Top 5 of 1985!!

Well, this took a lot longer than it should have!  Turns out that there's a lot of rock and metal for this year, most of which was decent, but not amazing, so it took quite a few listens to figure out where to rank things.  While I do have an obvious winner (or two; I'll explain), the rest of the list was not easy, but eventually I decided I couldn't listen to everything and had to cut things off and choose.  I'm not as confident in this list as I am about the previous ones, but I have to move on.  So, for now anyway, here is my Top 5 for this quirky year.

5. Dio - Sacred Heart

It was tough to decide fifth place, as I was considering everything from Ratt and Accept, to Rush, but Dio's grandiosity won out.  It's not as strong as his first two solo efforts, as the band was starting to fall apart at this time, but you wouldn't really know it from the music.  Perhaps cheesy at times, but still a good amount of fun.

4. Asia - Astra

Once again, it's a drop off compared to this band's first two, as the inclusion of Mandy Mayer of Krokus pushed the band in more of an AOR style, but I think they make it work.  It's not as rich or proggy as the earlier albums, but there's enough of the classic Asia sound for me to put it up here.

3. Helloween - Walls of Jericho

As far as I'm concerned, European power metal started here.  Yes, it's a very rough album, mainly in classic speed metal territory, but careful listening shows the first steps of epicness, between the neo-classical riffing and Kai Hansen's wailing vocals.  While the band would definitely do better from here, picking up Michael Kiske, but I still find plenty of this iconic band's charm on their debut.

2. Dire Straits - Brothers in Arms

If there was an album that really defined 1985, it's this one.  Pushing their roots rock sound toward more commerciality, only to land on MTV's most sarcastic hit with "Money for Nothing," the band was thrown to the forefront of music listeners around the world.  Fortunately, the rest of the album is solid as well, with the somber title track, the easy-going "So Far Away," and my favorite from the album, the nostalgic "Walk of Life."  While the band had succeeded before, this album made them superstars.

1. The Alan Parsons Project - Vulture Culture/Stereotomy

Okay, so maybe I'm cheating here, putting two albums at number 1, but when they're both by one of my favorite bands, I was left with a hard choice?  Do let them take up two slots on a top 5?  Do I drop one in favor of the other?  Or maybe I just insist that it's my list and so I can make my own rules!  Seriously, though, this is some solid songwriting from a talented core of people.  The first carries on the formula of the previous two albums while the second sees them experimenting again a little.  While I do think Vulture Culture is the better of the two, Stereotomy is no slouch and has plenty of catchy melodic rock to enjoy.  Again, nostalgia plays a major role in putting these two albums at number 1, as I grew up on this band, but I can't think of any other album that can overtake either of these two for 1985!

Retro Reviews - June 2025!

Wow, this has been a rough start to summer!  Between all the heat and the pollen, I've had some pretty terrible headaches and a complete drain of energy.  It's taken a while, but I think I've finally wrapped up all I want to try and listen to for my Top 5 of 1985 article, which should be coming soon.  At the very least, here are a few more retro reviews, this time focusing on more straight-ahead rock from that year.

AC/DC - Fly on the Wall

After the lackluster Flick of the Switch, the band were able to carry on through the 80s on their touring prowess.  When it came time to get back into the studio, the brothers Malcolm and Angus took over production duties and wanted to get back to their more iconic roots.  The result is a bit of a mixed bag, as little of it really hits, but it's at least better than the album that came before.

Once again, production is an issue, this time pushing Brian Johnson's vocals to the back, like he's singing from a tunnel.  While he's being buried by the riffs, I do think the writing is a little better this time around.  The band certainly still knows how to get heads bobbing with their bluesy grooves and chunky riffs, and there's a little more energy going around.  Unfortunately, the lyrics do feel like leftovers from their career, often covering the same topics with less wit or creativity.  Still, the band remains pretty consistent with their sound, so there are no major shake-ups naturally, and none should be expected.

As always, reviewing AC/DC is perhaps a moot effort.  Either you already know by now if you like them or not, but as I'm going through their discography, it's fun to find a gem or two.  "Shake Your Foundation" is probably the closest they get to Back in Black anthem territory, and I did like the bluesier groove of "Danger."  Overall, it's a pretty bog-standard effort for them as they tried to find their place among the growing glam metal movement.

Lee Aaron - Call of the Wild

For some reason, I thought Metal Queen was Lee Aaron's first album, but it turns out it was her second.  I guess I should take the time to go back and give that listen, but for now, I'm moving forward and catching this one while I'm focused on 1985.  While the music is still wearing tons of metal clichés on its sleeves, I do think it's a bit of a stronger album than the last one.

It might be difficult to find an album that sounds more 80s than this, though.  Not only does it continue the glam/pop metal style of rockin', synths get added to a handful of songs, giving it a slight Night Ranger/Europe vibe.  Once again, Lee herself is a great singer, though I do think she tries to force a sense of toughness here and there with mixed results.  Otherwise, it's some pretty straight-forward 80s rock music.  The starts well enough with "Rock Me All Over" and "Runnin' From the Fire," and "Line of Fire" has a bit more of a cinematic feel, but the album is pretty consistent across its run time.  Fans of 80 MTV-savvy rock music will probably enjoy it, but again, it's hard to recommend when the music sticks to a formula that's done better elsewhere.  A nice listen, but not much else to it.

Ratt - Invasion of Your Privacy

While Ratt are often consider just part of the 80s glam metal pack, but they actually do have some decent songwriting.  Their debut album Out of the Cellar really is just non-stop rocking from start to finish, and after giving their sophomore effort a listen, they didn't lose a step!  

For what it's worth, there really isn't anything particularly innovative or noteworthy about what the band does here because they are very focused on straight-ahead, mid-tempo rock songs, with great results.  Things start off well with big singles "You're In Love," and "Lay It Down," but there are some decent gems further in, like "Got Me On the Line," and "You Should Know By Now."  Things get a little slower with "Closer to My Heart," but it's not really a ballad and features some interesting overlapping with acoustic and electric guitars.

Ultimately, the album is very consistent, with solid execution, making it quite the standout in a time where pop metal is really thriving.  There's a decent chance this might end up in my Top 5, but I need to listen to a bunch of others to decide.  As it stands, it's a great follow-up of a great debut album, and I kinda wish I had been paying more attention to these guys sooner!  I'll definitely be checking out the rest of their albums in the coming years.

AC/DC - Blow Up Your Video

So this is a few years later than the one I just reviewed at the top of the article, but I figured I should squeeze it in.  As I'm going to be listening to their subsequent three albums over the next few months for their respective Top 5 articles, and I didn't see the point is leaving this one out.  I also listened to Who Made Who, but that was more of a compilation with a few new songs for a Steven King horror movie.  (For what it's worth, those were instrumental except for one, and they're all okay.)  Now, a few years later, and bringing back the producers who helped them with their 70s albums, the band seems to have made some corrections with a solid chunk of new tracks.

The production is fixed, compared to previous albums, and honestly, the streamlined simplicity has taken center stage again, as these songs are actually pretty catchy and groovy.  The album starts well with their two singles "Heatseeker" and "That's the Way I Wanna Rock 'n' Roll," but then follow it up with the funk rock track "Meanstreak."  From there, the album just kinda cruises along as AC/DC always does, without any real surprises, though "This Means War" is a pretty nice and upbeat closer.  Overall, it's definitely an improvement over what they had been doing through most of the decade, probably their best album since For Those About to Rock We Salute You.  Once again, there isn't much to say when AC/DC is good, as you know what to expect.  While it isn't one of their better ones, they've definitely been worse, and it's good to hear a band find their groove again.

Retro Reviews - 1985 Edition Part 2!

Yup, another slab of albums from 1985, this time focusing on sophomore releases from bands with two words in their names (I didn't plan that, but that's what happened).  Did these bands succeed in expanding and improving their sound, or did they fall in a slump?  This is the question I asked as I checked out this handful of heavy metal releases, and got some interesting results!

Saint Vitus - Hallow's Victim & The Walking Dead (EP)

This band is one of the classic doom metal bands that helped establish the genre with a sound very reminiscent of 70s Black Sabbath (if their name wasn't a major clue).  I listened to their first album years ago, and found it delightfully Sabbath-y, despite the muddy production.  However, now that I'm working on listening to a bunch of albums for my Top 5 articles, this ended up on the list as something I wanted to follow up on.  Unsurprisingly, it's another chunk of Sabbathy metal riffing and energy, but they mess around with the formula more.

The major thing that's different is that they push into some faster song-writing, with some mixed results.  "White Stallions" is not bad, but the title track is a sloppy attempt at speed metal.  "War Is Our Destiny" shifts its tempo around, starting slow, picking up speed, then shifting back down for the lyrics.  Of course, they retain their Sabbath inspirations on songs like "Mystic Lady," "Just Friends (Empty Love)," and "Prayer for the (M)asses," so the doom hasn't disappeared.  It just seems like they were trying to push their sound in a few different directions to see what their limitations were.  As a consequence, some of the atmosphere is gone, making it hard to just soak into the songs like with their first release.

I saw that Hallow's Victim is often paired with an EP that came out the same year titled The Walking Dead, featuring "White Stallions" again, a song called "Darkness," and the title track, which goes 11 minutes.  "Darkness" goes for more uptempo energy with triplet chugging, but feels a bit sloppy as well.  However, "The Walking Dead" is a plodding doom epic.  It does get a little repetitive, but it's also the song with the strongest sense of atmosphere compared to the rest.

Overall, I think their first album is better, but I can see that this band was trying to blend some new ideas in to see where they could go with their sound.  While I don't think this album and EP are bad, their certainly clunky.  Those looking for more classic doom will find bits and pieces to like, but may not connect with the material as a whole.  

Fates Warning - The Spectre Within

After their first album was a bit of a mess (though some decent US power metal), Fates Warning really come out swinging for their follow-up, establishing a stronger prog metal sound.  This second album is definitely an improvement, retaining what worked before and refining into something that sounds pretty distinct and powerful.

The new level of progressive comes right at the start with "Traveler in Time" with a bunch of mixed meter elements and some pretty curious melodies and harmonies.  The album maintains this proggy attitude throughout, and it feels like a bit of a missing link between early Savatage and Dream Theater's first album, with a heavy dose of Maiden-style riffing and soloing.  Seriously, the guitar work on here is impressive, as Jim Matheos and Victor Arduini really work their fingers off!  All of this would be fine if it weren't for the lyrics.  While John Arch is a great singer, the words feel like they're off by half a measure, not really lining up with the songs' phrasing, so the lyrics sound like rambling as much as singing.  Maybe it's just an attempt to be strange and unique, but the results can feel jarring.  The album ends with the nearly twelve-minute "Epitaph," which is their first attempt at a prog epic, and it's not bad.  I don't think it completely earns its length, as I think some of it is padded just to make it longer, but it was a solid closer.

"The Apparition" and "Kyrie Eleison" were the tracks that stood out the most to me, having some very strong Iron Maiden and Metal Church energy.  Considering the album as a whole, it definitely feels like a band in transition, trying some things to see what works and what doesn't.  However, unlike the Saint Vitus album above, this is clearly a step up for the band.  It's clear that they were settling into their own unique sound with this album, while having some excellent and unique guitar work.

Grave Digger - Witch Hunter

After checking out their latest album, I figured I should dig back into Grave Digger's past.  I listened to their debut years ago, and I thought it wasn't bad, despite being pretty sloppy.  With the follow up, they've definitely tightened up their song-writing and their chops, but once again, they focus on just having a lot of energy to make up for their flaws, and it mostly works.

This is pure 80s German metal, equal parts Accept and Judas Priest, with faster tempos and a harsher attitude, providing mainly by Chris Boltendahl's iconic gritty voice.  The guitar work by Peter Masson is furious and aggressive, and the rest of the band pound out these songs with gusto.  "Witch Hunter" takes a bit to get into with the long intro, but settles into some solid, horror-themed metal, and "Get Away" is a great speedster.  However, some of the other songs tend to have some strange transitions.  "Get Ready for Power" wants to have this anthemic chorus, but the half-tempo approach doesn't match the rest of the song's speed.  "Fight for Freedom" and "Friends of Mine" also have some jarring shifts, going from melodic and slow to thrashy and aggressive on the turn of a dime.  Their cover of Alice Cooper's "School's Out" is quite tame in comparison to the rest of the album.  Of all things, though, I ended up liking the ballad quite a bit.  "Love Is a Game" might seem pretty cliched, but Chris actually croons on it, and he sounds surprisingly good.  I also like that descending riff under the chorus.

Overall, it's a bit of a mixed bag of an album, but most of it falls on the good side, largely because of the energy the band pushes.  This album is an improvement over their debut, and you can tell they're having a lot of fun playing these songs.  Chris gets in some good wails and the solos are often satisfyingly shreddy, making it a bit of a gem that is better for its lack of polish.  Sometimes metal just needs to be metal, and this album shows how that works.

Armored Saint - Delirious Nomad

While I thought their first album was solid, if a bit generic, Armored Saint carried on with a rather quick follow-up, like the other bands in this article.  They ended up getting a producer who worked on Ozzy's first few albums, resulting in an album that has a lot of polish and tight songwriting.  

It really does feel like a blend of what Judas Priest and Ozzy were doing in the early-to-mid 80s, aiming for a more polished heavy metal sound without going full-on glam metal.  John Bush remains a great singer, bringing a lot of swagger to these songs, and there's some solid riffing and soloing.  "Over the Edge" has an interesting bluesy-groove, and "Aftermath" has some curious transitions to different levels of intensity.  Unfortunately, the rest feel very typical for 1985, and I'm surprised that this stuff wasn't put on MTV at the time, as it would have fit right in quite well.   The lyrics do stick to darker subject matter, like revenge, madness, nuclear apocalypse, and isolation, so maybe that kept them out of glam territory at the time.

Honestly, this album feels rather ahead of its time, sounding like some of the later 80s pop metal, like Skid Row, Tesla, and Winger (as there are a few proggy touches).  Like their first, this is by no means a bad album.  Featuring well-written, well-performed songs, you could certainly do a lot worse than many albums that came out at this time.  However, I can't deny that little of it sticks in my mind once I've finished listening to it, making for a bit of a middling release.

Retro Reviews - 1985 Edition!

Well, I have to admit I'm having a pretty slow month.  Hayfever hit pretty hard, and I'm realizing that I have a lot of gaps in my 1985 list, so I'm going to have plenty of retro review articles for this year as I figure out my Top 5 (which might be delayed as a consequence).  I decided to start things off by getting into the neo-prog scene, so here are three reviews of albums that have some interesting takes on what 80s prog rock was doing.

Pendragon - The Jewel

I admit I gave this a shot purely on the notion check out a new band from the neo-prog era.  I saw their name on a list, saw that their debut was in 1985, and gave it a listen to see if it had a chance at being in my Top 5 article.  While they toured with Marillion quite a bit at this time, they definitely sound more like Asia or Drama-era Yes, with some 80s Rush-style AOR here and there.

The album starts with "Higher Circles," which honestly feels like a single, with it's typical structure and bouncy rhythms.  It's not bad, but certainly not indicative of the rest of the album with it's more complex prog rock ideas.  The next track in particular, "The Pleasure of Hope," is just under four minutes long but has some curious energy shifts.  "Leviathan" is where I think the band finally stretches out and finds their strengths, and "Circus" really lets the synths build quite well.  While he would only be on this album, keyboardist Rick Carter gives the band a good, atmospheric wall of sound, and trades solos quite well with Nick Barrett (the guitarist and singer).  Speaking of which, I think Nick sounds a lot like Greg Lake, his unique English accent piercing through the songs.  The album closes with its longest song "The Black Knight," at nearly ten minutes long.  Here, the band leans into more somber, Pink Floyd style, and shows a lot of their unique dynamics and thoughtful melodies.

Going in rather blind, I was pleasantly surprised by what I heard.  While they were (unsurprisingly) very 80s, they don't feel stuck in one style or another, and blend their influences and ideas together well.  "Leviathan" and "Circus" were the two that stood out the most for me, largely because of Peter Gee's melodic bass work making me think of Chris Squire (which is always a good thing in my book).  I'll need to listen to this a few more times to decide how I really feel about it to rank it, but upon first impressions, I found plenty to like!

Marillion - Misplaced Childhood

While their first two albums were interesting works, if a bit messy at times, the band found their stride with this one, not only maturing as song-writers, stretching their ideas into concept albums and tracks that segue into long flowing pieces across the album.  It also ends up being their breakout success, largely through "Kayleigh" becoming a hit single.

Inspired by Fish's life (and an acid trip), the album focuses on lost love and lost innocence, but also in finding it again and being revitalized.  The band carries these ideas well, keeping to their blend of influences, though I do think their Pink Floyd side was much stronger this time around.  While the big hit "Kayleigh" is a standout, the whole album is actually quite good, without really having any low points (and Fish seems to be less whiney this time around).  The short tracks almost serve like intermissions or segues, and each side feels like a long, winding prog epic, with interesting twists and turns, again much like Pink Floyd.

It really feels that everyone in the band is more in sync with each other now, as the rhythms and melodies flow well between high and low dynamics, though for much of the album, the tone stays pretty somber.  It's not until the end that the mood improves and Fish gets rather optimistic about things.  I don't know if it's better than Clutching at Straws (I should relisten to that again), but Misplaced Childhood is a definite improvement for the band.

IQ - The Wake

To round out this article of 80s neo-prog, I decided to listen to IQ's second album.  I checked out their debut album last year and found it interesting, if a bit messy.  However, even in just a year, the band starts to settle into their unique brand of dramatic melancholy.

Once again, the production is a bit dated.  They're trying to get this wall-of-sound style to work, and it mostly does, but it sometimes gets muddy, and vocalist Peter Nicholls often gets buried in all the synths, but I was able to get used to it eventually.  This album gets more atmospheric than the debut, which becomes a staple of the band's sound (at least, from what I've listened to).  Things start pretty spacey with "Outer Limits," as it has a long intro and some interesting rhythmic changes.  I liked "The Magic Roundabout" with it's Yes-like blend of jazz and classical (though I do wonder if that wasn't intentional, considering the title), and "Widow's Peak" goes through some interesting dynamics as well.  The shorter songs were more poppy, but I liked the energy on "The Thousand Days."  While it makes for some decent variety, the tracks all blend well with the style they're building for themselves.

Overall, this is definitely an improvement over Tales from the Lush Attic, mainly because this album feels more whole and consistent.  There are some neat little melodies, and Martin Orford gets plenty of work layering all those synths and organs.  While I can imagine this getting lost in the cracks while Marillion found success, but it very much marks when this band started to codify their iconic sound.

Top 5 of 1980!!

I'm certainly having a busy spring, putting out all these articles.  There's just so many different bands and albums I want to get to, partially because of all these Top 5 pieces, and I'm enjoying the ride.  However, let's stay on track with this one, which was not easy to decide, let me tell you.  Even for my Anniversary Article, I talked about how good this year was, and in reviewing this year, that feeling has only gotten stronger!

The first, second, and third came together pretty quickly for me, but for fourth and fifth, it was a struggle.  With Rush, Journey, Ozzy, and Saxon all in the mix, providing solid albums, I had to do a lot of relistening to decide who would make it and who wouldn't!  However, the biggest heartache has to go to Def Leppard's debut album.  So many good, clever songs with catchy leads and choruses, but unfortunately, it wasn't enough to squeeze into a very packed Top 5.  So what made it?  Keep reading!

5. Black Sabbath - Heaven and Hell

I remember when I first reviewed this album, I was impressed.  Dio's time with Black Sabbath was pretty unique, blending the iconic singer's flair for the dramatic with Tony Iommi's massive riffing, making for a very memorable album.  Listening to it again, there were all these little moments that really elevate this album beyond the ones that didn't make the cut.  It's just those last few songs that keep it from getting even higher.

4. Judas Priest - British Steel

When I first listened to this album, I was actually not that impressed.  Sure, the two big singles were great, but I felt that the rest of the album was just okay.  Going back to it now for this article, I have no idea what I was thinking.  This is front-to-back solid, classic Priest to a T, with plenty of great, catchy songs and riffs.  

3. AC/DC - Back in Black

Of course this album is up here.  You know it's great, so I won't bother with the details.  As tragic as the passing of Bon Scott was, you can't deny that the band bounced back well.  We all still hear most (if not all) of these songs on the radio, and for good reason.  Catchy, memorable, hard-hitting, no-frills rock and roll by musicians who have mastered their craft.

2. The Alan Parsons Project - The Turn of a Friendly Card

So here's where the nostalgia kicks in.  I've mentioned before that I grew up on this band, so they were going to rank high, no matter what.  Here, we have them focusing on the themes of gambling and its consequences, while still giving a very solid set of catchy songs that have been ingrained into my DNA.  The basslines in particular are strong, and the album never seems to lose its luster after these years, thanks to the brilliant production of Parsons himself.  The only reason it isn't number 1 is because my favorite band also put an album.

1. Yes - Drama

Drama is certainly an odd album, considering the circumstances.  Bringing the Buggles on board certainly changed up their sound, bringing new wave sensibilities to their classic prog style.  The result is a very crisp album with some fresh new synths from Geoff Downes, and a mind-blowing rhythm performance from Alan White and Chris Squire.  The album wasn't a hit at first, but over the years, Yes fans have come to accept this dark horse in the catalog, and frankly, it's one of my favorites.  I promise Yes won't always come out on top with these lists, but when they release albums like this, I can't help myself!

Retro Reviews - April 2025 Part Two!!

I thought about changing things up with a different article, but I was just such in a mood for more classic releases that I figured I'd just write up another one!  I've also realized that there are a lot of albums from 1985 that I want to talk about, so getting a head start on those seemed like a good idea.  Get out some patches for your denim jacket, because it's time for some classic metal!!

Manilla Road - Invasion

It's hard to talk about the US power metal scene of the 80s without bringing up this band.  Between these guys, Omen, Riot, and Manowar, they created a style that may not have been the biggest during the decade, but certainly cemented a legacy that would inspire others around the world.  However, when Manilla Road got started, they were much more in the vein of heavy space rock.

My immediate thoughts is that this is like a blend of southern-friend rock with some early Rush.  I admit Mark Shelton's gruff vocals help lend the band that southern sound, but it works for the kind of stuff they're doing.  Much of the riffing is on the noodly side, making me think of Alex Lifeson in particular, but the songs focus on jams more than organized sections or transitions.  Scott Park's bass in particular has a tendency to drone on a rhythm or groove, letting Shelton go nuts on guitar, and the atmosphere they create is not bad.  The production can be a bit rough, making the band sound muted at times, but otherwise, this album coasts along pretty well, as I was banging my head through most of it.

While it isn't quite metal, the album does have a lot of good energy, especially on "Cat and Mouse," but there are times where the spacy-ness gets a little carried away, like on "Far Side of the Sun."  Meanwhile, "Centurian War Games" goes completely acoustic with a folky vibe, like something Uriah Heep would record in the early 70s, and "The Empire" is a thirteen-minute closer that goes back and forth between energetic rock and spacy interludes.  It's a rough album, but they clearly had big ideas from the start, so I can see this setting the foundation for the epicness to come.

Saxon - Strong Arm of the Law

Not just content with releasing one great metal album in 1980, these Brits went back to the studio to push out another.  While the first one definitely had a lot of Motörhead influence, with Strong Arm of the Law, they leaned into a bluesier style, making them sound much more like AC/DC.  Still, this is some pretty solid rockin' stuff as Saxon settles into their style more.

The same lineup provides much of the same charm, with Oliver and Quinn providing some chunky riffs and even trading solos at times.  Gill and Dawson remain a decent rhythm section, though I don't know if they're as dynamic this time around.  However, Biff Byford remains a timeless singer, ringing out those notes with style (though I do wish he was a tad louder in the mix).  

"Heavy Metal Thunder" is an immediate standout, and it's followed by "To Hell and Back Again," which keeps things moving forward.  Singing about the plane-flying thrill of "20,000 Feet" adds a bit more aggression on the album.  The rest of the tracks aren't bad, but lack maybe a bit of the punch that Wheels of Steel had, which makes this a bit of a let down.  Overall, it's a decent chunk of classic metal, showing how vibrant the NWOBHM scene had become.

Warlock - Hellbound

Let's start my 1985 pile of reviews with a legend.  Doro Pesch has been the Metal Queen since the 80s (despite what Lee Aaron might claim), and she started with a band called Warlock.  I've listened to their first album Burning the Witches, and it was alright.  The songwriting was a little rough, and the lyrics were pretty cliched, but they played with good energy, and Doro's voice was immediately iconic.  (For what it's worth, I've also listened to Doro's Fear No Evil, which was pretty fun, but otherwise I'm pretty new to this singer's history.)  As for Warlock's second outing, the production gets a very nice boost in quality, but the songwriting remains clunky and filled with 80s metal clichés (which isn't a bad thing). 

Right off, the album starts with a big chord, a cheering crowd, then into some fierce, speedy chugging for "Hellbound."  It's a great, high energy start to the album, and the later track "Time to Die" right there with it.  But the rest of the songs tend to settle into a typical, mid-tempo style.  There's nothing wrong with that, but it gives the album a bit of an identity crisis, as if they couldn't decide to be an 80s glam metal or more of a speed metal band like Running Wild.  "Earthshaker Rock" in particular shifts back and forth between these two styles rather awkwardly, though it ends in a nice speedfest.  For what it's worth, the band is playing their hearts out, full of energetic playing and Doro's soaring voice.

There really is a lot to like on here.  If you don't mind some messy songwriting, it's easy to get lost in the thrill and passion of what they're playing.  I liked the opener "Hellbound," and I thought "Out of Control" had some interesting glam metal storytelling.  The vocal harmonies on "Time to Die" also stood out to me as something pretty cool.  Overall, it's a fun album, but I don't know if it will find its way into my upcoming Top 5 list.

Accept - Metal Heart

Yup, I'm still making my way through this discography as well.  After the breakout success of Balls to the Wall, the band decided to lean in more of a pop metal style for their follow up in order to keep a good thing going.  While they retain much of their iconic sound, the songs do suffer a little in the songwriting department.

As for the lineup, Herman Frank steps out, so the band brings back Jörg Fischer, who sticks around for a good while after.  Nevertheless, some of the songs are business as usual, such as the title track, "Up to the Limit" and "Dogs on Leads."  However, they really lean into a more MTV-savvy, glam metal style for many of the other tracks, with some mixed results.  "Midnight Mover" and "Living for Tonite" aren't bad, as they are, but "Screaming for a Love-Bite" and "Too High to Get It Right" are filler and don't leave much of an impression.  The band then gets a bit jazzy with "Teach Us to Survive."  There's some interesting drumming and a neat swing groove, both otherwise, the track does the album no favors.  Fortunately, things end well enough with "Bound to Fail," with it's triumphant riffing and doomed lyrics.

I can definitely imagine fans feeling a little betrayed with this one, as their previous few had been some pretty solid heavy metal without compromise.  Still, there were certainly worse records to have come out at this time as the glam took over the decade.  As for Accept, perhaps it's just a victim of its circumstances, but this is definitely a step down, despite that excellent, classically-inspired title track.

Retro Reviews - April 2025!

Well, I hope your Spring has been more stable than mine.  I've already had both snow and hail!  In the mean time, I'm still working through some classic releases, partially to check out some albums for my Top 5 articles.  Here's what I've been jamming lately!

Druid - Toward the Sun

I was in some prog rock community when I saw someone mention this band and how Yes-like they were.  Curious, I figured I'd put it on my list of bands to check out, and now that I'm doing these Top 5 lists, I thought I'd listen to their debut from 1975.  While this band didn't last long, they certainly have the pieces of something interesting, though it's much softer than I was expecting.

I want to say that there's a big Canterbury Scene vibe, as this is largely a very mellow album, similar to some of Yes's softer songs, like "To Be Over."  The rhythm section is solid and jazzy, with bassist Neil Brewer throwing in a few Squire-like melodies.  Andrew McCrorie-Shand puts in a ton of work with his Mellotrons, so if you like that sound, it's here in spades.  However, the vocalist, who simply goes by "Dane," seems to be trying a little too hard to sound like Jon Anderson, stretching his falsetto just a tad too far here and there.  Otherwise, they sound pretty cohesive as a unit, with plenty of nice, pastoral melodies.

That being said, I do wish there was just a bit more rock energy on the album.  There are a few uptempo moments, but it's pretty clear they're more interested in creating atmosphere and space.  Perhaps it's because they're not as technical as Yes, so instead of impressive musicality, we get a handful of songs that just drift along.  I did end up liking the two longer songs at the end the most, "Dawn of Evening" and "Shangri-La," with their expressive dynamics and transitions.  Maybe this will grow on me with more listens, but for now, it's mainly a decent album.

Saxon - Wheels of Steel

Shifting ahead five years, this is the first of two albums this legendary NWOBHM band put out this year (I'll get to the other one soon enough).  While their self-titled debut had some decent ideas, the band clearly hadn't matured into their sound quite yet, mainly being 70s hard rock.  Just a year later, and already I'm hearing more of Saxon's iconic blend of rock and metal.

Things kick off with the uptempo "Motorcycle Man," feeling like they took a few cues from Motörhead, who I learned they were touring with at this time.  "See the Light Shining," "Machine Gun," and "Street Fighting Gang" all have a similar style, and keep the album moving forward.  Meanwhile, their other car-driven speedster "Freeway Mad" made me think of Deep Purple, and "Stand Up and Be Counted" had some nice Thin-Lizzy style guitar harmonies as well as a good, catchy chorus.  I will admit that "747 (Strangers in the Night)" and the title track dragged a little, and "Suzie Hold On" was oddly sentimental, but they were still fine.

Already, I hear the improvement, as the songs are tighter and stronger than the first album.  Biff remains an iconic singer, with Paul Quinn and Graham Oliver really uniting as a guitar duo on this album.  Meanwhile, the rhythm section of Pete Gill and Steve Dawson maintain good energy throughout, ensuring that the album never really loses its steam.  Overall, I liked a lot of this one, as it feels like the band is definitely in their groove at this point.

Motörhead - Ace of Spades

Speaking of which, this legendary band would release their best known album in 1980 as well!  I reviewed Bomber last year, and I thought it was fine, if a bit sluggish.  I know that On Parole came out between these two, but it seems to be largely ignored by the band, so I'll just move ahead to this one.  While it may seem like business as usual for this band, I find this album is more consistent in quality than their earlier ones.

The album kicks off with the title track and probably their most iconic song.  I remember first hearing it as the intro music to Tony Hawk's Pro Skater 3 (which probably dates me quite a bit!), and its infectious energy makes it absolutely timeless.  The rest of the album is some pretty typical rocking from the trio, with lots of chunky, straight-ahead riffs and Lemmy's iconic crooning.  Other than the title track, the stand-outs for me were "Live to Win," "Fire, Fire," and "The Hammer," but overall I can see why this album is their most successful.  While it's not perfect (as the lyrics do get pretty sleazy at times), it has a lot of drive and power, making it very influential on a lot of other bands and a landmark album in heavy metal history.

Iron Savior - Dark Assault

In between all the classic rock I've been listening to, I figured I'd break things up with catching up on Iron Savior's discography.  The next album in my journey ends up being the last with Kai Hansen, so his influence seems particularly prominent, as many of the songs definitely have a Gamma Ray feel to me.  Still, this is same solid, chunky power metal that I've come to love and expect from these Germans.

While not all the songs stick to the Iron Savior story, they do tell the tale of a new threat called the Shadow, causing the Earthlings and Atlanteans to work together to face them, even if it means taking a suicide mission to close the gate they came from.  In the meantime, the titular super computer star ship works out its philosophical crisis and comes back to help humanity fight them off.  Certainly an epic sci-fi tale worthy of some melodramatic power metal.

The album starts off a little odd, as the opening track "Never Say Die" starts with a muted tone, but things kick into gear soon enough.  The energy continues with highlights like "Seek and Destroy," "I've Been to Hell," "Predators," and "Firing the Guns," the last of which features some laser-heavy special effects.  I will say it does get a little cheesy towards the end, with "Back into the Light" making me think of Queen's theatrics, and "After the War" is a power ballad, leaning pretty hard on some synthesized strings.  Then they have a few decent covers to wrap things up (at least on the Japanese version).  While Hansen's Gamma Ray style is very prominent, I can also hear the band slowly developing their own sound, and the album brings the story to a solid close, at least as a trilogy.  Of course, things may change with the next album, which I'm looking forward to.  While I don't know if I love this one like I do their most recent albums, but I'm definitely enjoying the origins of this band and their storytelling.

April Fools! Weird Al Rocks the 90s!

Well, I had planned to do this article last year, following up from my first one, but totally dropped the ball as the concept slipped my mind entirely.  Better late than never, in any case.  Picking up with his soundtrack to UHF, we'll be mostly focusing on his 90s albums.  Rock music wasn't as much of a focus for him during this decade, as pop music drifted around a lot of genres by then.  Still, there's plenty of curious rock songs through the years that still put a smile on my face.

After his second Michael Jackson parody was a big success, Weird Al turned to making a movie in an attempt to parody film and television.  While it flopped in the box office, it's become a cult classic, and honestly is a pretty good representation of his style of humor.  Certainly a fun film, at the very least.  However, the official soundtrack was more like one of his typical albums, only featuring a few songs from the movie, as well as some of the kooky commercials as little audio skits.

When it comes to rock music, the title track is a solid stand out.  Rather than be a parody of anything specific, it's just a fun rock song with a very catchy riff.  It's probably my favorite song on the album They also take the opportunity to write another goofy sci-fi film song with "Attack of the Radioactive Hamsters from a Planet Near Mars" and the polka medley this time is a collection of Rolling Stones songs.  "Generic Blues" ends up being a fun dose of dark humor, making a big deal about minor annoyances, but supposedly, B.B. King said it was one of the best blues songs he'd heard.  However, the highest profile rock song is a curious parody of Dire Straits, taking their big MTV hit and replacing the lyrics with those of the Beverly Hillbillies theme song.  While it fits well with the themes of his movie, the song isn't one of his better efforts, in my opinion.

The failure of his movie left Weird Al scrambling, and when Michael Jackson understandably declined to let him parody his next hit "Black and White," the musical king of comedy felt that perhaps his time was over.  Fortunately, with the arrival of Nirvana and the explosion of grunge, he found his next target, even going so far as to parody the Nevermind cover.  "Smells Like Nirvana" was a massive hit for him, and its easy to see why, making fun of the Cobain's mumbled lyrics while maintaining the apathetic tone of the original.  It's been a staple of his live shows ever since.

As for the rest of the album, there are a few interesting rock songs, all style parodies instead making fun of a given song.  "Trigger Happy" is a curious take on surf rock and guns.  "I Was Only Kidding" is a very sarcastic, heavy song that I think gets close to Megadeth in some ways.  (I think it would be rather fun if Dave Mustaine covered that song in his snarling style!)  "Airline Amy" and "When I Was Your Age" are more typical, but fun, rock songs, and while "You Don't Love Me Anymore" was just a spoof of acoustic ballads in general, the music video ended up being a poke at Extreme's "More Than Words."  The standard polka medley even has some Metallica, Warrant, and Mötley Crüe.  While the Nirvana song dominates the popularity of this album, the rest of the songs prove that Weird Al had plenty of gas in the tank, allowing him to carry on through this decade.

Now that he was in the swing of things again, he didn't hesitate, putting out Alapalooza the following year, the title riffing on the Lollapalooza festival that had just started.  While the main song was more about parodying the Jurassic Park movie with a symphonic pop song from the 60s, there was still plenty of rock to be had.  The shift to alternative rock is certainly felt, with a pair of Red Hot Chili Peppers hits turned into a song about the Flinstones and a style parody of REM called "Frank's 2000" TV." 

However, the big rock songs include a strange parody of Aerosmith's "Living on the Edge" about spoiled food that's now "Living in the Fridge," and a fun style-parody of AC/DC titled "Young, Dumb, and Ugly."  "She Never Told Me She Was a Mime" is another solid rocker, with an amusing premise.  (You think he would have noticed.)  But the best song on the album, in my opinion, is a full polka version of Queen's "Bohemian Rhapsody."  Instead of doing a medley songs, Weird Al and his band do the whole song in his bouncy style and getting plenty of work out of his accordion.  Obviously, Queen would have given him permission (as that's how Weird Al does things), but I would like to have been a fly on the wall when the esteemed classic rock band heard the thing the first time.

After a few more years, Weird Al would follow up with Bad Hair Day, featuring one of his most famous (and controversial) parodies with "Amish Paradise," even making fun of Coolio's hair on the cover.  As for the rock stuff, he's followed the trend of the expanding alternative rock scene, including parodies of U2 and Soul Asylum, and even naming his polka medley "The Alternative Polka," covering bands from R.E.M. and Nine Inch Nails to Foo Fighters and Soundgarden.  He also did a style parody of grunge with "Calling In Sick," which ends up being a solid track full of thick guitars and lazy angst.  The album ends with one of his starkest bits of morbid humor with "The Night Santa Went Crazy," a crazier holiday single than "Christmas at Ground Zero."

Beyond that, though, there really isn't much that really fits in with the kind of stuff I cover on my blog.  Still, this is a fun album, and one of his most popular for good reason.

From here, he would only get bigger.  For his next album, he was able to time "The Saga Begins," a song about Star Wars Episode I, in time with that movie's theatrical release.  Parodying "American Pie" by Don McLean and getting the music video up on MTV as the movie was delighting and disappointing audiences around the world, it was a massive success.  However, the rest of the album, while quite good, again doesn't really match my blog very well.  Much of it is either pop, hip-hop, or alternative rock, including The Offspring, Barenaked Ladies, Nine-Inch Nails, and ska bands like Mighty Mighty Bosstones, with the polka medley catching artists such as Smash Mouth, Matchbox Twenty, Third Eye Blind, and Marilyn Manson.  Still, I admit that, because this album came out right when I was starting to become a fan, I listened to this a lot through my high school years.

However, this album is topped off with a kind of modern prog masterpiece in "Albuquerque."  Not necessarily making fun of any particular artist (though Wikipedia lists a few), this is a straight-ahead hard rock number that goes for over 11 minutes, and is a blast to listen to all the way through!  The bizarre topic changes as part of an ongoing adventure may make it a little hard to follow, but it's peak Weird Al comedy with a very catchy chorus.  And yes, he has played it New Mexico.  While this album would be another big success, ensuring his continued relevance, it's hard to say much about it, even as a joke for a rock and metal music blog.

And I know this will only get harder as I continue, but I do want to complete his album discography with one more article.  I have enjoyed going back over his albums, though, picking through to find rock moments to talk about.  Weird Al is a staple of any good musical library, and I won't hear otherwise!

Top 5 of 1975!!

Like I mentioned in the Anniversary Article for this year, this was a year of transition, with prog rock phasing out and arena rock taking over.  Still, this meant a lot of good albums, and putting together this Top 5 was harder than it seemed.  As usual, I want to note that I'm just one guy with limited time, listening to what I can, and I'm keeping things within the scope of the blog, so this isn't going to be the most comprehensive list ever.

I did want to talk about a few honorable mentions, though.  While Black Sabbath and Scorpions had some decent stuff, those albums are a little clunky, and even though Rush had two albums this year, neither of them made it (even though Caress of Steel nearly made it in!).  With that out of the way, here's my Top 5 for 1975!

5. Rainbow - Ritchie Blackmore's Rainbow

Sure, it might not be their best album, but this was the world's introduction to the titanic singer Ronnie James Dio, and his presence is immediately felt with "Man on the Silver Mountain."  While the album does get a bit goofy here and there, I find it to be pretty consistent in quality, and so it squeezes in here at number 5.

4. Queen - Night at the Opera

Like I mentioned when I reviewed this, it would be impossible to talk about this decade without Queen, and this album is a major reason why.  I have to admit it was tough to decide whether or not I liked this more than Zeppelin's work, but in the end, fourth is not a bad place to be.

3. Led Zeppelin - Physical Graffiti

Again, this an obvious choice.  While their definitely experimenting with their sound, they still dominate the hard rock scene with titanic songs like "Kashmir" and "Ten Years Gone."  Being a double album, I will say that it's probably a bit too long, but that doesn't make the album any less amazing.

2. Styx - Equinox

I won't deny that Styx is one of my favorite bands, and even a clunky album of theirs will still rate highly for me.  It's a bit of a janky listen, but with catchy rockers like "Lorelei," "Lonely Child," and "Midnight Ride," the album gets plenty of play.  That awesome riff in the middle of "Suite Madame Blue" seals the deal.

1. Pink Floyd - Wish You Were Here

However, this year is dominated by Pink Floyd's follow up to The Dark Side of the Moon.  While it doesn't get the same level of acclaim as their iconic album, I still think there's a lot going on with this one as well as they perfect their iconic sound.  If you really want to see me gush about this album, go check out the band retrospective I did four years ago, but suffice it to say, this is one of my favorite albums, so it's no surprise to me that it takes the crown for 1975.

Retro Reviews - March 2025!

While working on my Top 5 articles, I ended up listening to a lot of new stuff.  However, I figured I couldn't do a review for all of them, but here's a handful that I thought were worth talking about, partially because they let me carry on reviewing these bands' discographies.  

Deep Purple - Deep Purple in Rock

While I've reviewed a handful of this band's albums, I'm certainly doing them out of order.  In preparation for this one, I did listen to their first three albums, and they're just okay.  Obviously, Jon Lord's neo-classical elements were neat, but it was clear that they weren't really doing anything too special quite yet.  With a lineup change, things are certainly different, as the band really digs in hard on a louder, more intense sound.

Right away, new vocalist Ian Gillian makes an impact.  Rod Evans wasn't a bad singer, but he wouldn't have been a good match for this shift into hard rock.  Gillian takes command of the songs and gives them a ton of attitude.  The rest of the band really turns it up as well, making some very loud and forceful tunes.  Jon Lord and Ritchie Blackmore go back and forth with their solos, while Ian Paice rocks out with new bassist Roger Glover.  I can definitely see why the band felt this was a restart for them, calling this iteration Mark II.

However, it's still rough in spots.  Lord leans a little too hard on some atonal chords for his organ in spots, and the second half of the album isn't as strong, which is why it didn't make my Top 5 for the year.  Still, it's all pretty solid, heavy-hitting blues rock.  Songs like "Speed King" and "Child in Time" have cemented themselves in rock history, and the album sets the foundation for them to turn into one of the major hard rock bands of the era.

Scorpions - In Trance

Yup, it's time to pick up where I left off with this band.  While the first two album had them still messing around with progressive rock ideas, here we have the band fully streamlined into a 70s hard rock sound.  While I don't think they have their iconic sound quite yet, I can't deny this one had some very fun songs, and I'm kinda surprised it wasn't a bigger deal back then (on an international level, anyway).

Once again, Klaus Meine shows why he's one of the best of the business, his vocals majestically soaring over the songs, and the harmonies are very spot on as well.  However, I do wonder if guitarist Uli Jon Roth doesn't take a bit too much of the spotlight.  Some of the songs later on the album just feel like pieces for him to solo over, and not much else (including the instrumental track that closes the album).  Still, what's here rocks pretty well, finding a spot between Black Sabbath, Deep Purple, and Uriah Heep (especially with those organs they use in the background sometimes).

As for standouts, the title track is the biggest, feeling like a mini-epic with how it builds, "Robot Man" is definitely on the quirky side, but it also has some good energy, and many of the tracks show Roth's range of guitar playing ability, with him playing both melodic and noodly parts quite well.  Which is why it's strange that it feels like this album wasn't a bigger deal when it came out.  I get that getting a record outside of Germany in the 70s may not have been easy, but I could see fans of Queen and Rainbow really digging this, between the theatrical tones and dynamic guitar work.

Uriah Heep - Return to Fantasy

Speaking of which, I'm still working my way through this band's discography!  John Wetton of King Crimson (and would later start Asia) joins them on bass for this album.  However, the band stays pretty consistent with what they've been doing recently, though with a few twists here and there.

For an album title that claims to return to the fantastical, the lyrics seem to focus on typical romantic stuff.  I admit I would have liked them to bring back some of the ideas from Demons and Wizards.  Nevertheless, what makes Uriah Heep is still around: the tight vocal harmonies, the prominent organ, now joined by more synths, and some solid rocking grooves.  Wetton seems to bring a little funk with him, as well.  The title track and "Showdown" show the band still has their chops, both in performing and song-writing.  "Beautiful Dream" gets a bit weird, but in a good way, as the song builds well.  And the closer "A Year and a Day" has some good dynamics and transitions, getting a bit anthemic.

However, some songs end up being just filler.  "Your Turn to Remember" is a pretty generic blues rocker, "Why Did You Go" has this somber vibe that I think they've done better elsewhere, and "Prima Donna" has this horns section and bombastic energy that it didn't even feel like Uriah Heep!  I'm not sure why they went with that for a single.  Overall, it's decent stuff, about as good as previous albums, if perhaps a little less inspired, as it seems like they're hitting the same notes as before.

Queen - A Night at the Opera

Well here's a bit of a throwback.  Much earlier in my blog, I started reviewing Queen's discography, hoping to get a little deeper into their catalog.  After doing the first three albums, I guess I dropped the ball.  Fortunately, these Top 5 articles I'm doing have inspired me to pick this band up again.  With all the 70s rock I'm listening to, it's hard to imagine the decade without Queen, after all.

Of course, this album is probably their best known, featuring some of their biggest hits, like "You're My Best Friend" and the immortal "Bohemian Rhapsody."  Getting into the deeper songs, we see more of their humorous and whimsical side, with "Lazing on a Sunday Afternoon," "Seaside Rendezvous," and "Good Company."  These sound like some of the Beatles' later experiments with a bouncier sound, but Queen gives them just enough pomp to make them their own.  As for more of their rock side, while "Sweet Lady" does feel like filler, "Death on Two Legs" has to be one of their most aggressive songs, and "The Prophet's Song," while maybe a little too long with the neat a capella section, is them at their most epic and theatrical.  Those looking for hard rock with plenty of flair would find little competition in the 70s.  

Reviewing this album maybe a little redundant, as it is so well loved, but like I said, I wanted to go beyond the handful of tracks that I hear on classic rock radio all the time.  While previous albums have decent, I can definitely say this one is nearly the complete package, a joy to listen to all the way through, and one of the best albums of 1975.  This Top 5 article I'm working on is gonna be hard to decide!

Catching Up with The Ferrymen!

After I enjoyed doing my Catching Up article with The Brothers of Metal, I decided to repeat the concept for another modern metal band that has always been on my radar, but haven't spent the time to review any of their work.  Largely pulled together by Frontiers Records, it features Magnus Karlsson (of Primal Fear and various symphonic metal projects), Mike Terrana (formerly of Masterplan and Malmsteen, among others) and the voice himself, Ronnie Romero (who also has plenty of projects as well, but was best known as the singer for Ritchie Blackmore's sudden revival of Rainbow in 2015).  With a strong pedigree and a flair for the dramatic, they've released four albums now, including one from earlier this year!  What better time to catch up with this band than now?

The Ferrymen (2017)

With the introduction out of the way, let's get to the music.  Right off, the group settles into a melodic heavy metal vibe, similar to the likes of Dream Evil, Silver Bullet, and Last in Line.  There are more symphonic flourishes though, which makes them much like other Frontiers supergroup projects, such as Allen/Lande.  In short, it sounds like what would happen to Dio's sound if he kept going and added more strings.

Speaking of which, Ronnie Romero wails his heart out, sometimes sounding like the classic singer, but also with a bit of grit, making me think of Jorn or even Robin McAuley at times.  Nevertheless, he's great here, and the other two members are in top form.  Mike pounds out the rhythm with ease, and Magnus gets to show off both his lush arrangements and guitar prowess, easily going between shreddy and melodic as the song needs.  The songs are pretty solid all the way through, though I do think "Eternal Night" is a bit of a clichéd power ballad.

I'm not quite sure why they're listed as "Power Metal" on the Metal Archives, as they really are more like a symphonic-powered traditional metal band (again, like Allan/Lande).  However, I will say that I like the more uptempo songs, like "Still Standing Up," "Eyes on the Sky," and the excellent closer "Welcome to the Show."  I also liked "One Heart," the other power ballad on the album, as I think it builds well.  Overall, it's a good album to build on, even though they don't really deviate from what they established here.

A New Evil (2019)

So I actually featured two singles from this album back when I was more focused on music videos.  I thought were pretty good, but I guess they weren't enough to get me to check out the rest.  Now that I'm picking up the slack, this album carries on their journey by bringing another solid slab of symphonic-tinged epic metal.

That does make it difficult to find much that's meaningful to say.  The production is still big and powerful, the trio continue to play well, and it's easy to just get lost in the escapism of the sound.  I don't know if this one is better than the first one, but there is still plenty to like.  The opener "Don't Stand in My Way" start things off well, and the two singles I mentioned above, "A New Evil" and "No Matter How Hard We Fall," remain strong pieces.  As for the ending, "You Against the World" has some strong Primal Fear vibes that I liked, and "All We Got" is a nice, upbeat, AOR-style closer.  I do think the symphonic elements are stronger, but honestly, they're sticking with what they have, as it's certainly working for them.

One More River to Cross (2022)

Three years later, and not much has changed.  Magnus shreds, Mike pounds, and Ronnie soars.  So is there anything different?  Well, I do think the symphonic elements have been boosted again, really going for some bombastic sections in a few songs.  I also think the songwriting has slightly shifted in more of an AOR direction, but even then, there's still plenty of chugging riffs and shredding solos to keep this squarely in metal territory.  Honestly, though, this is just me splitting hairs.  The Ferrymen have their sound, and they aren't changing it for anyone.

Once again, I like it when the bring the energy.  "City of Hate" gave me some Karevik-era Kamelot vibes, with the darker tone and aggressive riffing.  The title track (while not a cover of a great Alan Parsons Project song) ends up being a very cinematic song, with the orchestrations really bringing the power.  "Bringers of the Dark" and "The Last Ship" have some tight riffing and solid choruses.  Overall, it's another consistent album that doesn't really have a bad song, which means its about the same as the first two albums.  No need fix what isn't broken, after all.

Iron Will (2025)

I wonder if it isn't a bit of a mistake to have binged these albums.  If I had been listening to them as they came out, I think each one would feel more novel.  While I can detect some small differences, these albums are pretty interchangeable in their sound.  Of course, there's nothing wrong with being consistent, especially in quality.

I think on this album they do a better job of embracing their symphonic metal nature, really making the orchestrations a part of the song rather than just some epic flavor in the back.  Still, this is a minor detail, as the trio still do what they do best.  I will say that, as the albums have gone on, Ronnie isn't trying to sound like Dio quite so much, which is fine.  He's got a great voice that stands on its own quite well.  The songs have become pretty formulaic at this point, with Magnus's solos predictably drifting between melodic and shreddy.  Not that I want each song to be completely different, but it's easy to fall into a single groove with this album (as with the others), so those expecting more variety might be disappointed.

Still, there are some stand out tracks.  The title track and "Dust to Dust" have some traditional metal grit, while the opener "Choke Hold," "Adrenaline," "The Darkness That Divides," and "Mind Games" shows their strong symphonic side, and the sentimental "Dreams and Destiny" adds in some folky flutes for a good power ballad.  However, the best track is "Mother Unholy," with that slow, ominous riffing, making me think of Lamenting of the Innocent by Sorcerer.  With the church bells and choirs singing in Latin, it makes for a very dramatic song and the highlight of the album.  As a whole, I don't know if this will be a Top 5 contender for 2025, but I do consider it another solid offering from a band that clearly knows what they want to do and do it well.

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While that was another fun, short discography to binge through.  One on hand, it's hard not to feel like this is just another side project for the three talented members, but I can't deny that what they've made is some above average melodic metal.  As I was listening through, I did wonder if this hasn't become more of Magnus's thing, as his orchestrations and arrangements got bigger and more epic (not that I think the other two members were slacking at all).  Still, I'm hard pressed to really say anything was particularly bad, and any of the four albums are recommendable to anyone missing the kind of classic 80s metal melodrama that Dio's band used to provide, backed by some well-made symphonic flourishes.

Top 5 of 1970!!

And so we begin this new series of articles!  Just to make the record clear, I am just one guy, listening to music off-and-on through my days, so it is impossible to listen to everything of a given year (especially within just a month).  I will also limit my choices to genres that I generally cover in this blog (melodic rock and metal), though that isn't much of a problem for me here with 1970.  It should also be noted that, since this was put together by one guy, this list will be very subjective, as they are essentially my favorite albums from the year.  

When I wrote about this year for my Anniversary Article, I mentioned how it was a time of change, with some bands ending and others beginning.  However, when it comes to finding the best of this year, it seems that I found it with bands that had some experience but were interested in expanding their sound into new ideas.  Here are my Top 5 for 1970!

5. Creedence Clearwater Revival - Cosmo's Factory

By 1970, Creedence Clearwater Revival had already established themselves as a solid rock band, focusing on a roots-rock style instead of the popular psychedelia their San Franciscan peers were into.  However, with this album, they step back into a bit, with an 11 minute rendition of "Heard It Through the Grapevine" that really flows, as well as a nice groove-heavy section in the middle of "Ramble Tamble."  However, they still had their hard-hitting cuts like "Run Through the Jungle" and "Up Around the Bend," with a good measure of whimsy with songs like "Looking Out My Back Door."  While not every song is great, it's a solid collection of rock songs from a band that was looking beyond their established formula to create something fresh.  While I did listen to Pendulum as well, but it wasn't as strong as this one, so it gets the slot.

4. Black Sabbath - Paranoid

Another band with two albums this year, I think most metal fans will say that Paranoid is the better of the two.  Their self-titled debut isn't bad, but definitely leans into the jammy blues-rock that was popular at the time.  Here, with Paranoid, the band finds their proto-metal sound, as the title track, "Iron Man," and "War Pigs" set the standard that many bands would follow for decades to come.  The album does get a bit silly towards the end, and it's not quite the heavy metal we may recognize today, but the raw materials were established here, and they have aged pretty dang well.

3. Led Zeppelin - III

I've always been a Led Zeppelin fan ever since I took the time to dig into them when I was in college.  While their third album features some great songs, it does end up being stuck between their very successful second album and their iconic fourth one.  Still, the emphasis on more acoustic tracks and the inclusion of other sounds show this band was moving beyond their blues-rock origins and working toward the stadium rockers they would become shortly after this album.  It may not be the favorite of many people, but it's a solid entry in a discography that has stamped itself in rock history as one of the best.

2. Caravan - If I Could Do It All Over Again, I'd Do It All Over You

I still remember when I first gave this shot on a Sunday when I had a headache, finding it rather pleasant and chill.  However, since then, the album has really grown on me.  Despite all its jazz-fusion-branded chaos, I find this album oddly comforting, full of little melodic earworms and neat transitions.  I really should listen to more from this band, if this album is anything to go by.

1. Yes - Time and a Word

However, my favorite band also released an album this year.  While it's not one of my favorites of theirs, I still can't deny that it has excellent songs, building on their first album's blend of sounds for something bigger and more dynamic.  The opening starts with a great cover of Richie Havens' "No Opportunity Necessary, No Experience Needed" that packs a lot of punch, followed by the enigmatic "Then."  The title track is a decent ballad, but the my favorite has to be "Sweet Dreams," with Christ Squire's rockin' bass taking front-and-center!  I will say that the second half of the album isn't as strong, as they dabble in some psychedelic weirdness that doesn't quite click.  But the fanboy in me still says this is the best album of the year, even if the band hadn't quite found their iconic sound just yet.