December already! As winter settles in, I thought I'd listen to some classic stuff before I got back into current releases. This article certainly has an odd mix, as it features the last of a legendary band, a significant transition for another renowned band, and the debut of a power metal band that might not be as famous, but certainly holds a reputation of its own. Here's I've listened to lately!
After John Bonham passed away, the band decided to call it a day and move on, as the idea of going forward as Led Zeppelin without him didn't make sense to them. However, they did see that bootleg copies of their concerts were still being bought and sold, so Page decided to give the fans one last collection of songs by pulling together various live and outtake tracks from across their career into a compilation that would work as a bookend to their legacy.
The result is quite the hodgepodge of material. The first half is definitely the bluesier of the two, feature two covers from classic blues artists. "We're Gonna Groove" has some pretty funky and jazzy riffs, while "I Can't Quit You Baby" has some great solos and playing from Bonham and Page. The second half is mostly outtakes from the band's last album In Through the Out Door, along with a drum solo. The three outtakes are okay, not much different than the quality of stuff on ITtOD, with "Wearing and Tearing" being a reaction to punk rock, as the band tries to prove they still have chops.
Unfortunately, much of the album is marred by an odd mix that seems to make Plant sound like he's in a tunnel. Perhaps Page was just throwing on what they had around, so they didn't get much polish, but I don't know if proper production would have improved things much. At least Bonham gets one last good performance on "Bonzo's Montreux," featuring solid playing and some interesting drum effects. Honestly, the best track is "Walter's Walk," as the band sound the most alive. It has an interesting groove and a lot of energy, definitely reminiscent of the band's heights in the early 70s. Otherwise, there's not much to recommend, and was likely made for the diehard Led Zeppelin collectors anyway.
I'm still working my way through some classic prog, this time going with the first Genesis album after Peter Gabriel's departure. When I reviewed The Lamb Lies Down on Broadway two years ago, I mentioned that I struggled with the Gabriel-era stuff. I think it's just a tad too weird for me. I was kind of hoping that this one would be a little easier to get into, and to some extant, it was.
Right off, Phil Collins is definitely a more accessible singer. While Gabriel was good for the outlandish stuff, this definitely has a closer-to-earth vibe in the lyrics and presentation. Of course, the rest of the band hasn't changed much, as they pile on the layers for mood and effect, but we do get the first few inklings of a more streamlined sound, with "Squonk" and the title track feature a more poppy vibe.
While I do think I enjoyed this more than Lamb, there's still some quirky stuff in here. Lots of dreamy vibes, occasionally broken up by a more aggressive section in the middle of the song. I think a lot of it has to do with a greater emphasis on Banks' keyboards this time around. I think the songs I liked best were "Entangled," with its interesting build up towards the end, and "Los Endos" being a nice mix of themes and ideas from the album. Definitely still proggy, and proof the band had a future post-Gabriel. I could see this one growing on me, maybe.
After listening to some classic rock and some classic prog, I was ready for some classic power metal, and decided to give this German band's debut album a listen. I had a good idea of what to expect, and certainly got it: tons of uplifting choruses and melodic leads, with a flair for the fantastic.
While the band does develop their own style eventually, this early effort shows more of their influences, with large helpings of Gamma Ray and Trans-Siberian Orchestra, of all things. The result is a kind of back-and-forth between full-on high speed tracks and more dramatic songs with symphonic flourishes. They also do the sudden a cappella style on a later chorus that DragonForce would later incorporate into their style. Stand outs for me were the opener "Over the Rainbow," and "Tears Falling, as well as the more dramatic closing tracks of "Holy Knight" and "Another Day."
Like TSO, there's also a story being told, working as the concept that holds the album together. A people of a fallen empire wander the lands, plagued by their sins and regrets, when they meet a group of guardians who tell them of a promised land maintained by a child-like holy one who was born under a holy star. This chance at hope inspires this forsaken people to go on a quest to find the titular stairway and relief from their suffering. It's no great tale, but is a decent enough framework for the songs, much like Gamma Ray's Land of the Free or Metallium's State of Triumph.
I don't know if I'd say that Freedom Call's debut is great album, but there is certainly solid stuff on here, and they do break it up with slower, more dramatic songs in-between all the double-kicking power metal. It's certainly ambitious for a debut, and to their credit, they mostly pull it off.
As always, I hope everyone is staying warm and safe. I plan on finishing this year strong, with a few more articles on the way. I intend to get at least one more "Last Played," featuring Majestica and Iron Savior, and maybe a few more New Video based ones. We'll see what I eventually get around to. Until then, rock on! \m/
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