Top 5 of 1991!!

Good grief, this took much longer than I wanted it to!  Well, at least I'm done and I've put my list together.  As usual, these are my personal choices, based on what I had time to listen to.  1991 is a peculiar year for rock and metal as a lot of changes were happening.  The overlap of pop metal and grunge is pretty fascinating, contrasting the polish of the former to the grittiness of the latter.  However, I wasn't really a part of the grunge wave (I was too young), so I don't really connect with even the classics of the era.  There are a few honorable mentions though: Harem Scarem's self-titled debut (which I liked quite a bit), and Helloween's Pink Bubbles Go Ape, a strange album that does have a few decent power metal songs, but not enough to get them on the list.  Still, I think I have a pretty good (if peculiar) list here.  These are my Top 5 for 1991!

5. Europe - Prisoners in Paradise

I reviewed this quite some time ago, and I thought it was just okay at the time.  However, as I was considering what to put on this list, listening to everything, I had to admit that they did have some pretty decent songs, and Joey Tempet's charm really rings out.  "All or Nothing," "Seventh Sign," and "Girl from Lebanon" are still the best songs, but the rest aren't bad either.

4. Huey Lewis and the News - Hard At Play

Chalk this one up to plain nostalgia.  My dad has this one when I was growing up and I grew fond of their peculiar blend of blue-eyed soul and roots rock.  Perhaps not the heaviest album on here, but good songs like "Build Me Up," "It Hit Me Like a Hammer," and "Best of Me" make this a fun album, if a bit cheesy.  However, the best is the near anthemic "Couple Days Off," a song that always come to mind during every job I've had!

3. Yes - Union

While it's a bit of a mess, considering how it came together, but my favorite band still has some decent material here.  "Miracle of Life" is probably the proggiest song here, but the opener "I Would Have Waited Forever" and its follow up "Shock t the System" are solid rock songs.  It might not rank very high among their other material, but it's still a highlight for this year.

2. Metallica - Metallica

Perhaps not a surprise, considering how much I defended it in my retrospective, this is a very consistent album.  While perhaps not as adventurous (or beloved) as their 80s material, the band really refined their sound into something fierce and immediate, and I enjoy a handful of songs on here.  The album does fizzle out at the end, but many of these songs remain staples of their setlists for good reasons.

1. Dire Straits - On Every Street

Speaking of nostalgia!  It's fascinating how Dire Straits keeps their root rock roots and yet still sounds so timeless.  After the massive success of Brothers In Arms, the band settled back into their comfortable ways.  Whether its the upbeat songs like "Calling Elvis," "The Bug," and "Heavy Fuel," or their somber, bluesy side with "Fade to Black" and "You and Your Friend," or even the sarcasm of "My Parties," there's just something that makes Mark Knopfler and company feel like they really went out style.  While it may be a strange choice among these albums, but after multiple listens, I decided this the one I enjoyed the most!

Retro Reviews - August 2026!

I have to admit that summer really is the worst season for me.  I know I struggled last year to put out articles, and this year has been awful!  I'm sorry that it's taking so long for me to pull these articles together, but I promise I'm chipping away at them slowly.  This time, I've got a rather curious group of melodic rock albums, mostly carrying on with bands I've reviewed before as I catch up on the year 1991!

Rush - Roll the Bones

Presto saw a reduction in 80s synths in favor of a more alt-rock, guitar-driven sound, and Roll the Bones is a continuation of those ideas.  While the keys are still around, they're very much in the background, as the band expand things with funk elements and a lyrical focus on things like luck and fortune.

The U2-meets-Rush vibe lingers from the past album, and I think it has a lot to do with the production, as Lifeson's guitars are given a lot of reverb to help fill out the sound now that the keyboards are taking a back seat.  When they bring in some funk, they shift into more of an INXS sound, and there are still plenty of new wave elements here and there, especially on "Bravado."  The rap section on the title track was a curious idea, and looking it up, the band wasn't quite show how they wanted to handle it.  It's fine, in its own way, shaking things up, but it doesn't really elevate the song.  Otherwise, it's a lot of anthemic, jangly guitars for 4-to-5 minute songs, though the instrumental "Where's My Thing" is probably the proggiest thing they've done since their 70s albums.

Once again, this is not a bad album.  There's good energy, the Lifeson seems into it, Peart does what he does best, and Geddy makes for a decent pop singer.  Unfortunately, there really aren't a whole lot that captures my attention.  "Dreamline" was a good opener, and I did like the catchy chorus on "Face Up."  There really isn't a bad song on the album (though "Ghost of a Chance" does feel a little weird at times).  Somehow, through the 80s, this band lost something.  I'm not sure what it is, whether it's a theatrical edge or just a shift in how they handle their dynamics.  Overall, this album is decent, but not much more.

Harem Scarem - Harem Scarem

While I've featured Harem Scarem a few times on the blog (as well as Harry Hess's side project First Signal), this is the first time I'm sitting down to review one of their albums!  Starting in Canada in the 80s, their debut album got some attention by having its songs show up in the teen drama TV show Degrassi (which I know little about).  As it turns out, their debut is some very strong melodic rock!

Clearly built on the foundation of bands like Journey, Survivor, and Night Ranger, this is the epitome of AOR with a dash of glam metal here and there.  So, with these kinds of albums, it comes down to the execution, and for what it's worth, this is pretty solid stuff.  The production is crystal clear, and Hess does a good job of selling these pretty basic lyrics.  The rest of the band is spot-on, and I liked the guitar harmonies that were sprinkled in throughout the album.  However, I think the biggest key is that the band is being sincere about what they're doing, which helps these songs feel like a cut above any standard 80s rock album.  The ballads do lean on the cheesy side, but they don't bring the album down at all.

As for stand-outs, the opener "Hard to Love" is AOR done right, "Slowly Slipping Away" has some good dynamics, going from softer verses to an anthemic chorus, "All Over Again" starts off soft as well, but then jumps into a good, driving beat, and the rest of the tracks stick to some very satisfying, mid-tempo rock 'n' roll.  While I don't know if this is quite good enough to squeeze into the Top 5 article I'm working on for this year, it has an outside chance, and remains a great debut album for a band that's been a staple of melodic rock for decades now.

Praying Mantis - Predator in Disguise

While their first album was a solid collection of melodic rock in a world of British metal, their label didn't really support them, and the band broke up right after.  However, when a nostalgia tour for NWOBHM came around in the late 90s, the Troy brothers grabbed Paul Di'Anno and Dennis Stratton (both former Iron Maiden members) and did very well for themselves.  While Di'Anno moved on, Stratton stuck around, and with Bruce Bisland on drums, they recorded this album, 10 years after their debut!

Right off, this is much more an 80s album.  While their debut had some 80s elements, they also retained some the 70s in their songs.  Here, they contain all the cliches and tropes of the MTV generation.  Big production (which I think gets a little too thick at times), anthemic choruses, melodramatic power ballads, it's all here.  And for what it's worth, they do it pretty well.  The guitars and synths capture a lot of good melodies, and the vocal harmonies are spot on.  While there are a few glam metal moments (especially on "She's Hot" and "Only You"), the band still lean on the AOR side of things.  Honestly, if this album had come out just 2 years earlier, this would have been pretty massive.  However, 1991 was a rough time to be a melodic rock band as the landscape was changing so much at that time.

This is hard to compare to their debut because it really is a different animal.  I do think there are a few too many power ballads for my tastes, but I did like the synth-heavy songs, such as "Can't See the Angels" and "Time Slipping Away" as they made me think of Asia's poppier side.  "She's Hot" did have some interesting overlapping vocals on the chorus, and "The Horn" was a neat little instrumental track.  Overall, I liked most of it, and it's very clear to me that if had things gone differently, this band would have been huge.  Now, they're just one of the best hidden gems that is just sadly overlooked by so many rock fans.

Ozzy Osbourne - No More Tears

After Zakk Wylde revitalized the band on No Rest for the Wicked, the same lineup carried on into the early 90s, following up with this album, which would prove to be one of Ozzy's most successful.  While much of what worked last time sticks around, the album definitely pushes more into mainstream territory, with mixed results.

The first big difference is a bump in production.  It's not drastically different, but it is a little richer and bigger than before, really filling the space well.  However, this album has the band leaning closer to what glam metal was doing at this time.  With the synth orchestrations, the blend of acoustic and electric guitars, and rock-heavy vibe with shallow lyrics, this stuff feels very prepared for MTV audiences.  This isn't necessarily a bad thing, but it does make the album feel kinda samey after a while.  The performances are solid, with Ozzy providing his iconic charm, and Zakk laying out some great riffs and solos, but there are moments that feel a little forced.  Despite winning a grammy, "I Don't Want to Change the World" is a lazy retread of "Crazy Train," "Time After Time" and "Road to Nowhere" are some lackluster ballads, and "Zombie Stomp" has a very long intro into a rather silly song.

This isn't a bad album, of course.  Zakk really is the highlight, just like how Jake E. Lee and Randy Rhoads were in the past.  The hits are still solid songs, with "Mama, I'm Coming Home" being a very anthemic ballad, and the title track having some neat ideas, starting with a bass groove and including a curious digression that made me think of Queen at their proggiest.  As for the more conventional rock songs, "Desire" stood out the most, I think, and the two bonus tracks weren't bad either.  Overall, the album is just a bit too long and too generic compared to what they've done before.  It's not bad while it's one, but Ozzy and company have done better.

Top 5 of 1986!!

Once again, I have fallen way behind in my Top 5 lists.  This one was supposed to be out at the end of May!  I guess the mid-80s has turned into a rough spot for me (though I do wonder if the heat of summer hasn't been a problem as well).  In any case, at this point, metal had pretty much taken over in a lot of ways, as I mentioned in my Anniversary Article.  While there was some decent rock music as well, I just think the metal stood out more to me when I reviewed this year.

As always, these are just my opinions, and I can't listen to everything, but there are a few albums I should probably mention first.  Ratt and Cinderella had an outside chance of getting in, and some might be puzzled by the lack of thrash metal (except for one).  While I've never been a fan of Slayer (and they're too extreme for this blog), I'm actually not that big on either Master of Puppets or Peace Sells.  I know this is considered a massive year for thrash metal (and for good reason), I don't really get into those specific albums very much.  As for what did make my Top 5, well, keep reading!

5. Candlemass - Epicus Doomicus Metallicus

Doom metal might have a murky start, with bands like Saint Vitus, Cirith Ungol, and Trouble dabbling in the style, but as far as I'm concerned, Candlemass came singing right out of the gate!  While I don't think it's their best album, it's still a very good one, taking the doomy Sabbath atmosphere and kicking it up to epic levels, they established the Epic Doom Metal template for many bands to follow.

4. Iron Maiden - Somewhere in Time

Admittedly, this album is kinda stuck between two great albums, and the band was not as energized for this one due to extensive touring, but even a less-than-par Maiden album can still feature some great melodies and performances.  "Wasted Years" and "Heaven Can Wait" are certainly highlights, but they also brought out a number of epic songs, such as the historically driven "Alexander the Great."

3. Europe - The Final Countdown

Yes, the title track is great, but have you listened to the rest of this album?  I actually find some of the deeper cuts here to be quite strong as well, specifically, "Danger on the Track" and "Heart of Stone."  For slick, synth-driven glam metal, Europe rose above the rest with their theatricality and very catchy melodies that stay stuck in your head for a good while.

2. Sword - Metalized

Once again, this is not THE Sword, but a different Canadian band that plays some very gritty, straight-ahead heavy metal.  While I did review their second and third albums, I find their first one to be the strongest, full of fierce riffs and attitude.  It's just a shame they weren't able to find a big audience back in the day, because this album is great!  In fact, it nearly took the #1 spot.

1. Metal Church - The Dark

Like I mentioned, there was one thrash metal band that stood out to me during this year, and it's Metal Church.  Their debut is also a very good album, but they followed up with an excellent set of melodic thrash, maturing as songwriters and showing how to make some very fierce and powerful music without falling into weird digressions or overly complex structures.  I always feel like I should raising the horns whenever I listen to them!

Retro Reviews - July 2026 Part One!!

I have to concede that summer is the hardest time for me.  I was supposed to be through the year of 1986 at the end of May, but here we are, still reviewing stuff.  This time, I'm mainly wrapping up what I wanted to listen to for 1986 and moving on, as I do want to get through all these Top 5 lists I have planned!  It's a bit of a hodgepodge, mostly of glam metal, but it's what I've been listening to lately.

Ratt - Dancing Undercover

While their debut album Out of the Cellar was an excellent set of pop metal, and Invasion of Your Privacy was a solid follow up, the band decided to toughen up their image a little, dropping the attractive girl on the cover to black-and-white images of themselves.  However, the music is pretty much more of the same solid rockin' that they've rocked before.

There might be a few tweaks here and there in the production, but honestly, the differences are minimal at best.  This album is just straight-ahead 80s hard rock with that glam metal flair for the sensual.  Everyone performs their parts well, and there really isn't a weak track.  They also shake things up a little with a bluesy groove on a few songs, mostly on "7th Avenue" and "Take a Chance," but otherwise, this is peak MTV material.

There are a few standouts, like the singles "Dance" and "Body Talk," the latter of which had some interesting chord progressions in the chorus.  I also liked "One Good Lover" and "Looking for Love," mostly for being a little faster than the others.  I'm discovering that I really like this band, largely because they're so consistent, at least across their first three albums.  I read some reviews saying that this album was darker and heavier, like getting into thrash metal territory, but I don't really hear it.  I'll probably end up listening to all their albums eventually, so we'll see if they can stay strong as the years go on.

Cinderella - Nightsongs

Coming from Philadelphia, Cinderella was another glam metal band that was able to catch a quick road to success thanks to the 80s being the best time for this kind of music.  While they weren't the biggest of the decade, they were able to find decent success with this debut album, thanks to some strong singles.

While this is certainly a solid chunk of hard rock, I admit I was only familiar with the big songs.  Now that I'm digging into them, I'm hearing some interesting things.  First of all, singer Tom Keifer sounds a lot like AC/DC's Brian Johnson, and many of the songs feature bluesy riffs similar to the Australian band.  Combined with the glam metal, it gives the band this strong foundation to build on, making for some very catchy songs.  Another surprise was the little touches of Dio that I heard.  They would often show up in the chorus or in ways that Keifer would sing a line, and some of the lyrics had some 80s Dio attitude as well.  Overall, it's an interesting blend that takes the standard pop metal sound and elevates it a little.  The only real problem I had was that many of the songs' endings were very similar, often repeating the chorus into a fade-out.  It's not awful, but it did make some of the songs feel a little too formulaic at times.

As is typical for this era, the singles are the best songs.  "Nobody's Fool" is this slow-burning power ballad that put the band on the spot, "Somebody Save Me" gets a bit dramatic, and "Shake Me" has that AC/DC charm.  I also liked "Hell on Wheels" for its uptempo boogie style.  I understand it was hard for rock bands to stand out at this time, as glam metal and MTV were big business affairs, but I do think this debut showed a band that had a little more than just fashionable clothes to their name.

Victory - Don't Get Mad...Get Even

While I've enjoyed some of their later releases, I decided to dig back into their history and check out their earlier material.  Their debut album (which I didn't review) was a decent collection of 80s rock songs that featured some solid production but little originality.  However, the following year, they picked up Herman Frank on guitars.  He had left Accept and worked with a few other German bands, but in 1986, he joined Victory and stuck around for quite some time.

So to say that they sound a bit more like Accept is mostly true, however, they retain their pop metal sensibilities, especially with some very clean production.  Frank has brought some more metal-like chugging riffs, and his solos certainly add to his robust collection of excellent fret work.  The album starts with "The Check's in the Mail," featuring a rather AC/DC-like sardonic bite, and "Not Me" has this interesting, slower groove riff that tries to sound tough.  I don't think it quite succeeds, but it's a catchy song nonetheless.  "Arsonist of the Heart" is a very curious ballad, not really going for an anthemic height but something more subdued, "Hit and Run" picks up the double-kicking drums for a shred fest, "She's Back" is more more of a cinematic, AOR-style song, and the closer "Running Wild," while not a Judas Priest cover, definitely features a lot of their rockin' energy.  The album never feels like it's stuck in one idea without it feeling jarring or schizophrenic as it jams through its setlist.  

I do think this is quite the improvement over their first album, mostly with the songwriting having more meat to it.  However at the same time, I don't know if it really stands out from the rest of the year in terms of catchy, melodic metal.  This really won't blow anyone away, but at the same time, there really aren't any weaknesses, either.  Just solid, well-executed (and very shiny) heavy metal.

Ozzy Osbourne - No Rest for the Wicked

After the slump that was The Ulimate Sin, a duet with Lita Ford, and two years, it was time for another lineup change.  While bassist Bob Daisley rejoins as drummer Randy Castillo returns from the last album, this album would be the debut of Zakk Wylde.  He had gotten an audition tape to Ozzy who wasn't sure at first, but was later convinced to take him on board.  Helping to write every song, Wylde gave the band quite a strong shot in the arm, as this album has some very good energy.

Once again, Ozzy straddles the line between glam and traditional metal.  While the riffs and subject matter are often gritty, there are still plenty of poppy choruses and vocal harmonies to fit in with MTV and mainstream rock radio.  The production is a massive improvement over the last album, especially with Castillo's drumming which is powerful without being overwhelming.  Naturally, Wylde gets his moments to shine, playing some very electric solos (and his iconic pinch bends), and his riffs really push these songs forward.  John Sinclair's keyboards also provide some extra cinematic layers on the songs in a way that isn't  messy.  The album is not perfect, of course.  "Crazy Babies," which was one of the singles, has some strange riffs and this talk-style chorus, and "Fire in the Sky" is trying to be this somber ballad, but goes on for way too long.

Still, this is quite the improvement over The Ultimate Sin, largely because of how energized it feels.  They kick off with "Miracle Man" and "Devil's Daughter," starting the album with a lot of impact.  "Bloodbath in Paradise" is classic spooky Ozzy, talking about the Manson Family murders like they're a slasher film, and despite the subject matter, I can't deny that "Demon Alcohol" is a fun song.  Overall, I was surprised by how much of this I enjoyed.  Zakk Wylde's introduction to the world makes for a pretty entertaining Ozzy album!

Top 5 of 2025!!

Once again, I'm later than everyone else as I wanted to give everything I could a shot to get into this list.  I admit it's been a crazy year for me, as I wasn't as consistent at reviewing new releases as I wanted to be, while getting in over my head with the retrospective Top 5s!  Still, I think I was able to check out a solid chunk of what last year had to offer, allowing me to share my Top 5 of 2025 with some confidence!  As usual, power metal dominates the year with some very solid releases, but there are a few honorable mentions to throw in.  The Ferryman had an outside chance with Iron Will, and Helloween's Giants and Monsters ended up not quite making it, despite some very good songs.  With those out of the way, let's get into this thing!

5. Sabaton - Legends

Sabaton have really cemented themselves as a band that does their own thing, and usually does it well.  While the World War I themes were starting to wear a little thin on that last album, the band decided to not bother with a big concept album, and I think it has helped them regain some energy and squeeze themselves into this list.  It may be churlish of me to put this over the veterans Helloween, but I will take an album that's consistent all the way through than one full of highs and lows.

4. Crazy Lixx - Thrill of the Bite

The odd one out in this list, but this album made me smile all the way through!  While they aren't doing anything new or innovative, they definitely know how to make their style of throwback glam metal just dominate your speakers.  Sometimes, you just want a good, fun rock 'n' roll album, and Crazy Lixx has that in spades!

3. Primal Fear - Dominiation

Another incredibly consistent band that had a bit of a drop of lately, but seems to be returning with strength in 2025.  Perhaps their new rhythm section helped improve their execution, but Scheepers, Karlsson, and Sinner really pulled together a pretty good album this time.  Not as good as Rulebreaker, but solid enough to get onto this list.

2. Dragonknight - Legion

Certainly the sleeper of the year, I really can't find much fault with this album.  There's certainly plenty of symphonic power metal to compare this debut album to, but these guys have pulled off a well-executed album, being bombastic enough to be fun, but not losing themselves in overly complex or melodramatic songwriting.  It's just the right mix that helps it stand out over the others.

1. Majestica - Power Train

It might be silly, but I can't deny that what Tommy and his buddies have done is write probably the greatest love letter to power metal I've ever heard, not only respecting their elders but also finding a decent amount of variety in these tracks to mitigate any repetitive elements.  I think it also helps that they clearly just love doing this kind of music, and that passion is what pushes this album above the rest for 2025.

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.

Anniversary Series - 1984!

I have to tell you that this is probably one of my favorite years.  So many good albums came out this year that it will be tough to condense it down into one article, but I've tried.  Metal is really growing, not only with the popularity with the pop stuff, but thrash also slowly building in the background.  Meanwhile, rock music was taking a bit of a backseat, but there were still some very good releases this year.

Things start off massive with Van Halen's 1984, dominating the charts with songs like "Panama," "Jump," and "I'll Wait."  It may have startled some fans with the synth riffs, but the songs won pretty much everyone over.  And right after that, Judas Priest shows up with Defenders of the Faith, a solid follow up to the massive Screaming For Vengeance.  Other big albums at the start of the year include Whitesnake's Slide It In, Saxon's Crusader, Europe's Wings of Tomorrow, and Scorpions' Love at First Sting, with the titanic hits "Rock You Like a Hurricane," and "Big City Nights."

This year would also feature a lot of debut albums, with some albums being better than others.  Bon Jovi's self-titled debut only shows hints of their future successes, Grave Digger's Heavy Metal Breakdown barely holds together, and even celebrated thrashers Anthrax started with the uneven Fistful of Metal.  However, the good debuts include Lee Aaron's Metal Queen, Savatage's The Dungeons Are Calling, Queensrÿche's The Warning, Autograph's Sign in Please, and Ratt's Out of the Cellar, blowing up radios with their big hit "Round and Round."  The rest of that album is quite good, too.

Metal continues to evolve as the year goes on.  We have some early efforts in doom metal with Trouble's Pslam 9, and Saint Vitus' debut, ensuring that Sabbath-y slow, ominous riffs wouldn't go out of style.  Cirith Ungol would have their own take on epicness with King of the Dead.  Yngwie J. Malmsteen, after trying to make it with Steeler and Alcatrazz, introduces the world to neo-classical metal with Rising Force.  Of course, the big winner is thrash metal, featuring two massive albums: Metal Church's self-titled debut, and Metallica's Ride the Lightning.  Both are excellent examples of blending melody with aggression, making them some of my favorites.

Metal would continue to dominate the year as it goes on.  Twisted Sister told us "We're Not Gonna Take It" on Stay Hungry, Dio would sing about the Last in Line, and Iron Maiden would cement their metal supremacy with Powerslave, going on a massive world tour.  Manowar would end up releasing two albums this year: Hail to England and Sign of the Hammer.  Towards the end of the year, Dokken put out Tooth and Nail, expanding their sound into their own brand of pop metal.

With all this metal going on, what about rock?  Well, like I said, it was in the background, occasionally popping out with some good songs.  .38 Special started the year with Tour de Force, Queen got experimental with The Works, Rush continued their synth-based sound on Grace Under Pressure, Steve Perry went solo with Street Talk, and Bill Squier showed Signs of Life.  The big story, however, was Deep Purple's Mark II reunion, recording Perfect Strangers, which is an interesting blend of 70s and 80s styles.  

As the year came to a close, there were more big albums.  The Alan Parsons Project would release two this year, Ammonia Avenue and Vulture Culture, which would be their last two efforts to follow the mainstream popularity of Eye in the Sky.  Then, at the very end, Foreigner would come back with Agent Provocateur and the big ballad "I Want to Know What Love Is." While rock may have been fading at the time, it certainly wasn't going out without a fight!

As you can see, this was a massive year.  Be sure to check out the playlist below for more awesome music, and if you think there's still something I may have missed, let me know in the comments below.  I know 1984 is a year I keep coming back to, and maybe when I come around on these Anniversary Articles again, I'll have even more to talk about!  Until then, rock on!  \m/

Anniversary Series - 1988!

The middle of the month means it's time for another Anniversary Article!  1988 is an interesting year, as we start to see the rock and metal scene shift and expand, resulting in quite the mix of genres.  While I sure I'm missing some stuff (let me know what you think of down in the comments below), here's a rundown of the big albums and songs that rocked folks 35 years ago!

The year starts off with a rather controversial group, Kingdom Come.  While at first they tried to deny it a little, but it's pretty clear they were intent on doing a glamified approach to the classic sound of Led Zeppelin, and to be honest, they were pretty good at it.  And it's not like they were the first to do so, as both Rush's first album and and some of Whitesnake's material come to mind.  In any case, one could see Kingdom Come as the beginning of the retro-clone style of bands that we see so much today, so maybe they're influential at least in that aspect.

Of course, the pop metal scene in general had plenty of albums going around, continuing to dominate the airwaves.  Scorpions came back after a four year album break with Savage Amusement, Europe went Out of This World, Winger was "Headed for a Heartbreak," Cinderella told us that we "Don't Know What You Got (Till It's Gone)," and Poison really blew up with Open Up and Say... Ahh!, featuring several big hits like "Nothin' But a Good Time," "Fallen Angel," and "Every Rose Has Its Thorn."

Metal's various sub-genres also saw some decent representation this year.  Manowar and Candlemass brought the epicness with Kings of Metal and Ancient Dreams, respectively.  Helloween continued to establish the foundation of power metal with Keeper of the Seven Keys Part 2.  Queensrÿche shifted into progressive metal with their concept album Operation: Mindcrime, and Iron Maiden pushed their proggy tendencies further with Seventh Son of a Seventh Son.  

However, the big winner of the year was thrash metal.  While all the big thrash bands put out albums this year (with Testament's probably being my personal favorite), it can't be denied that Metallica really put a spotlight on thrash with ...And Justice For All.  Despite the production problems, the album benefited from the music video for "One" getting plenty of airplay on MTV and the now-infamous snub at the Grammy's.  While some would argue that thrash's best year was 1986, the subgenre clearly started to break into the mainstream in 1988, and Metallica was leading the way.

So that's another year wrapped up.  Be sure to check out the playlist below for more great songs.  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 - 1987!

Moving right along with these Anniversary articles it's time for 1987!  To be honest, this year is pretty dominated by glam metal, but that's not a bad thing, as it hadn't quite worn out its welcome yet.  Sure, there were rumblings in the underground, with more extreme metal and college rock getting momentum, but those are outside the scope of this blog.  For now, let's focus on the melodic rock and metal of the year!

Like I said, it was a big year for glam metal.  Whitesnake released their massive self-titled album, featuring a re-recording of "Here I Go Again" and the big ballad "Is This Love?"  Mötley Crüe took things to the "Wild Side" with Girls, Girls, Girls, Great White put out Once Bitten, with the big hit "Rock Me," Dokken came Back for the Attack, and Guns 'n' Roses had their historic debut album.  Would classic rock be the same without "Welcome to the Jungle" and "Sweet Child o' Mine"?

However, in my opinion, the biggest album in the pop metal world is Def Leppard's Hysteria.  After having such a rough hiatus, with their drummer losing an arm, they came back with a titanic record that featured seven hit singles, and even some of the deeper tracks like "Run Riot" and "Excitable" are solid.  The story goes that the album wasn't as big at first, but when "Pour Some Sugar On Me" hit the radio waves, it became one of the best selling albums of the decade, and when I listen to it, I can't deny that it deserves it.  Just massive stadium-ready hooks from front-to-back.

Of course, the decade wasn't all metal.  Rock still had a presence here and there.  The Alan Parsons Project would release their last album, Gaudi, early in this year.  One would expect a concept album about a Spanish architect, but it's a solid release.  Other former prog rockers would put out some decent melodic rock as well.  Rush had the synth-heavy Hold Your Fire, Yes tried for, but largely failed to get big success with Big Generator, and Pink Floyd had their peculiar comeback with A Momentary Lapse of Reason, which as become one of my favorites of theirs in recent years.  Marillion also had a decent year with Clutching at Straws, a concept album about a man who missed out on success and brags about it while drinking in a bar.

Speaking of progressive music, Savatage would finally ditch any attempt at MTV success and rediscover themselves with Hall of the Mountain King, which saw them teaming up with Paul O'Neill and starting their shift into the symphonic, concept-driven metal that would take them to Trans-Siberian Orchestra in the 90s.  Other notable metal release include Manowar's Fighting the World, Dio's Dream Evil, doom metal legends Candlemass's Nightfall, and Running Wild finally finding success with the piratey Under Jolly Roger. 

Finally, I want to bring up Helloween's massive Keeper of the Seven Keys Part I.  While the band had released an album before this one, I feel like Keeper is when they finally found their sound, and as a consequence, established the sound of power metal for many bands to follow.  Between the upbeat "I'm Alive" and the epic "Halloween," it was really the first time melodic leads and aggressive riffing really came together, establishing the genre that wouldn't quite take off until a decade later.

That wraps up this year, clearly one for throwing up fists for some great rock and metal.  As always, my playlist is below with even more great tracks, and if you think I've missed something, let me know in the comments.  I hope you're enjoying these articles as much as I enjoy making them!  Until then, rock on! \m/

Anniversary Series - 1990!

As the year moves along, I hope everyone is staying safe.  In the meantime, this series carries on, into the year 1990!  Another year of transition, much like 1980, with some genres coming to a close while new ones are picking up to take their place!

However, the year would kick of with the familiar sound of glam metal, as Slaughter would release their debut album Stick It To Ya, with the big song "Up All Night."  In fact, glam and pop metal would have a pretty good year over all, with Poison's Flesh and Blood, Steelheart's debut, Ratt's Detonator, Warrant's Cherry Pie, and Jon Bon Jovi's solo debut with Blaze of Glory.

The rest of metal weren't sitting back either.  As thrash metal became more mainstream, Megadeth would find greater popularity with Rust in Peace.  Chock full of big tracks like "Holy Wars," "Hangar 18," "Tornado of Souls," and the title track, songs the band still play live today, it was a release that was hard to beat.  Even Judas Priest got in on the thrash action with Painkiller, letting Halford really go wild with the vocals.

Power metal, while still a long ways off from its peak, would find a few solid releases.  Kai Hansen, after breaking off with Helloween, would start Gamma Ray, with their debut album Heading For Tomorrow coming out this year.  Blind Guardian would release Tales from the Twilight World (which I reviewed at the end of last year), would show them shifting into their iconic style of melodic leads and epic vocals.

Of course, there was a new style developing out in the northwest of the US.  While grunge and alternative rock wouldn't completely take over, bands like Alice in Chains and Soundgarden would laying down the groundwork for the explosion that would follow in the next few years.

Meanwhile, classic rock fans would have plenty for them as well.  After Tommy Shaw left Styx, he ended up forming Damn Yankees with Ted Nugent and Jack Blades of Night Ranger, who's debut album would put them on the map in a big way.  Of course, Styx weren't sitting back, releasing Caught in the Act to some acclaim.  This year would also give us AC/DC's The Razor's Edge, best known for "Thunderstruck" and proof that classic styles still had power to blow the minds of rock fans everywhere.

As the year drew to a close, glam metal would end up having the last say, with the Scorpions releasing Crazy World with the track "Winds of Change," reflecting to the changing times in Europe.  The genre itself would have a major shake up with Tesla's live acoustic cover of "Signs," a sign itself that glam metal had really gone about as far as it could go.

And that wraps up 1990, though my playlist below has a few extras, as always.  Again, if there's anything you think I left out anything, let me know!  Until then, rock on! \m/

Anniversary Series - 1985!

I hope everyone is staying safe.  I know I haven't been as productive as I could be here, but I'm committed to at least get these anniversary articles out.  Going back over 1985 seems to be an odd year, as there doesn't seem to be as much in the way of major releases like my previous articles.  Still, any year is a good year for rock music to come out, and this one isn't any different.

The year starts off with John Fogerty, of Creedence Clearwater Revival fame, getting a big solo hit with "Centerfield."  Dire Straits would find their own massive success with Brothers in Arms, featuring "Walk of Life," the satirical "Money for Nothing," and the epic title track.  Starship would continue it's complicated history with "We Built This City," and Heart would make their big comeback this year with "These Dreams."

As for metal, the genre was slowly expanding, with the subgenres of thrash, death, speed, power, and even doom finding their footing.  Those waving the banner for traditional metal found plenty to enjoy with Accept's Metal Heart, and Dio's Sacred Heart.  Power metal quietly kicked off this year with Helloween's Walls of Jericho, establishing the sound that would inspire epic music for decades to come.

Glam was certainly not sitting back, though as one of the biggest albums would be Theatre of Pain by Mötley Crüe, featuring a cover of "Smokin' in the Boys Room" and "Home Sweet Home," the power ballad that would pave the way for many more to follow the rest of the decade.  Other highlights include Ratt's Invasion of Your Privacy, Dokken's Under Lock and Key featuring "Unchain the Night" and "The Hunter," and Twisted Sister's Come Out and Play, best known these days for a team up with Alice Cooper for "Be Chrool to Your Scuel," the video for which ended up being banned from MTV.

Prog rock would definitely take a backseat at this time as most bands were content with a streamlined sound.  Marillion would end up being big this year as their album Misplaced Childhood would provide the hit "Kayleigh."  Rush continued their synth-heavy sound with Power Windows, Supertramp would recruit David Gilmour for Brother Where You Bound, and Asia would replace Steve Howe for Mandy Meyer for the more stadium-rock savvy Astra.  The Alan Parsons Project, after attaining radio success for for the past five years, would pick up some of their older progressive styles with Stereotomy at the end of the year.  

Hopefully, that covers the year pretty well.  Check out my playlist below, and speak up if you think I've missed something.  Until then, rock on! \m/