’ Roses and Metallica. She also went into her, what I like to call, “Alternative/Metal” phase of playing the likes of Fuel, Staind, Godsmack, and their ilk. She went to a few concerts, on her own of these groups. I would have just felt out of place going—but she liked it. She played some, and I had to admit, Staind and Fuel had their moments, but Korn and Nine Inch Nails just were too loud and too obnoxious for me.

Anyway, after I made a small fortune on eBay and combing pawn shops for cheap metal, I met an eBay dealer who sold me tons of metal CD’s discounted. He must have owned a warehouse, and I started buying stuff just to own it. From these deals, I amassed the entire Nazareth, AC/DC, Van Halen, Scorpions, Kiss, Deep Purple, Iron Maiden, Slade (a bit more glam), Black Sabbath, Judas Priest, Metallica, and Megadeth catalogs to name a few—I also snagged some nice Blue Oyster Cult early Aerosmith, and Motley Crue CD’s.

I went back and played these albums, nearly twenty years after many of their original releases and decided there was something of merit on them—and my snobbery was really not needed.

Taking some heat from friends who still knew me as a sophisticated “classic rock,” “punk rock,” “rockabilly,” “oldies,” and “blues” aficionado; I really began to reexamine my whole concept of Metal. Was this music “Metal” or “Hard Rock” and did it matter?

I think anyone would argue that Sabbath, Priest and Metallica was “metal,” but one could safely argue that AC/DC was more hard rock—as was Van Halen, Maiden, BOC, Scorpions, and Aerosmith.

I began reading about it, as this was a bother for me. Seriously, as trivial as it seemed, I wanted some direction. The “Heavy Metal” I knew as a kid had changed. There were now new divisions as there was Thrash Metal, Speed Metal, Power Metal, Classic Metal, Death Metal, Progressive Metal, Symphonic Metal, Black Metal, and so many more classifications. Realistically, Thrash would never allow a keyboard that I might find in Deep Purple. High pitched voices like those used in Rush and Priest gave way to guttural growls. All of which still belonged in various sub-genres of Heavy Metal.

I thought the rebirth of Metal was nearly complete, but there was one final turn to take.

That part of the story in the next blog.

In the Beginning...

2007-03-04T10:46:00.000-08:00

“There must be something

There must be something

That remains

A fire of unknown origin

Took my baby away

A fire of unknown origin

Took my baby

Took my baby away”

--Blue Oyster Cult; “Fire of Unknown Origin” from the LP of the same name, 1982.

The four hour documentary Heavy: The Metal Years played on VH1 last evening until 2:00 AM. I, of course, watched it and started thinking back to my earliest days of liking Heavy Metal.

1980, I had my first job—a “worker” at Burger King for a mere $1.90 an hour. I remember after earning my first paycheck, I went to the local record shop, which also sold stereo equipment and bought The Rolling Stones Hot Rocks LP and The Who’s Meaty, Beaty, Big, and Bouncy LP. The next paycheck, I went in and bought Rush’s 2112, Ted Nugent’s Cat Scratch Fever, Alice Cooper’s Flush The Fashion, Nazareth’s Hair of the Dog, and some Jethro Tull albums. I was a junior in high school.

Rush was probably my favorite.

Throughout the months that followed, I bought the Rush Archives LP, which was a three record set of their first three albums (Caress of Steel my personal favorite there), Blue Oyster Cult’s Agent of Fortune, Black Sabbath’s Sabbath Bloody Sabbath, Judas Priest’s British Steel, most of the Kiss albums, and other oddities of rock.

My tastes turned to more classic rock when I dated a girl named Abby and she was a Beatle freak. Then I hung around with friends who liked Billy Joel and Chicago. I went to the Punk side because it was different, and a friend named Ed made tapes for me of The Clash, The Ramones, 999, and a few others. When I saw Rock ‘N’ Roll High School through my folk’s subscription to Showtime, I was hooked on Punk—in fact at Ottawa High School in the lovely Mid-West of the great state of Illinois, I was considered a punk rock expert—probably because the “kids” were playing Journey, REO Speedwagon, and Foreigner.

Still, I played Classic Rock and Metal. My favorite bands of the Metal genre included Blue Oyster Cult, Deep Purple, some Sabbath (to be honest, Black Sabbath kind of scared me a bit—I believed the “Satanic” hype), Alice Cooper, Rush, U.F.O., and Judas Priest. My brother was attending college at Bradley and bought me LP’s for Christmas my Junior Year as he could snag cut-outs cheaply. The list included No Place To Run by U.F.O.; Nazareth’s Close Enough For Rock ‘N’ Roll; the four Kiss Solo albums; and some punk and new wave.

I then joined Columbia Records and tapes and pulled “the starter collection” of twelve albums for a penny, mail in the card, and pay up the backside for postage. My twelve included AC/DC’s Back In Black and Dirty Deeds, Blue Oyster Cult’s Spectres, and Weekend Warriors from Nugent.

After reading Rolling Stones magazine, I ordered some mail-order record catalogs from various companies and became entrenched in tons of various albums—most of which were cut-outs. I remember ordering the first three Blue Oyster Cult albums as well as Culterous Erectous to add to the collection.

Then Disc Jockey (an in-mall record shop) started receiving tons of cut-outs and import albums pressed on cheap vinyl from various countries. I went nuts buying all of the Sabbath stuff cheap, Rush’s Moving Pictures (still one of my favorite albums of all time), tons of Rolling Stones (I know, not Metal—but still), and various punk music.

I think I really converted when, during my senior year, my friend and later college roommate Keith and I went to see Heavy metal. I bought the soundtrack and loved it. Keith liked it as well and we were swapping albums and listening to each other’s stuff. Somewhere along the line I purchased more Judas Priest like Screaming for Vengeance, and AC/DC’s For Those About To Rock, and the like.

Keith and I went to a Junior College and the first show we saw, the first concert I ever saw, was Blue Oyster Cult with Aldo Nova as an opening act. It was the Fire of Unknown Origins tour. We both had that album and thought it was great. We also saw Rush on the Signals Tour and Ozzy Osbourne.

Then, when I went to ISU, I abandoned metal for a while—although I kept my albums, cassettes and even the old eight-tracks. I remember we went around ISU flinging an AC/DC Back In Black LP through the quad. This was the post-punk artsy-fartsy years. Whereas I like some of that music today; then it was more of a “Metal is Dead and Buried Concept”—and why not? I hardly considered Motley Crue, Poison, Quiet Riot, and the schlock on MTV as metal. I hated it all those 80’s glam and hair bands were lame.

I abandoned most of those LP’s and the like to sell at local record shops and work my way back into classic rock. I collected all I could of The Beatles, The Rolling Stones, The Who, Jethro Tull, Rockpile, Elvis Costello and the like. I considered metal a trifle interest of my youth.

Then I had to flash-forward nearly twenty years until I collected it again.

That story will appear on the next post.

Where I Began...Again

2007-03-03T18:54:00.000-08:00

Will you revive

From the chaos in my mind,

Where we still are bound together;

Will you be there,

Waiting by the gates of dawn,

When I close my eyes forever?

From "Forever" from the LP Epica, 2004

Kamelot started my revival in metal.

My friend John ordered the CD Black Halo, and I played a few tracks when the CD was delivered. I asked him to burn it for me, and then I was hooked.

It was symphonic, power metal.

Most metal for me was fairly hard, fast, and well, metallic sounding. Having been raised on Sabbath and Blue Oyster Cult (the latter being the first band I ever saw in concert), I was a bit of a “radio-friendly” quasi-metal-head. In many regards, I still am.

I have tried to listen to the guttural groans of some of the current bands, but it really does nothing for me.

Kamelot, however, revived a spark. Owing something to Goth and classical music, this was enlightening for me. Black Halo just grows on the listener as the songs mount with fury, a double bass, an incredibly melodic vocalist, and fast guitars. When they wish to be, like Abandoned, the band turns to a softer, almost yearning side.

After indulging myself in the car for three weeks of playing nothing but this CD, I was ready to buy other Kamelot CD’s and started checking out “Power Metal.” To me, this was like a kid opening a candy store and finding no bad tastes.

I cued into XM radio on AOL, as they actually have a “power metal” station. I even began replaying Bach, Mozart, and Beethoven. I felt there was a kinship of sorts which existed.

Then I went back and ordered more “classical hard rock/metal from an eBayer and suddenly, I was transported back to 1980, as a punk Midwesterner, playing air-guitar, annoying his parents who complained to “turn it down,” and jamming to the likes of Sabbath, Priest, The Scorpions, and BOC. The more I listened to XM power metal, the more I enjoyed it.

Then this spring, some magical happened of sorts. After recovering from my second heart surgery in 18 months—they fixed right this time, see my parent blog for details in April of 2006—I was watching MTV and “Metal” documentary by Sam Dunn was on. It was fantastic.

As a Sociology minor and teacher of Sociology, I was amazed at the social factors of the genre and the truly interesting interpretation of Dunn made about Metal and the audiences of the band—even the basic composure of the bands themselves. These guys are not fools; actually they are very gifted with intellect and musicianship.

I became entrenched as it were with the genre.

Hopefully this site will offer me the opportunity to glimpse at and explore the “power” and “classical metal” genre.

To my friends, and doubting Thomas’s that always knew as a punk rocker and classic rock guy—a note if you will; I am still that guy. But I have collected everything of those genres that I reasonably could. I will never turn from Elvis Costello, The Who, The Ramones, Jethro Tull, The Clash, Cheap Trick, The Jam, and so many others—I will never say any group could ever or will ever be as great as The Beatles.

Just check in once in a while and let me know if you might be willing to try some of the offerings herein.

Welcome

2007-03-03T14:03:00.000-08:00

Hi.

I was thinking of doing this in that Cryptic font stuff, but I changed my mind.

This is my new site for Metal Moments that focuses on Power Metal and Symphonic Metal and Classic Metal.

All Comments, fears, condemnations, and fun are to be listed.

Thanks!