New Videos - March 2023!

While I've been listening to a lot of classic stuff lately, I haven't completely ignored what's coming out now.  There are some pretty exciting releases in the near future, if this collection of songs is any indication, with plenty of rock and metal to look forward to.  

Trust Excalion to bring the uplifting power metal!  Starting off with an epic wail, they once again pull off the triumph and epicness one would expect from these Finns.  Strong, anthemic melodies and a great, catchy chorus, this is power metal at its finest.

I'm glad to see Tanith is coming back!  Their unique blend of NWHOBM and 70s metal made them a stand out when they released their debut album four years ago (where did the time go?!).  This track seems to have some extra noodly guitars, but otherwise, their Thin Lizzy meets Fleetwood Mac vibe remains strong.

I can't believe it's already been 2 years since The Quest came out (well, okay, it's more like 18 months).  And now my favorite band is moving on once again to a new album, now with Jay Schellen as the drummer (though I understand some of Alan White's drumming made it to this new album).  Anyways, the song seems to retain the lush layers of the last album, but I don't know if the song-writing holds the song together all too well.  Still, it does show a band willing to try a few things, as there are some interesting affects being used.  Here's hoping the album has more going on than just this.

These days, it feels like most AOR is starting to all sound the same, so when a track stands out, it really does, and this one has some great energy.  Some nice riffing and the huge production give this new single from First Signal an extra brightness that feels like a step above the rest.

I admit that I dropped the ball on my Kamelot catch-up, so I don't know when I'll be getting to their newest album, at the moment.  However, between all the solid symphonic flourishes, I noticed that this track has some of that classic power metal sound in it, which gets me pretty excited.

Here's another group where their new album is already out and I haven't gotten to it yet!  Once again, Lovebites "stand and deliver" on their contagious sense of energy.  Even when they throw in a chunkier riff, like at the beginning of this one, they don't let up on the double-kicking power metal fury in the end.

While the third single for Metallica's new album was lackluster, I rather quite liked this fourth one.  It shifts easily between high-speed and mid-tempo sections, and while it may not necessarily feel innovative, it maintains its energy well, and Hammett's second solo was pretty good, making me think of some of his stuff from Ride the Lightning.

Last Played - March 2023 Part Two!

While I'm working on my various Anniversary Articles, I do try to listen to something I haven't before from each of the years, as I do have a lot of gaps to fill.  However, for 1983, I discovered there were quite a handful of albums I was interested in, for various different reasons, and decided to group them all together into one Last Played article!  Let's get started!

Black Sabbath - Born Again

I know it's probably a mistake to listen to Sabbath's non-Dio 80s stuff, as I've heard it's quite the mixed bag, but I can't deny that I'm curious.  So, despite it's reputation, I'm going to carry on my way through the Black Sabbath discography, and decide for myself if it's any good, starting with this one.  While bringing in Ian Gillian of Deep Purple is novel, the resulting album is rather kind of bland.

Of course, following the excellent Dio albums was always going to be a tough gig, especially with such a massive lineup change.  Gillian does a good job, singing in his own style, and it's not like the band is a mess, but I think they settled on keeping things pretty basic, with many of the songs repeating a lot of metal clichés.  They're not bad songs, but it's hard not to feel like this kind of stuff has been done better elsewhere.

"Disturbing the Priest" is probably the closest the band gets to a Sabbath-y sound, and the title track ends with a decent jam, like an 80s version of "Planet Caravan."  However, the other tracks often feel weak or uninspired.  "Zero the Hero" tries to be this Dio-inspired epic, but it's repetitive riff just goes for too long, and Gillian is no Dio.  For what it's worth, I do think there's a bit of promise in here, and if this lineup had carried on for another album, they could have put something great together (though it would have been quite different), but it was not to be.  In the end, it ends up being a pretty insubstantial one-off that's remembered for being a curious part of Sabbath's history, and not much more.

Ozzy Osbourne - Bark at the Moon

While Black Sabbath were stumbling around, their former singer was also struggling.  With the sudden death of Randy Rhoads, the lineup experienced a significant change-up, eventually settling on Jake E. Lee for their lead guitarist.  Filling the rest with industry veterans like Tommy Aldridge and Don Airey, Ozzy was able to bounce back without too much trouble.  Once again, my familiarity with Ozzy is mostly through classic rock stations, where one hears the regular handful of hit singles.  As such, I don't know the albums too well.  While I have listened to his first two solo efforts, and they're generally pretty good, this one really makes an impact as Ozzy drifts further into pop metal territory.

There's been some controversy over the years regarding who wrote these songs, but what can't be denied is how much Lee dominates this album, as his guitarwork finds the right balance between shred and melody.  Between his slick riffing and iconic solos, he's as much the star as Ozzy himself.  Don Airey's keyboards are also prominent, giving the album a distinct glam metal feel, which was building up at the time.  As a result, all the songs are pretty catchy, with plenty of melodic hooks.  Even the sappy ballad "So Tired" isn't too bad, as it has these lush orchestrations that make me think of Electric Light Orchestra, of all things.

The title track stands out the most, and for good reason.  The catchy riff, the noodly solos, and the horror lyrics that fit right in with Ozzy's reputation at the time; it's easy to hear why it's been on classic rock radio for so long.  "Rock 'N' Roll Rebel" and "Slow Down" are a solid pair of pop metal rockers, and "Waiting for Darkness" is a solid moody anthem with some dramatic synths and strings.  While I know the first two albums are well-regarded in their own right, I think this album is just a little stronger across the board.

IQ - Tales from the Lush Attic

Of course, metal wasn't the only thing blowing up in 1983.  While the scene was significantly smaller, there were handful of UK bands who sought to do their own take on classic 70s prog rock, and so neo-prog is born.  I have heard some of IQ's later work before this, but since I had the opportunity, I thought I'd give their debut album a spin.

Right off, the Gabriel-era Genesis influence is apparent, helped partially by the orchestral synths and vocalist Peter Nicholls sounding not a little like Gabriel himself.  However, I also felt there were a lot of elements from Yes's Drama album, and a few bits of early 80s Rush.  While I don't know if they've completely carved out their own identity yet, they certainly aren't without ambitions, starting with the 20-minute epic "The Last Human Gateway," which is actually quite good.  The band takes you on a journey through all their modes, from moody ambience to upbeat rocking sections, and everything in between, without ever being too chaotic or hard to follow.  The rest of the album isn't too bad, either, with "Through the Corridors" being a spritely and energetic romp, despite its short length.  They do a good job of giving their ideas enough space to be understood while drifting between them, though "The Enemy Snacks" does get a little messy.  Of course, the band isn't so lost in their pretentions to not do a few silly things, such as "My Baby Treats Me Right 'Cos I'm A Hard-Lovin' Man All Night Long" being a few minutes of classical piano with no lyrics.  

If there is a big problem, it's the production.  While it's not bad, it can be hard to separate the instruments as they often get washed together into this 80s wall of sound.  Even Nicholls vocals get a little lost from time to time, making them hard to make out.  I just kinda wish I could hear everything going on a little better.  I admit I'm not the biggest Gabriel-era Genesis fan, but I do think IQ does pretty well to set up a foundation for them to build upon in subsequent albums.

Marillion - Script for a Jester's Tear

While the neo-prog scene did feature a handful of bands, Marillion was definitely the one to rise to the top of the crop.  Built around guitarist Steve Rothery and initially powered by the lyrics of the vocalist simply named Fish, the band has carved their own destiny, largely starting with this debut album.  While I have listened to Clutching at Straws before, mostly because I came across "Incommunicado" and really liked it, I don't have much experience with this band yet.

Once again, the Genesis vibes are strong, but I also hear elements of Pink Floyd and, of all things, The Alan Parsons Project.  I think it's a combination of the 80s synths and production, along with guitar solos that focus more on melodic phrasing than shred-based pyrotechnics that makes me think of Parsons.  However, the lyrics and tone are quite a bit darker, often focusing on themes of alienation, tragedy, loneliness, and drug addiction.  And yet, the band creates a rather theatrical wall of sound, giving these songs a kind of epicness I wasn't expecting.  While there are no extended tracks, most of them tend to be seven or eight minutes long, allowing enough space for their ideas to develop.  The result is a set of songs that are easy to sink into, letting their atmosphere and melodies just surround you with a kind of 80s proggy melancholy all their own.

The only real knock I have on the album is that some of songs' structures feel a little loose and don't quite hold together, often having rather sudden transitions.  The album opens with the title track, and it kinda stumbles about, despite some interesting ideas.  However, the album improves from there, as "He Knows You Know" and "The Web" both have great moody atmosphere and melodic grooves.  "Chelsea Monday" is a curious, melancholy ballad, while "Forgotten Sons" is an interesting closer, being much more aggressive and stark, showing the range the band has.  Comparing it to IQ's debut, they've definitely gone for more of an accessible melodic rock sound, but they do it with a lot of confidence, which allows them to get away with it.

AC/DC - Flick of the Switch

Now that I've covered most of this band's 70s albums, it's time to jump ahead to the 80s ones that I haven't listened to yet.  While Back in Black and For Those About To Rock were full of anthemic stadium classics, the band sought to strip things down to the basics, deciding to leave behind Mutt Lange in favor of producing this one on their own.  Focusing on a rawer approach with more of a live feel, the band settle into a slower groove, resulting in an album that has less energy and intensity.

I admit I do miss Lange's iconic, clear production, as this album is a little muddier, and Brian Johnson's vocals get a little buried from time to time.  While the band has had plenty of mid-tempo rockers before, this album does feel a little sluggish, and sometimes the chorus for a number of tracks is just repeating the song's title a few times, which feels uninspired.  I know the band was struggling a little at this time, and I can't help but wonder if burnout wasn't a factor as well.

Of course, it's not like the band has changed from their blues-rock roots.  Any differences would only be found by nitpickers and diehards.  Much of the same solid riffing, energetic solos, suggestive innuendos, and strutting swagger is still here.  Songs like the title track and "Landslide" stand out from the pack, with "Landslide" having plenty of power.  It just has to come after a pair of well-made and successful albums, making this one feel a bit weaker in comparison.

Accept - Balls to the Wall

Let's wrap up this massive article with a metal classic as I carry on my journey through Accept's discography.  As it turns out, this is the one that has Herman Frank before he would move on to other projects, eventually coming back for the reunion in 2010.  Naturally, this is another slab of traditional metal, full of chunky, mid-tempo riffing, but I don't know if it's quite as good as Restless and Wild.  

It's not like there's anything immediately wrong with it, though.  Starting off with the title track, the album sets the stage for another set of anthemic rockers, with the lyrics definitely leaning into providing empowerment for the marginalized.  Udo continues to croon his way over the album, and Hoffmann and Frank do great work with their riffs and solos.  There's also a bit of a nudge toward more of the pop metal sound, but that might just be a consequence of the production, and it really doesn't bring the album down.

However, there's still something that feels a little less engaging with this one.  Maybe as I listen to these albums more, I can better parse how I feel about them.  For what it's worth, I enjoyed the title track, of course, but "Losing More Than You've Ever Had" is a solid rocker, with some interesting gang vocals on the chorus and a bridge that maybe goes on a little too long, and "Losers and Winners" has a strong Judas Priest vibe that I liked.  Unfortunately, the rest just feels like more of the same; not bad, but also not really keeping my attention as well as it could.

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Well, that was quite a bit of content!  I generally try not to write long articles like this, but I figured it would better to group these all together.  I'll probably try to focus more on newer releases, as I know there are a handful I need to catch up on already.  Also, I've got some surprises for April, so keep an eye out for those.  Until then, rock on! \m/

Anniversary Series - 1978!

It's time for another article to celebrate an iconic year in rock history.  1978 is definitely a dynamic year.  While competing with the explosion of disco (which I actually don't mind, honestly), bands found all kinds of new ways to rock.  Between the growing arena rock scene, the fading prog rock scene, and metal at a pivotal turning point, the year provides all kinds of exciting music!

The year started off with Journey introducing the world to the voice of Steve Perry with Infinity.  Bolstered by the big hits "Lights" and "Wheel in the Sky," the band evolved from their jazz-fusion roots into the rock radio scene with confidence.  Hard rock would continue to dominate the first part of the year, with AC/DC putting out Powerage, Joe Walsh's eclectic "Life's Been Good," and Van Halen's debut "erupting" on the scene, providing the hits "Ain't Talking  'Bout Love" and their cover of "You Really Got Me," and essentially rewriting the electric guitar playbook for at least 10 years.

Moving into the spring, the rock parade continues with The Cars iconic debut album, Dire Straits releasing "Sultans of Swing," and Rainbow proclaiming Long Live Rock 'n' Roll, with "Kill the King" and "Gates of Babylon" continuing to show the strengths of the Dio and Blackmore combination.  However, the biggest album was Foreigner's Double Vision, which had three massive hits in "Hot Blooded," "Blue Morning, Blue Day," and "Double Vision," all of which are classic rock station staples to this day.

Progressive rock would go through quite the transition this year.  Genesis would morph their streamlined sound into something more poppy and accessible, finding success with "Follow You Follow Me."  Yes would also release a stripped down effort with Tormato, strange album art and all.  However, concept albums were not lacking.  The Alan Parsons Project would look to Egypt for ideas with their concept album Pyramid, and Jeff Wayne would unleash his version of The War of the Worlds.  In the midst of all this, Rush put out Hemispheres, being one of the few bands at the time willing to push deeper into their sound.

Heavy metal was also going through changes.  Despite the confident title, Black Sabbath's Never Say Die! sounded like a last, desperate gasp for the genre.  However, Judas Priest carried on unperturbed, as they released two albums within the calendar year.  Stained Glass provided the "Exciter," while Killing Machine inspired metalheads the world over to be "Hell Bent for Leather."  The power of these releases would help to inspire the rebirth that is the New Wave of British Heavy Metal to suddenly pick up in the subsequent years.

Wrapping things up, the rest of the year featured some great, anthemic rockers.  The Who showed their veteran strength by demanding "Who Are You," Toto debuted their self-titled album and asked us to "Hold the Line," Boston followed up their incredible first album with Don't Look Back, and Styx released Pieces of Eight, a solid follow-up to The Grand Illusion.  Featuring big hits like "Blue Collar Man," "Queen of Spades," and the iconic "Renegade," they rocked stadiums and jukeboxes across the country, and continue to do so on classic rock stations around the world along with Foreigner.

With a year of plenty great rock and metal to listen to, this ends up being one of the strongest years I've had to write about.  As always, check out the playlist below for more, and let me know if I've missed anything you think should be mentioned!  Until then, rock on! \m/

Last Played - March 2023!

It's taken me a bit of time to get back up to speed, but I think I'm finally ready for another year of rock and metal.  As always, I plan on checking out both new and classic releases, and this article is no different.  This time I'm starting off with some bombastic metal before mellowing out towards the end with some comfy blues rock.  I always try to get some good variety when I write up these Last Played articles.

Twilight Force - At the Heart of Wintervale

I remember when Twilight Force showed up around 10(!) years ago as being a big new power metal band.  However, their debut album left me underwhelmed, and so I set them aside for a while.  After starting this blog, though, I've started to enjoy some of their singles.  Between the high-speed fretwork of DragonForce and the symphonic bombast of Rhapsody of Fire, Twilight Force seems to have found their own little niche in the power metal spectrum.

The epicness is at high levels right from the start, as things kick off with some high-speed power metal, and outside of some interludes, they don't really let up.  Anyone looking for intense melodies, noodly guitar solos, massive orchestrations, high-speed rhythms, and epic vocals backed by choirs will find plenty for their needs and more.  Still, Twilight Force isn't just a knock-off of other bands, as they do have a distinct sound.  Not to get too nitty-gritty about it, but if Rhapsody of Fire leans more into classical opera, then Twilight Force feels more like a Disney musical, and to be honest, I think I prefer it.  Half the time, I was wondering when Michael Bolton was going to sing about "going the distance," and I mean that as a compliment!  (One of Disney's more underrated songs, in my opinion.)

Still, this is some pretty cheesy stuff, with each song telling a kind of mini-epic.  Those not on board with fantasy tropes from numerous video games and tabletop RPGs will probably find little to like.  However, that's very much my wheelhouse, even if it does get a little difficult to take seriously.  The longer tracks are a little too bloated, but I liked the high-energy stuff in the songs "Twilight Force," the title track, and "Sunlight Knight" (Latin jazz section, notwithstanding).  I know it's still early in the year, but this is a strong start for the power metal genre.  It will be interesting how well anyone else will do compared to this.

Kamelot - Haven

I know folks are probably talking about the new Kamelot album, but I wanted to get caught up on their last two albums before I took on their latest, so here we are.  As far as I'm able to tell, this one doesn't have a concept behind it (though I could be wrong), and given how much it leans into the symphonic metal style, it's very similar to Ghost Opera, for better or worse.

Once again, we have plenty of lush orchestrations matched with some solid riffing and Tommy Karevik's dramatic vocals.  In fact, he sounds quite a bit like Roy Khan on this album, making sure that the lyrics have the necessary theatrical heft.  Oliver Palotai gets in a few keyboard solos along side Thomas Youngblood's iconic guitar work, giving them a bit of a Stratovarius feel.  However, I do feel like the band has streamlined their songwriting this time, as there really aren't any of the proggy touches that have defined some of their work.  Like Ghost Opera, it's focusing on a much more straight-forward symphonic metal style, with standard structures and ideas, resulting in an album that feels a little more by the numbers.

That's not to say the album is bad or boring.  "Fallen Star" and "Insomnia" do a great job of establishing the tone and atmosphere of the album, while "My Therapy," "Beautiful Apocalypse," and "Revolution" bring some heavier riffs, and "Under Grey Skies" is a nice ballad featuring Charlotte Wessels, who was with Delain at the time.  I also liked "Veil of Elysium" and "Liar Liar" for bringing back some of the classic uptempo Kamelot energy.  However, I do wonder if perhaps I'm clinging too much to the hope that they will go back to power metal, and so I'm left feeling that this album is solid dramatic stuff, but not really blowing my mind the way the Khan albums did.

Arctic Rain - Unity

Arctic Rain was a highlight for me when I listened to their debut a few years ago, taking the AOR sound further than most other artists in the style do.  So when I saw they were working on a follow up at the beginning of this year, I put it quite high on my to-listen list.  Once again, it's more 80s-styled hard rock, with big riffs and synths designed to fill arenas, or at least your headphones.

However, I do think there is a stronger emphasis on the guitars this time, as they have some pretty metal licks here and there.  While there is certainly plenty of Night Ranger and Europe vibes on these songs (the ballads are especially cheesy), on some of the uptempo songs, Magnus Berglund clearly put in some grittier, crunchier work this time around.  Not rest of the band is slouching here, by any means: I do think they've all pushed themselves just a little more this time.

Of course, this is just picking at the details.  Compared to the field, this is still very much the same, high quality hard rock that the first album provided.  The opener "One World" is a pretty solid start, and songs like "Fire in My Eyes" and "Peace of Mind" have some really good energy.  "Kings of the Radio" is a pretty fun one as well, as it has tons of references to classic rock songs and bands, showing respect to their influences.  Overall, it's another excellent set of melodic rock, and here's hoping they carry on like the heroes that inspired them.

David Gilmour - David Gilmour

Despite being a massive Pink Floyd fan, I haven't really listened to much of the individual members' solo albums.  Sometime after the release of Animals, David felt like he wanted to do something on his own, and the result is his first solo album.  Understandably, it sounds like a 70s version of A Momentary Lapse of Reason and The Division Bell.  While he does get some help with drums and bass, and brings in the classic female singers on a few songs, it's very much Gilmour's show, and that's perfectly fine by me, as I've always loved his guitar playing.

To say that it sounds like Pink Floyd might feel redundant, but there is a difference here that can only be described as a more content tone.  Gone is the tension and anxiety of Animals and The Wall, in favor of something that's more chilled and laidback, with maybe a dash of aloofness.  However, that describes Gilmour to a T, if I'm being honest.  So perhaps there aren't any surprises, but what isn't there does help elevate this album as feeling more than just some Pink Floyd b-sides.  It just kinda grooves along pretty easily.  The synthesizer-heavy "Deafinitely" is probably the closest to classic Pink Floyd the album gets.

Of course, Gilmour is on point with is playing.  There are plenty of blues riffs and licks all over, and his solos are as iconic and beautiful as ever.  The album definitely leans into the blues as a whole, as there are bits of harmonica and jazzy organ in there, creating a great mood across the album.  I liked the instrumentals "Mihalis" and "Raise My Rent," and "Short and Sweet" was a nice, reverb-heavy jam.  While I have listened to On An Island, I found that to be a little too chill, and comparing it to Gilmour's debut, I like the debut more, as it still has a stronger blues-rock backbone to it.  While it may not be as grandiose as the material he would be best known for, it's still a very solid album that I enjoyed all the way through.