Top 5 of 1981!

Like I mentioned in the Anniversary Article for this year, there was a lot of stellar music in 1981, so putting together a Top 5 was difficult.  There were no obvious winners, but more than a handful solid albums, and it took quite a bit of nit-picking to get the list down to five.  Naturally, there are a lot of honorable mentions, including Mötley Crüe's debut Too Fast for Love, Rush's Moving Pictures, and Foreigner's 4.  Even Saxon and Survivor had a chance to get in, but they couldn't quite make it.  As always, this is just my opinion, and I can't listen to everything, but this my Top 5 for one of the best years for melodic rock and metal.

5. AC/DC - For Those About to Rock (We Salute You)

While following up the iconic Back in Black would have been a challenge no matter what, but they certainly gave it a shot anyway.  It's not a perfect album, but it has a lot of energy, and the title track is purely anthemic.  A solid sophomore effort from Brian Johnson as the band keeps doing what they do best.

4. Journey - Escape

I mentioned that this was a shoe-in for the Top 5 in the review, but it was a matter of where.  After reviewing all these albums, this isn't as complete as the ones above it, though the hits are iconic and classic.  Despite all the praise I gave it, #4 is the highest I can put it against such tough competition.

3. Black Sabbath - Mob Rules

The second of the Dio Sabbath albums, when I reviewed this, I mentioned it wasn't as good as Heaven and Hell.  While I do still feel that way, it doesn't change the fact that it's still a very solid album.  The title track and "Sign of the Southern Cross" let Dio soar majestically, and I'm thinking I'm liking his Sabbath albums more than Ozzy's (sacrilege, I know), but this is a great album to represent how metal was evolving at the time.

2. Styx - Paradise Theater

When I posted my retrospective of this band earlier in the year, I stated that this album kinda falls off in the second half.  However, when you listen to it as an album, the ending does work as a good match to the start, and solid book ends do help an album seem strong.  There's also a lot of nostalgia for this band, so they were gonna end up pretty high, no matter what!

1. Def Leppard - High 'n' Dry

I internally debated hard about what to put at #1 for this year.  Styx seemed like the obvious winner, but as I continued to listen to Def Leppard's second album, I found it to be very consistent and enjoyable.  Just a lot of solid hard rock.  While it does lean into some AC/DC territory (largely because Mutt Lange was producing), with so many catchy hooks and choruses, I finally decided to put them at the top of what is a very excellent list.  They would go on to bigger things from here, but let it be said with this and their debut, they started from a great foundation.

Top 5 of 1976!!

Well, after quite a bit of listening, I've finally pulled together my Top 5 for 1976.  As always, I can't listen to everything and this is just my personal preferences, but this really interesting list to put together.  When I did my Anniversary Article, I noted how good this year was, as bands were making the transition into more melodic rock styles for the sake of FM Radio.

I do have a few honorable mentions to bring up.  While "Carry On Wayward Son" is an excellent song, the rest of Kansas's Leftoverture it just okay, and I feel the same about Rush's 2112.  Starcastle's self-titled debut is a decent bit of Yes-styled prog, and even Triumph had an outside shot.  However, I really do think these five albums are the best the year has to offer.

5. Styx - Crystal Ball

While the album can be a bit of a mixed bag, the title track is one of their classic hits, and "Put Me On" is a clever bit of meta-humor.  As a massive Styx fan, it's hard to keep this band down, so even one of their weaker album still squeaks into this Top 5!

4. AC/DC - Dirty Deeds Done Dirt Cheap

While they did have one album before this, I was a little unsure as to whether to include High Voltage for 1975 (Australian release) or 1976 (International release).  Fortunately, their follow up simplifies things for me by being a much better album.  Not only do the title track and "Problem Child" continue to get play on classic rock radio, but deeper cuts like "Rocker" and the slow burning "Ride On" easily put this at number 4.

3. Rainbow - Rising

While Ritchie Blackmore's Rainbow started off well last year, he and Dio really knocked it out of the park with Rising.  Kicking off with "Tarot Woman" and "Run with the Wolf," both strong songs, the album's real highlight is the eight minute epic "Stargazer," where the band's triumphant scope really shines.

2. Alan Parsons Project - Tales of Mystery and Imagination

I've always been a fan of this band, and while I admit this one is a little shaky compared to the rest of their discography, its theatrical tone helps set it apart from anything else in the year.  From "Crazy" Arthur Brown's manic performance on "Tell Tale Heart" to the orchestral brooding in the suite "Fall of the House of Usher," this project really captures the spirit of Edgar Allan Poe into some high quality symphonic rock.

1. Boston - Boston

I am hard pressed to think of a debut album that soared higher than Boston's self-titled album.  Half the songs on this album are still being played on classic rock radio and for good reason.  Between the proggy pomp and hard rocking riffs, with extremely tight vocal harmonies, this is arena rock at its finest.  It's such a shame that the band couldn't quite live up to this debut with their subsequent albums.  Still, I doubt this is a controversial choice at number one, as I know it's been praised by nearly everyone who has taken the time to listen to it, and I know I have many times over.

Retro Reviews - September 2025 Part Two!

Once again, my retro reviews are dominated by my next Top 5 article, and with 2000 coming up, I had plenty of albums to consider.  However, in the end, I decided to review these five, as they are mostly continuations of bands I've been reviewing over the years, which means more power metal!  Instead of breaking these up, I've decided to throw them together, so settle in for a long article!

Helloween - The Dark Ride

After enjoying their latest releases, I figured it was time to try and fill in some of the gaps I had with this band's discography.  I've mentioned before that I've listened up through Better than Raw, and most of it is great power metal.  With this one, the band had retroactively mentioned there was more executive meddling this time, and they went with a bit of a darker, gritter tone.

Things start off with some pretty typical power metal, as tracks like "Mr. Torture," and "All Over the Nations" would have fit in well with any other Helloween album.  Then we get "Escalation 666" and "Mirror Mirror" with both have a much darker tone and mid-tempo chugging, and their lead single "If I Could Fly" feels almost like an alternative rock song.  The rest of the album bounces bounces around these two styles.  While the power metal tracks are classic in style, they do feel a bit less inspired than usual, while the slower, grittier tracks are a mixed bag, but feature some neat ideas.  However, to the band's credit, the album never feels uneven or jarring, the different sounds making the album feel kind of diverse.

Personally, I find the later material on the album to be stronger.  "Mirror Mirror" is an interesting take on the classic fairy tale, then "The Departed (Sun Is Going Down)" and "I Live For Your Pain" are the best of the slower, grittier songs.  Meanwhile, "We Damn the Night" is the best of the power metal side, the epic closing title track features all of this and more.  While this isn't the band at their best, they've certainly had worse, and I think there's plenty to like here, making this more like a dark horse than a black sheep.

AC/DC - Stiff Upper Lip

After Ballbreaker, these Aussies seemed to settle into a pattern of putting out an album every 5-8 years, as I'm sure their live show was the more profitable side of their band.  As for this album, they definitely drawn upon the blues rock that dominated their sound in the 70s, making this feel like something of a throw back.

Of course, this is a minor shift, as the band's sound is one of the most unchanging things in the history of rock music, and that's just fine.  Things start of well with the rockin' title track, "Meltdown" and "House of Jazz" have the strongest blues elements on the album, and "Hold Me Back" has this near minimal approach before it builds to its anthemic end.  "Safe in New York City" has some interesting energy, and the blues come back for "Satellite Blues" and "Come and Get It."  I do think the album does lose some steam towards the end, but "Give It Up" is a solid closer.  Overall, it's another AC/DC album, designed to get your headbanging from beginning to end.  I will say, though, that I think this one was better than Ballbreaker, and probably on the upper end of their discography.

For what it's worth, this was the last album I needed to hear to complete my listening of their entire studio discography.  It took many years (long before I started the blog), but I can say with confidence that they've been largely consistent over their entire history. I might at some point create a Retrospective Article, filling in the reviews I need to, but that will probably have to wait until next year sometime.  In the meantime, they remain the band we've always enjoyed, and this album is a good example why.

Rhapsody of Fire - Dawn of Victory

This year was definitely one for power metal, with this one being the third in their Emerald Sword Saga.  In the last album, our hero made it to the tower to find the titular weapon and is now on his way back to face the evil that threatens the land.  Naturally, this means another set of bombastic, high speed power metal!

Musically, nothing has changed at all from the last album.  We get more neo-classical orchestrations to go with all of Luca Turilli's shredding guitars, and Fabio Lione does his best to share the story in his soaring voice.  As for that story, the hero brings the armies together into an alliance against the evil Akron, but when his friend's lover (a princess) gets kidnapped, the vile lord wants the Emerald Sword for himself.  The heroes try to anticipate a trap only to get captured, and the sword falls into the hands of evil, and our main hero is the only one to escape with his life.  I bring up the story here, as the album starts rather triumphant, but the songs get darker and more desperate as it goes (at least for power metal, anyway).  Of course, there are still some strange breaks, like "The Village of the Dwarves" with its folky respite, but most of the time, it's pretty melodramatic theatrics, which the music holds together well enough.

This is one of those albums where the great songs are great, but the rest is pretty forgettable.  I liked the title track and "Holy Thunderforce," as they feature some pretty epic melodies and symphonics, and the massive closer "The Mighty Ride of the Firelord" has a little of everything.  However, the rest of the songs, while not necessarily bad (though "The Bloody Rage of the Titans" was another strange one), they aren't as memorable as those three.  In any case, the band is once again spot on with their orchestrations and arrangements, and certainly sell their operatic pretentions pretty well. 

Iron Maiden - Brave New World

After enduring the two Blaze Bayley albums, it was high time I got back into this band and their reunion with Bruce Dickinson and Adrian Smith.  However, they decide to hang on to Janick Gers, making the first album with three guitarists.  In fact, this lineup has remained ever since!  In any case, this album is pretty much a return to form for the band, calling upon their 80s majesty.

I know I haven't reviewed any Dickinson album before now, so let's get the obvious out of the way: this man is a great vocalist and frontman.  He's one of the greats for good reason, and he sounds great here.  The rest of the band is definitely back to normal after stumbling through the 90s.  The rhythms and hooks are tight again, and the guitar work is exemplary as always.  Essentially, it's Maiden doing what they do best, which is writing solid, melodic heavy metal, and after the last two albums, it's nearly a relief to hear the crew still have it where it matters.  The long songs have return as well, as the band leans more into their proggy side like "Rime of the Ancient Mariner" or "Alexander the Great."

Listening to this album is like putting on an old pair of comfortable shoes.  While long-time Maiden fans will already know how good songs like "The Wicker Man" and "Blood Brothers" are, but I also rather liked "Ghost of the Navigator" and "The Fallen Angel."  There are no surprises and you know what to expect, but at the same time, you can't help but feel good about it anyway, simply because it's executed well.  As a consequence, the album might not stand up well against their classics, but it makes for a solid return to form, and a new baseline for what follows.

Gamma Ray - Blast from the Past

Just to round things out, I decided to throw this collection on and give it a listen.  Technically, it's a compilation for the band, but a majority of it was recorded, letting the fans pick the songs on their website.  While the songs themselves weren't changed much, there are a few major differences that make this more than just a typical Greatest Hits album.

First is the production, making the re-recorded versions feel more rich and layered, so they feel more in-line with what the band had been doing at the time.  It also gives them a welcome extra punch of power metal.  The other major difference is that the vocals of Ralf Scheepers (now happily working in Primal Fear at this point) were now provided by Kai Hansen.  While some of the re-recorded songs were clearly written with Ralf's hefty vocals in mind, but Kai does well enough, especially on the faster songs that call for his soaring style.  Overall, I don't know if this is a particularly vital release, but definitely shows how Gamma Ray has finally established their style.  Enjoyable, but probably not vital outside of diehard fans.

Retro Reviews - August 2025 Part Two!

Finally moving on from 1990, this is the first of two Retro Review articles I plan on dedicating to 1995, as it turns out there's quite a bit I wanted to catch up on.  This one will feature a quartet of rock bands, one of which I haven't really listened to before (sorta)!  Here's what I've been checking out lately!

Candlebox - Lucy

When I reviewed this band's debut album, I found it to be some pretty decent, if standard, grunge rock for the era, but it was enough to break them out.  This album follows up by going for a bit of a harsher, darker feel, and yet they sound more like Pearl Jam than ever!

Once again, this feels like the right album to come out in 1995, where grunge was becoming much more familiar, so bands needed to really push themselves to stand out.  Here, Candlebox aims for something more atmospheric in their alternative angst, like a series of a short, trance-like journeys.  Once the song starts, it generally locks into that groove and doesn't change much other than adding or taking away layers for verses and choruses.  Kevin Martin's wailing is right in the flow, fitting with the grooves and tones very well, and it's easy to get lost in these songs.  Unfortunately, that also means that the album tends to drone on, especially the two "Butterfly" songs.  As it turns out, this one didn't do as well as their first, and I wonder if this is why.

That doesn't mean there aren't some stand outs.  They made singles out of "Simple Lessons," "Best Friend," and "Understanding," and those were probably the best choices.  "Bothered" did have some chunky riffs though, and it was much more aggressive than the rest.  Otherwise, it feels like more standard grunge again, and with the darker tone, perhaps not as strong as their debut.  While the album is decent for what it is, it's certainly hard to recommend unless you have strong nostalgia for this era of rock music.

AC/DC - Ballbreaker

After the massive success that was The Razors Edge (and a quick little single for a Schwarzenegger film), it took them five years to put together another album, bringing back Phil Rudd on drums.  They decided to bring in Rick Rubin as the producer this time, after working with him on "Big Gun," making sure that this album is business as usual for the band.

I know I've mentioned this before, but reviewing AC/DC albums can be rough.  Their style is so distilled and direct that, unless there's some major mistake, their albums end up being generally fine.  While I don't think this is as good as the one that came before, they continue with their bluesy brand of hard rock.  "Hard as a Rock" kicks things off with some solid, mid-tempo rocking, "Boogieman" has a good 6/8 blues groove, and "Hail Caesar" is an interesting piece of social satire.  Many of these songs often have a build-up in intensity toward the end, making them pretty anthemic.  They're also an uptick in the raunchy lyrics, but with an album title like that, I suppose it's not a surprise.

So once again, we have another decent chunk of hard rock from a band who has long since mastered their craft and were (and still are, honestly) content to keep trucking along, album to album.  This album doesn't have the iconic tracks like their others, but at the same time, it sticks to what works, and that isn't a bad thing.

Spock's Beard - The Light

While I've heard a song or two, most of what I know about Spock's Beard is the one Pattern-Seeking Animals album I reviewed.  (Apparently, they have five albums now!  When did that happen?)  Anyways, this legendary third-wave prog rock band started with the Morse brothers, Alan (guitars) and Neal (vocals, keyboards).  It was originally just supposed to be the two of them, but by the time they got recording, they had picked up Dave Meros on bass and Nick D'Virgilio on drums.  The result is some pretty iconic third-wave prog rock, even if it is maybe trying a little too hard.

The album starts with "The Light," which has been the band's signature song since it came out, and I can see why.  It's a very dramatic piece with a lot of changes, including one that's full-on Latin fusion.  Dream Theater's influence is notable, though Spock's Beard is certainly not metal, but the songwriting of shifting between sections does have that feel.  In fact, these sudden transitions is pretty consistent through the album.  As a result, it does make it a rather unpredictable listen, but at the same time, I do wonder if it isn't too much.  They have plenty of neat little ideas, but instead of giving any of them time to expand, it's off to the next section.  I think I would have liked to hear them explore these ideas more, but I suppose this isn't that kind of band, and they do have some neat little callbacks.  The big epic "The Water" is much the same way, going over 23 minutes and several genres and styles.  However, it does come together like a Pink Floyd song, featuring a small choir of female singers to croon and wail along.  "On the Edge" is probably the most consistent song, but it is also only 6 minutes long, the shortest on this four-song album.

It's definitely an interesting collection of music, taking the prog rock that inspires them and making it relevant in a later decade, and I think they sorta make it work.  Again, I am bugged by the constant transitions (I wonder if this is where Haken gets it from), but that could be a matter of taste.  The material is performed well by all members, and establishes a solid baseline to build on from here for more prog rock adventures.

Glass Hammer - Perelandra

I checked out this band's first album a few years ago, and while it may have had some peculiar synths, it had some decent songs about Aragorn's adventures around Middle-Earth.  Two years later, they come back with another album, now about the works of C.S. Lewis (which I admit I am not as familiar with).  This time, they draw upon a wider prog palette, making them more in line with their third-wave peers like Spock's Beard and The Flower Kings.

Right off, the synths are better, and I think the production, while still not perfect, has improved as well, making these songs sound very lush and Yes-like at times.  This is most apparent in their first full song (after the strange intro track) "Time Marches On."  I felt there was a significant increase in Wakeman-like synth runs and Squire-like basslines compared to the previous album.  Of course, their ELP influence is still around, mainly on the instrumental pieces like "Felix the Cat" and the title track.  The rest of the album is a little all-over-the-place, but it all flows pretty well.  "That Hideous Strength" is probably the biggest jump in style, with it's near-industrial vibes, making me think of Pink Floyd at its darkest.  I have to say the keyboard work is probably the highlight, though I have no idea which parts are by Fred Schendel or Steve Babb, as I understand they're both jamming on the synths along with all the other instruments they play.

This is quite the improvement over Journey of the Dunadan, largely because it feels more consistent, though I do think the shorter tracks are a bit odd.  "Time Marches Out" is a great starter, and "Heaven" serves as a solid closer, getting rather triumphant after the defeat of evil in the previous tracks.  While I don't know if they've reached any kind of peak with this album, I can definitely hear them starting to put the pieces together to become their own thing, and look forward to when I can take the time to listen to more of their work.

Top 5 of 1990!!

I admit I'm kind of in catch-up mode, at this point, as I do want to make sure these Top 5 articles stay within their intended year, so I admit I didn't listen to everything I could have for 1990.  And I'm afraid this may be the case for the next few, but we'll have to see.  In any case, 1990 is a curious year, as it was one where rock and metal were in transition, like I mentioned in my Anniversary Article.  A few honorable mentions include that Blue Tears album I just reviewed, and Megadeth's Rust in Peace.  However, with my tastes, there really aren't many surprises here.  Here's my Top 5 of 1990!

5. Blind Guardian - Tales from the Twilight World

While their first two albums are some curious speed metal, this album is the one where they start to forge their iconic power metal sound.  Great tracks like "Welcome to Dying" and "The Last Candle" help this album be a landmark in the genre's history before it would explode later in the decade.

4. Gamma Ray - Heading For Tomorrow

Upon relistening to this one, I'm discovering that I'm fond of it more than I expected.  While this may have been Kai Hansen's first album away from Helloween, his iconic riffing and song-writing is all over it, and with Ralf Scheepers on board, it makes for a delightful collection of melodic metal.

3. Dio - Lock Up the Wolves

Looking back at my recent review, you'd think I was relatively unimpressed with it, but upon considering it for this list, I can't deny Dio's consistency.  It may not have any major hits, but I'll take a solid album of B's over one with a few A's and too many D's.  

2. AC/DC - The Razors Edge

The comeback album for these Australian titans of hard rock.  It's not flashy, or particularly fresh, but the production finally captures them at their best, playing iconic, anthemic, fist-pumping tracks.  It's not perfect, but the highlights, like the unforgettable "Thunderstruck," help raise this album to #2.

1. Judas Priest - Painkiller

However, the #1 album was not hard to pick.  It's Judas Priest doing what they do best: rocking faces off and rolling over listeners with powerful, catchy, excellently-played heavy metal.  After a few lackluster releases in the late 80s, the band came back roaring with their new drummer Scott Travis!  While this era wouldn't last very long, it definitely made an impression to anyone that listened to it, ensuring that classic metal can be as timeless as anything else.

Retro Reviews - August 2025!

I admit the schedule I had planned for this year has been falling apart as this summer has been rough for me.  For now, I'm mainly going to get these articles out just when they're done.  At the moment, I'm focusing on 1990 for a Top 5 article, and as a consequence, listened to some stuff that I hadn't heard before now.  Featuring both hard rock and heavy metal, this trio of albums turned out to be pretty decent!

Dio - Lock Up the Wolves

While Dream Evil was by no means a bad album, it wasn't a successful as earlier efforts.  This led to quite the shake up in the lineup.  First, Dio brought in Rowan Robertson on guitars, and the two worked together on the new songs.  Jimmy Bain and Vinny Appice would contribute to the writing, but they left before the band got into the studio, replaced with Teddy Cook and Simon Wright, respectively.  Keyboardist Jens Johansson also joined, coming over from Malmsteen's band.  With all these new pieces, Dio crafts his new set of tales, this time with much more atmosphere.

Things start off well with "Wild One," an uptempo speedster (for Dio, anyway), but then the album settles into a slower pace, even doomy at times, as if Dio wanted to reach back to his proggier 70s Rainbow days.  "Between Two Hearts" in particular focuses on a rather sad love story, and the title track, at a stomping eight minutes, provides a lot of mood, much like Dio's work in Sabbath.  There's also a stronger bluesy element, especially on "Evil on Queen Street," with its menacing 6/8 riff.  The album picks up again with "Walk on Water," then settles into cruise control for the rest.  While these slower songs aren't necessarily bad, their long runtimes make a long album feel longer.

I will say that Robertson has some great solos, though, and the rest of the band does well, with Dio still charismatically wailing away as always.  As an album, I'm not sure if I'd say it's an improvement so much as Dio and company flexing some different muscles to provide another slab of epic metal, one that's easy to leave on in the background and headbang away.  While this lineup would not stick around after the tour, their album represents one last hurrah for the 80s style metal that Dio helped define.

AC/DC - The Razors Edge

After truckin' on through the 80s with some mediocre albums, the band carried on, building on the strength of their live touring.  With new drummer Chris Slade, the Young brothers took control of the songwriting.  This time, they've injected a bit more energy, making for quite the capstone for their growing comeback.

"Thunderstruck" starts the album and has been one of their best songs for a good long time.  From the start with the rapid-fire riff, all the way through to its anthemic end, it's peak AC/DC, without a doubt.  The energy sticks around for "Fire Your Guns," "Rock Your Heart Out," and "Are You Ready."  Meanwhile, "Moneytalks" has a catchy, lilting melody and the title track has some very peculiar riffing and chord progressions that got my attention.  The album loses some of its drive by the middle, content to cruise to the end, but none of it is a dealbreaker, largely because of the great production, courtesy of Bruce Fairbairn.  After all the muddy stuff of their last few albums, this clearly is an improvement, making the songs feel big, no matter how simple they are.

Of course, much of what I've said really are nitpicks.  AC/DC remain largely consistent as ever, and my thoughts on any of their albums seem to reflect the band's energy and drive on each one.  With The Razors Edge, the band is more alive, and while it might be a tad too long, there are some good headbangers and solid energy through its runtime.  It's certainly hard to beat this band when they're on top of their game!

Blue Tears - Blue Tears

While Dio was forging ahead and AC/DC was making their comeback, other bands were just getting started, only to be dropped on their heads due to shifting tides and bad timing.  Blue Tears is one such band.  Despite kicking around through most of the 80s, they didn't get picked up by a label until the end of the decade, with this debut album coming out in 1990, just as glam metal was starting to wear out its welcome.  It's a bit of a shame, as this is some pretty solid stuff.

By this point, most glam metal was getting some very shiny production, and this album is no different.  The guitars are crunchy, and the gated reverb makes that snare drum hit like thunder, and most importantly, the vocal harmonies are tight and lush.  Their inclusion of some synths in the back give the band an AOR vibe, not unlike Night Ranger.  Of course, ballads were big winners by this point, and they provide more than a few, though they're not bad.  "Blue Tears" does get a bit cheesy, but otherwise hits all the right marks.  As for the rockers, the album starts with their iconic track "Rockin' with the Radio," and their other single "Innocent Kiss" has a bit of a cinematic tone.  Other standouts include "Crush," with its massive riff, and the energetic closer "Thunder in the Night."

Naturally, comparisons to other glam metal bands like Europe, Poison, and Def Leppard come to mind, but honestly, this album is about as good as any of theirs.  It's not perfect, as a song or two do drag the album down, but otherwise, I found this to be pretty enjoyable.  Unfortunately, when the band started recording their second album, their label dropped them in the wake of the grunge and alternative rock explosion.  Years later, the band would release those tracks (and many others) in some compilations, and later a reunion album (sorta), and I may have to check them out at some point.  Despite some good, catchy tracks, Blue Tears just ended up getting lost in the cracks.

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.

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!

Anniversary Series - 1979!

Wow, this has been a rough month!  I wanted to get some articles out before now, but I guess life had other plans.  Still, I am determined to do these Anniversary Articles, as they provide a fun summary to write up.  As it turns out, 1979 is a pretty solid year.  Melodic rock was really starting to take off, and we have the early signs of NWOBHM movement.  Let's get into it!

The year starts off strong with a lot of big names.  Scorpions was "Loving You Sunday Morning," Journey gave us some "Lovin', Touchin', Squeezin'," Van Halen wanted to "Dance the Night Away," and Supertramp was having Breakfast in America.  That album was a big one for them, as the title track, "The Logical Song," "Goodbye Stranger," and "Take the Long Way Home" would be big hits for them.

Heavy metal gets some interesting releases this year, featuring the debut albums of both Accept and Saxon, as well as Motorhead's iconic double-bass kicking on Overkill.  Judas Priest released a classic live album with Unleashed in the East, Iron Maiden was working on their Soundhouse Tapes, and Motorhead would return later in the year with Bomber.  While I do think the next year would be where metal really takes off, this year was certainly a sign of things to come.

Meanwhile, the summer really heated up with a lot of massive hits.  The Electric Light Orchestra released "Don't Bring Me Down," Foreigner sang about "Head Games," Rainbow switched out Dio for Graham Bonnet to get Down to Earth, the Eagles went for The Long Run, and AC/DC drove down the Highway to Hell, which is easily the best album they did with Bon Scott.

As the year winded down, some of the high points included Styx's ballad "Babe," Molly Hatchet's "Flirtin' with Disaster," ZZ Top's "Cheap Sunglasses," and .38 Special's "Rockin' Into the Night."  However, the big album that would cap the year off is Pink Floyd's The Wall.  Powered by iconic hits like "Another Brick in the Wall Part Two," "Run Like Hell," and "Comfortably Numb," this psychological rock opera would put Pink Floyd back on top of the world, despite the band falling apart inside.  

That wraps up another year.  Check out the playlist below for more tracks, and let me know in the comments below if you think I've missed something.  I'll certainly do better next month for articles, as I've slowly been pulling some things together.  Until then, rock on!  \m/

Anniversary Series - 2008!

Sorry for the lack of articles lately; things have gotten a little hectic for me lately.  Nothing serious, just real life being less convenient than usual.  However, it does mean I don't have the time or energy to look at new albums or doing reviews, so despite planning on reviewing more albums, this Anniversary Article is going to be a normal rundown.  Fortunately, there is some really good stuff this year.

While power metal had since peaked, at least in its popularity, the style carried on with artists old and new.  DragonForce followed up their Inhuman Rampage with an Ultra Beatdown.  While it was largely more of the same, it was still a pretty solid set of shredfests.  Sabaton solidified their themes and sounds with The Art of War, featuring titanic anthems like "40:1" and the title track, and Edguy would shift themselves into more of an 80s hard rock style with Tinnitus Sanctus.

However, in my opinion the big power metal release from this year is Amberian Dawn's debut album River of Tuoni.  Finding a curious space between symphonic theatrics and Stratovarius style riffing, and drawing upon their native Finnish heritage, the album is full of tight, epic tracks with just the right amount of grace provided by Heidi Parviainen's vocals.  

Another album I want to draw attention to is PowerWorld's self-titled debut.  Sometimes called melodic metal, they feel like a mix of Queensrÿche and later HammerFall, but they have some pretty solid songwriting, and a decent cover of "(I Just) Died in Your Arms."  Speaking of covers, Northern Kings returned with another slab of symphonic takes on 80s pop songs.  It's a shame they never did more, though.  Other highlights of the year include Disturbed's Indestructible carrying on their melodic groove metal style, and Metallica's brief return to thrash with Death Magentic, which I praised highly in my Metallica Retrospective earlier this year.

As for rock music, I'm sure there are a number of albums out there, but there are two I want to talk about.  First is the Asia reunion album Phoenix, which features the original lineup working together again, bringing back their proggy AOR sound with tracks like "Never Again." And finally there's AC/DC's Black Ice, which saw the band really channel their classic 80s style with a very good album of anthemic stompers, like "Rock 'n' Roll Train" and "Decibel."

Well, that covers the year pretty well, I think.  I know there are a bunch of other albums I didn't get to, so be sure to check out the playlist below and recommend others in the comments.  In the meantime, I'll work on getting myself back on track!  Until then, rock on! \m/

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 - February 2023!

Once again, anniversary articles are dictating my listening habits as I continue to expand my classic rock knowledge base.  While I was kind of planning on getting this out before the 1973 article, things didn't quite work out, but I suppose it's not that big of a deal to have these reviews come out afterwards, as I didn't really talk about the two 1973 albums I review here.  Ovreall, it's a bunch of classic stuff, as I've definitely been in the mood for it lately.  Here's what I've been spinning for the past while!

Blue Öyster Cult - Tyranny and Mutation

After doing this iconic band's debut album last year, I knew I needed to follow up with their sophomore effort this year.  Once again, the album is quite the mix of sounds, though I do think there is a stronger blues-rock core to it all, making me think of the Rolling Stones or Steppenwolf at times.

I think there's a little more energy on this album, overall.  The opener "The Red and the Black" definitely sets the tone for some solid rock-and-roll style jamming, which carries on with "Hot Rails to Hell," and "Teen Archer."  Even the more chilled tracks like "Wings Wetted Down" and "Mistress of the Salmon Salt" still retain some doomy power.  In the middle is "7 Screaming Diz-Busters" where they mix it together into a jazz-fusion-styled jam that has them going back and forth between a bluesy groove and and a more uptempo chorus.  And through it all, Buck Dharma is noodling his excellent guitar work from beginning to end.

While the songs are another hodge podge of ideas, and the lyrics are still very strange and esoteric, I do think this one is a bit better in the songwriting, even if they have a tendency to let the songs jam on a little too long at the end.  However, I can imagine them being quite entertaining it see played live, as they have all kinds of spaces for the musicians to add extra touches and licks.  Again, I don't know if I've really wrapped my head around this band yet, but I haven't given up.

Uriah Heep - Sweet Freedom

Yup, I'm carrying on this journey as well.  After binging their earlier albums last year, I'm starting to get a feel for how this band is.  Compared to the last one, I think the band was eager to get back to their comfort zone of big hammond organs and tight vocal harmonies will retaining their streamlined songwriting.

At this point, the band is sounding very 70s.  I don't know if it's a deliberate thing or just a consequence of the production, but this one really did feel like they were picking on some poppier ideas from the time.  While the staples of the band are still here, Sweet Freedom doesn't really have much that the band hasn't done before, really.  The vibes of Deep Purple, Vanilla Fudge, and early Styx come to mind again.  "Circus" goes for a more chilled acoustic vibe, but otherwise, the album maintains a kind of mid-tempo groove, letting Ken Hensley get a lot of work out of his organs and David Byron sail over everything with his vocals.  Some of the lyrics were rather weak, often repeating themselves, and the whole alphabet thing at the end of "Seven Stars" is very baffling.

It's not a bad album, per se, as the performances are good, but it's very standard for them.  I did like parts of "Dreamer" and "Sweet Freedom," as they had some good energy.  "Pilgrim" is a decent closer, with some epic moments and a nice jammy section in the middle, but the ending is a little tedious.  Overall, they have some pretty good dynamics, building things up as they go, but I don't know if the payoffs are particularly strong, resulting in a very average album compared to what they've done before.

AC/DC - Powerage

At this point, my listening of AC/DC is just filling in the gaps that I haven't gotten to yet.  Of course, this one is another solid slab of blues rock that the band put out like clockwork, but I do think it shows a bit of a transition in their sound from the bluesier side into the anthemic hard rockers they're known as the world over.

The album does start a little slow, as the first few songs have some decent grooves, but not much more.  However, once we get into "Riff Raff," "Sin City," and "What's Next to the Moon," the energy picks up and mostly carries through to the end of the album.  Another thing is that they seem to have a better sense of dynamics on these songs than with their earlier albums, often starting with a low, brooding vibe before building up to some big riffs and choruses, clearly foreshadowing the huge hits that would show up on Highway to Hell and Back in Black.  However, I don't know if think this album is quite up to that level of quality.  It's a sign that their clearly building towards something, though perhaps it's more noticeable through the benefit of hindsight.  Still, what we have is decent, as there is plenty of opportunities for Bon Scott to croon over some solid riffs, the new bassist Cliff Williams does a solid job keeping the rhythm down with Malcom and Phil, and Angus Young jams out his solos with his usual reckless abandon.  As ever, it's a hard rock album that goes down easy, just like the rest of their catalog.

Anvil - Forged in Fire

Yup, it's time for the next Anvil album.  Once again, this is quite the step up from the last one, as it feels like they're embracing the 80s metal sound more and more.  While they carry over their Judas Priest and Iron Maiden influences, I'm hearing a bit of Dio-era Black Sabbath in there as well, as well as maybe some of the early glam metal sound.

Right off, everyone is performing much better.  The guitars are fierce and full of energetic solos, the drumming is pounding while still taking time for some solid fills, and Lips is really turning up his voice, channeling Halford many times across the album.  The lyrics also pick up more of the classic metal tropes, including fantasy combat, freedom, and even some social commentary.  Sure, there's still a few raunchy songs, but even those are driven by some interesting riffs.  Two tracks definitely stood out the most: the title track, which has a nice doomy feel, and "Free as the Wind," which has a great metal gallop to boost its anthemic power.

However, I can tell that the band is maybe at a bit of a crossroads.  Part of the songs do have a touch of the early pop metal sound, while still trying to retain the aggression of the NWOBHM style.  1983 was a unique year, not only featuring the success of bands like Quiet Riot and Def Leppard, but also kickstarting the extreme metal with the debuts of Metallica and Slayer.  Anvil seems like it's kind of trying to stand on the cusp of the two styles, as if hedging their bets as to where things are going to in the future.  Still, this album is definitely the best I've heard from them so far.  They haven't quite reached the level of the likes of Judas Priest or Accept in terms of classic traditional metal, but they're getting quite close.

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So that's a nice chunk of classic rock and metal.  I know there are several new releases that have come out, but I haven't gotten to them yet, as this older stuff has been my focus lately.  Still, I don't intend to be completely left behind, as I know some big names have made some big announcements.  I don't know when I'll get around to them, but I assure you it's become quite the list already.  Here's hoping I don't get too far behind!  Until then, rock on! \m/