Pearl Jam - Ten
Here we are, with Pearl Jam’s first album. Here, we have them playing more straight-forward grunge, but even as I listened to this album, I could feel some of the hypnotic, almost psychedelic groove to it. Vitalogy was really just them exploring a sound they already had to some degree.
I also began to see how these songs would probably sound really great live, and has got me thinking that I should try to find a live show of them from the early to mid 90s. Their music has this jamming quality to it, stuff that could go off for a while, then come back like nothing happened. I guess it’s just them living up to their namesake!
In any case, all three albums contain very solid rock music, and while the depressing lyrics and topics might not be everyone’s thing, they certainly good at setting their own compelling atmosphere, even during a time when grunge started to sell out hard.
Deep Purple - Machine Head
A classic that really needs no introduction. Here we have Deep Purple at their peak, providing some of their most iconic songs. While the story behind the album is almost as fascinating, the music has really helped this album become one of the most celebrated in all of rock ‘n’ roll.
And it’s easy to see why. Between the lightning quick leads of Blackmore and the aggressive organ of Lord, we have a fun, rockin’ album that knows when to ease off into a bluesy bit and when to turn up the heat. It really is an amazing recording by a band very much in tune with each other.
Of course, some songs stand out more than others. The power of "Highway Star" is outright undeniable, with Lord’s and Blackmore’s classically inspired solos. "Smoke on the Water," for all it’s simplicity, remains very compelling, not only with the story, but with the licks and rhythms. Then you have "Space Truckin’" and "Lazy," which are just incredible, jam-heavy pieces that roll right along.
In all honesty, thousands of words have already been written that explain how great and influential this album is, often cited as a major inspiration for heavy metal. While I can hear the sparks of metal here and there (mostly in "Highway Star"), what I think matters is how well the songs themselves have aged as just plain great rock music.
Herman Frank - Fight the Fear
After getting hyped up about this album back at the end of last year, I finally took the time to sit down and listen to the whole album. Not surprisingly, it really is just wall-to-wall traditional metal, and I mean that in a good way!
Of course, when dealing with a sound this consistent, it can be hard to identify the stand out tracks. While I did re-enjoy “Sinners” and “Hail & Row,” the only other songs that stood out to me was the power-metal-esque “Wings of Destiny” and the anthemic closer “Lost In Heaven.” Everything else just kinda crunched along.
The lyrics are a bit of a mixed bag, with many of them having something of an apocalyptic but adrenaline-driven tone. While they provide many great sing-along choruses, some of the grammar is clunky, with some of the lines breaking me out of the experience. However, they’re all confidently sung by Rick Altzi, bring the right kind of old-school machismo that this kind of music needs.
Overall, this is a good album; let me make that clear. Nothing feels particularly weak or excessive (thought the album might be a bit on the long side). Full of crunchy, satisfying riffs and electric solos, it’s straight-ahead metal for those who wish the 80s never ended. Fans of Judas Priest, early Ozzy, and Accept (naturally) will find a lot to like with this one.
Kamelot - Ghost Opera
After covering a few of Kamelot's early albums in previous articles, I'm jumping ahead to their 2007 effort, mostly because I've listened to the four in-between so many times, I can't even count. As far as I'm concerned, The Fourth Legacy, Karma, Epica, and The Black Halo are Kamelot's classic period, and represent the best they've made with Roy Khan.
So, Ghost Opera. I remember listening to this when it came out and being pretty disappointed. Of course, coming after the excellence that was The Black Halo, it would have been difficult to make an album of equal measure, but I still felt like something was missing from this one.
So, Ghost Opera. I remember listening to this when it came out and being pretty disappointed. Of course, coming after the excellence that was The Black Halo, it would have been difficult to make an album of equal measure, but I still felt like something was missing from this one.
Upon relistening, I noticed a serious lack of Thomas Youngblood's iconic guitar riffs. While the album is decently crunchy, the lightning-fast melodies seem to be missing this time, focusing on a more symphonic approach, helping to set a rather grim tone. While this isn't a concept album, themes of death, futility, and abandonment pervade most of the songs.
That's not to say the album is bad. The orchestrations are dynamic and effective, and Roy Khan remains a wonderfully dramatic singer. While this may not be his best work, he does show a considerable amount of range in his performance, almost like an actor. And the album has their iconic Kamelot sound, so it's by no means a betrayal of expectations.
However, the songs don't seem as inspired as on their classic albums, coming across as maybe a little too dour. Perhaps it's just a consequence of nostalgia, as I discovered the band in college and binged on them hard. Still, even upon relistening it, I feel this a weaker effort compared to previous heights.
So things have taken a bit of a video-y turn lately around here. I do hope I can balance things out in the future. I'm mostly happy that I'm able to keep posting things on such a regular (if inconsistent) basis. For now, this seems to be working, so I'm sticking with it, but I know I want to do more. Hopefully, I can find time for other things as I go on.
Until then, rock on! \m/
No comments:
Post a Comment