Well, I was able to put this last one together for March, but I admit I cut it pretty close. The world may be a little crazy right now, but the rock just keeps in rocking, so I'm gonna keep on sharing. Here we go!
A nuts little song that has some old-school Iron Maiden vibes. The lyrics match the tone of those schlocky 80s slasher films, but feature enough noodly melodies and a big chorus to really kick this one into the next gear!
Bush were a British take on the post-grunge style that were big for about 15 minutes in the mid-90s. Here, we see them coming back with new material, and it's pretty solid. Simple, but not in a bad way; just really straight-forward hard rock.
One Desire blew me away with their last album, which was chock full of 80s pop metal anthems. Above is their lead single for the second album, and it sounds like they're maintaining their epic rock sound, and I'm looking forward to more!
More AOR goodness from veterans Harem Scarem. I'm really digging the chords on the chorus for this one, having such an energetic and uplifting vibe (despite the lyrics!). Solid stuff built on years of experience.
Yeah, let's keep the AOR train going with Khymera. Built out of an abandoned project from Frontiers Records, it's straight-forward melodic hard rock with great hooks and layered vocals, much like Vega or Find Me.
Yes, I'm posting Allen/Olzon again, but each song is just so good! With Allen's powerful voice and Olzon's celestial tones, they make a great duo for symphonic metal. Huge riffs and epic vocals make for some amazing tunes, and this one is just more proof.
Well, it's been a heck-of-a month, hasn't it? I know it has been for me. Still, there's no shortage of rock to listen to, so let's dig into what I've been hearing lately.
Led Zeppelin - In Through The Out Door Zeppelin is a staple of classic rock, there is no doubt, but In Through the Out Door is a record that represents a more troubled time for the band. Touring exhaustion, drug dependencies, and personal tragedies led to an album that doesn't have the same level of energy as previous ones. That being said, it's not a bad collection of songs when listened to on its own. The first thing that stands out is the heavy use of synthesizers and piano, courtesy of John Paul Jones. On the one hand, it does make the album distinct from Zeppelin's others, but they don't necessarily stand out of place, either. Zeppelin's always had a symphonic side to their style, they're just using synths instead of full orchestration. However, they do take center stage in the mix, sometimes burying Page's guitars and even Plant's vocals! The album is definitely softer than their other ones as well, but there are a few upbeat moments. "In the Evening" is a decent rock song, "Hot Dog" is straight-up (if rather generic) rockabilly, "Fool in the Rain" embraces a samba beat, and the beginning of "Carouselambra" is rather quite punchy. The album also sees the band pushing deeper into prog territory. "Fool in the Rain" really lets Bonham play around some jazz fusion rhythms, and "Carouselambra" definitely has some interesting shifts, with the moody middle section, and the bouncier end section that almost sounds like New Wave! However, the stand-out is easily "All of My Love," the emotional ballad Plant wrote in honor of his son who had passed away a few years earlier. While it's not as hard-hitting as "Kashmir" or "Achilles' Last Stand," I do think it fits well with the band's epics as a softer interpretation of arena rock. As I wasn't alive when it came out, I can't really ignore this album's place in the band's history and the hindsight associated with it. While Page can still play some decent solos, this album is clearly not his best work, and while Bonham has nothing to prove, but I doubt this is what he would have wanted as his last recorded effort. It's hard not to see this as the band winding down to a conclusion that would end up being rather permanent. Even the titans of rock have their end.
Serenity - The Last Knight Serenity has been doing their brand of progressive power metal for over 10 years, and their latest carries on that trend without deviation. I remember listening to Codex Atlanticus a few years ago and thought it was decent, and The Last Knight seems to be in the same category. Just kinda decent. The only songs that stand out to me are "Invictus" which was a solid opening track (after the obligatory instrumental piece, of course), "My Kingdom Comes" with it's 6/8 gallop, and "Wings of Pride" which is rather proggy, with different moods and dynamics. That last one made me wish the whole album was like this instead of group of standard tunes that we got. Overall, the whole thing just coasts along. Some of it is fast, some of it is mid-tempo. there's a ballad; all pretty standard stuff. It's not bad, though, occupying a space between Kamelot and the Italian-style of prog metal, with Neuhauser's vocals soaring over it all. Full of symphonic tones and melodic guitars, their production values are top-notch. It's a shame not all the songs are of that same quality.
Rush - Power Windows Despite being a lifelong fan of Yes and Pink Floyd, I came to Rush much later in my life, and it's been an interesting journey as I've been exploring their discography. Power Windows is a long ways away from their classic hard prog rock sound of the 70s, but it remains unique to themselves, as the band is deep in their electronic rock period. Each song is rich with all kinds of synthesizer sounds, from Geddy's arpeggiating keyboards to Neil Peart's sample-heavy drums. Even Lifeson gets a few touches on his guitars. All of this allows the production to have this wall-of-sound approach that may have sounded great at the time, but comes across as a little dated now. Not that I have a problem with it, but it definitely shows a different mentality than their clearer, heavier 70s stuff. To be honest, this album is kind of a wash for me, with not much standing out. Rush still has their proggier tendencies, with their thoughtful lyrics, unconventional time signature changes, and iconic song-writing, and many of the rhythms seem to carry on a reggae influence that gives me Police vibes (though I suppose they started it themselves back on "Spirit of Radio"). To their credit, though, these songs are jam-packed with little bits and pieces, so this album may grow on me with repeated listens. In the end, Rush will always be Rush, regardless of the decade. Their talents always shine through somehow, and this album is no different, featuring Geddy's strong basslines, Lifeson's energetic solos, and Peart's rolling drums.
So I guess I didn't really get to listen to anything amazing this past month. Sometimes that happens, and that's okay. We need to have the decent albums set the stage for when the great ones come along (though that Rush album could grow on me). As for my schedule, I don't know what to expect. Between a bit of a stubborn cold and some sleep-schedule shenanigans, accompanied by the general chaos Covid-19 is causing, I don't know what the immediate future of my blog will be. However, I'm sure as long as I keep listening to all this rock music, I'll find things to talk about. Until then, rock on! \m/
Hey, it's time for another one of these! My goal is to do an anniversary article once a month for the rest of the year. That should provide some decent variety, especially as I get closer to the present! This month, 1975! To be honest, this year is very much a time of transition. Prog was wearing out its welcome, arena rock was really picking up, and punk was still a few years off. Still, a lot of great stuff came out this year, so let's get into it!
Early in the year, Rush introduces the world to Neil Peart with Fly by Night. While they still retain much of their Zeppelin-like debut, the song-writing definitely went up a notch or two when they got their new drummer. Of course, Zeppelin themselves would show their chops that same month with Physical Graffiti, a titanic double-album with epics like "Kashmir" and "Ten Years Gone." Also expanding the arena rock style is Alice Cooper and Kiss, with their style and flashy flair. Alice introduced us all to his nightmares, while Kiss were Dressed to Kill, though their success wouldn't come around until they release Alive! later on this year. Inspired by UK's glam rockers, these bands gave shows few attendees would forget, letting us rock 'n' roll all night!
As winter turns to spring, we get Aerosmith's Toys in the Attic. With massive tracks like "Walk This Way" and "Sweet Emotion," its no wonder they still get airplay on classic rock radio. At the same time, fellow blues-rockers Bad Company released Straight Shooter, giving us "Feel Like Makin' Love" and "Shooting Star." The Eagles followed with One of These Nights, a massive album featuring not only the title track, but "Lyin' Eyes" and "Take It To The Limit" as well! Despite this trend of more streamlined rock, the prog-masters were still putting out material. Rick Wakeman would continue his solo career by dabbling with King Arthur and his Knights, Camel released The Snow Goose, Hawkwind had Warrior on the Edge of Time, and Uriah Heep was making a Return to Fantasy. Rush would be highly productive and release Caress of Steel, expanding their prog rock style with "Bastille Day" and the side-long epic "The Fountain of Lamneth." Of course, the big prog rock record would be Pink Floyd's Wish You Were Here. Featuring incredible and innovate moods and melodies, the band really came together and made a masterpiece (in my opinion, anyway). Unfortunately, it would also be the last time they would be so well-balanced and in-sync with each other. Heavy metal also saw a few excellent releases, with Black Sabbath releasing Sabotage, a rather underrated album with classics like "Hole in the Sky" and "Symptom of the Universe." Meanwhile, Rickie Blackmore would finally break from Deep Purple and introduce the world to Ronnie James Dio with his Rainbow Debut. "Man on the Silver Mountain" remains one of the most epic tracks ever recorded! Wrapping things up, Fleetwood Mac would introduce the world to Stevie Nicks on their second self-titled album, providing singles in the second-half of '75 and deep into '76. Styx finally gets their major record label debut with Equinox, full of great songs like "Lorelei," "Lonely Child," and "Suite Madame Blue." And finally, a discussion of rock from 1975 would not be complete without Queen's A Night At The Opera, released at the end of November. Between the poppy "You're My Best Friend," the epic "The Prophet's Song," and of course the headbang-worthy "Bohemian Rhapsody," it was a release few rockers could afford to miss. Hard to beat a conclusion like that! Hopefully, you're all enjoying this style of article. I know I'm having fun digging through all this stuff, and I know I've missed some great tracks, so I've got another playlist below. If I'm missing anything, let me know. Until then, rock on! \m/
Let's kick this month off with a bang! Got a lot of big songs, this time around, full of epicness, power, and glory! Check them out!
We're starting off heavy this time with Mystic Prophecy giving us a dire piece of post-apocalyptic power metal. The riffs are crunchy, the vocals soar, and the drums pound away like it's the end of the world! (Heh.)
Eclipse just keeps making great songs that rock hard along with their melodies! Apparently, I need to go back and just listen to their whole album. If it has this many great songs, already, it's probably a winner, right?!
Noveria just keeps chugging away, making for some epic progressive metal. Between the huge riffs, the synthy solos, and dynamic shifts, they really take you on a journey in such a short song, and it's great all the way through!
Never heard of these guys before, but all it took was this one song to decide to post it. Add a touch of country to a thick post-grunge sound very reminiscent of Nickelback (which is not a bad thing, in my book!). Balancing hard rock riffs with acoustic touches, this is a band I'll have to keep an out for in the future.
Yup, more Archon Angel! Full of big riffs, orchestral sweeps, and Zak's huge voice, this one is simply epic! While it definitely stands on the shoulders of Savatage and TSO, Archon Angel proves they have it where it counts. I should probably get around to the whole album, now that it's out, huh?
Let's finish with another piece from this exciting Allen/Olzen project. We get Russell Allen doing the vocals solo for this song (I think), but it remains a solid piece of symphonic metal, full of drama and solid melodies, nonetheless! Excellent song from start to finish!
