Anniversary Series - 1994!

This year is certainly a tough one to write about.  While there was plenty going on in rock and metal, it was mostly in genres I generally don't cover on this blog (like pop punk or death metal).  That being said, I think I've got enough to scrape a few paragraphs together to try and cover the year without resorting to a handful of reviews.

Naturally, grunge was still big.  Alice in Chains, Pearl Jam, and Soundgarden put out some reelases to their diehard fans, with Soundgarden in particular having a massive hit with "Black Hole Sun."  However, this year would also serve the biggest blow with the death of Kurt Cobain.  Almost acting like a turning point for the genre, more radio friendly bands like Bush and Our Lady Peace would move the genre into the post-grunge era.

Prog would end up having an interesting year as well.  Classic bands like Yes and ELP (among others) would put out albums, showing they still have what it takes, while Pink Floyd released Division Bell, marking the end of an era (as it was the last album for them for many years).  Progressive metal was picking up, however, with Dream Theater leading the charge with Awake, their celebrated follow-up to Images and Words.  With newcomers like Vanden Plas and Symphony X following in their wake, prog metal was clearly on the way up.

Meanwhile, power metal was starting to come together.  Stratovarius would be in a state of transition with Dreamspace, but the big story was the comeback of Helloween.  Picking up new singer Andi Deris, the band returned to their speedy, melodic roots with Master of the Rings, one of my favorite albums of theirs.  Finally getting past their experimental phase, they laid out epic tracks like "Sole Survivor" and "Where the Rain Grows," anticipating the explosion of power metal that would soon follow.

So it's not much, but it's something, and there's certainly more in the playlist below, so check that out.  If I've missed something, let me know in the comments below.  Meanwhile, I'll keep carrying on, putting out articles as often as time permits.  Until then, rock on!  \m/

Anniversary Series - 1991!

Sorry for the lack of content lately.  At least I was able to put this one together in advance.  It's also fortunate that 1991 is such a big deal in rock music history, providing plenty of material for this anniversary article.  1991 was definitely the end of some eras and the beginnings of others.  It would be hard to think of a year that would come to represent such massive shifts in the rock scene more than this one.  Still, with such change, great music gets made.

Speaking of the end of eras, Queen would experience a pretty major shift.  Releasing Innuendo in February, it would end up being the last record they would record alongside their singer Freddie Mercury before he would pass away later in this year.  Other bands facing the ends of an era would also include Skid Row, as Slave to the Grind would be their last with singer Sebastian Bach, and Europe, whose Strangers in Paradise would be their last album for more than 10 years.

Other bands were coming to a close as well.  Genesis released We Can't Dance, which would end up being their last with Phil Collins (though currently there is talk of another reunion tour, so who knows).  Dire Straits also put out their last album On Every Street, one that I think is very underrated in their catalog.  Rush would also bring a close to their synthesizer-heavy 80s with Roll the Bones, bringing things back to a more streamlined rock sound.

Of course, it was not all doom-and-gloom for rock and metal bands.  Van Halen was still rocking with Sammy Hagar, releasing For Unlawful Carnal Knowledge, and Mr. Big would kickstart their popularity in Japan with the single "To Be With You."  Guns 'n' Roses would finally release their double album Use Your Illusion, Ozzy proved he wasn't slowing down with No More Tears, and Metallica would release their self-titled album, which is still their most popular one to this day.

However, the big change came from the Seattle bands.  While they wouldn't get their big explosion next year, 1991 featured some of their biggest releases.  Not only do you have Pearl Jam's Ten, Temple of the Dog's only album, and Soundgarden's Badmotorfinger, but also Nirvana's Nevermind, which would introduce the sound to the rest of nation and turn it into an international phenomenon.  Almost instantly, record labels were dropping anything with an 80s rock sound in favor of this grittier, thicker style.  I don't know if there has ever been such a hard pivot in the rock music  industry before or since.

And that's 1991!  Certainly a year of changes, and the music shows.  A lot of pop metal and melodic rock would fade from popularity, making way for the new alternative rock sound, but good music, nevertheless.  I have a bunch more in the playlist below, and as always, let me know if there's something I've missed!  Until then, rock on!  \m/

Last Played - May 2019!

Good heavens!  It's been a while since I've done one of these!  Hopefully this will break up all the video articles I've been doing lately, though.  Let's see what I've been spinning lately!

Pearl Jam - Ten

Here we are, with Pearl Jam’s first album.  Here, we have them playing more straight-forward grunge, but even as I listened to this album, I could feel some of the hypnotic, almost psychedelic groove to it.  Vitalogy was really just them exploring a sound they already had to some degree.

I also began to see how these songs would probably sound really great live, and has got me thinking that I should try to find a live show of them from the early to mid 90s.  Their music has this jamming quality to it, stuff that could go off for a while, then come back like nothing happened.  I guess it’s just them living up to their namesake!

In any case, all three albums contain very solid rock music, and while the depressing lyrics and topics might not be everyone’s thing, they certainly good at setting their own compelling atmosphere, even during a time when grunge started to sell out hard.

Deep Purple - Machine Head

A classic that really needs no introduction.  Here we have Deep Purple at their peak, providing some of their most iconic songs.  While the story behind the album is almost as fascinating, the music has really helped this album become one of the most celebrated in all of rock ‘n’ roll.

And it’s easy to see why.  Between the lightning quick leads of Blackmore and the aggressive organ of Lord, we have a fun, rockin’ album that knows when to ease off into a bluesy bit and when to turn up the heat.  It really is an amazing recording by a band very much in tune with each other.

Of course, some songs stand out more than others.  The power of "Highway Star" is outright undeniable, with Lord’s and Blackmore’s classically inspired solos.  "Smoke on the Water," for all it’s simplicity, remains very compelling, not only with the story, but with the licks and rhythms.  Then you have "Space Truckin’" and "Lazy," which are just incredible, jam-heavy pieces that roll right along.

In all honesty, thousands of words have already been written that explain how great and influential this album is, often cited as a major inspiration for heavy metal.  While I can hear the sparks of metal here and there (mostly in "Highway Star"), what I think matters is how well the songs themselves have aged as just plain great rock music.  

Herman Frank - Fight the Fear

After getting hyped up about this album back at the end of last year, I finally took the time to sit down and listen to the whole album.  Not surprisingly, it really is just wall-to-wall traditional metal, and I mean that in a good way!

Of course, when dealing with a sound this consistent, it can be hard to identify the stand out tracks.  While I did re-enjoy “Sinners” and “Hail & Row,” the only other songs that stood out to me was the power-metal-esque “Wings of Destiny” and the anthemic closer “Lost In Heaven.”  Everything else just kinda crunched along.

The lyrics are a bit of a mixed bag, with many of them having something of an apocalyptic but adrenaline-driven tone.  While they provide many great sing-along choruses, some of the grammar is clunky, with some of the lines breaking me out of the experience.  However, they’re all confidently sung by Rick Altzi, bring the right kind of old-school machismo that this kind of music needs.

Overall, this is a good album; let me make that clear.  Nothing feels particularly weak or excessive (thought the album might be a bit on the long side).  Full of crunchy, satisfying riffs and electric solos, it’s straight-ahead metal for those who wish the 80s never ended.  Fans of Judas Priest, early Ozzy, and Accept (naturally) will find a lot to like with this one.  

Kamelot - Ghost Opera

After covering a few of Kamelot's early albums in previous articles, I'm jumping ahead to their 2007 effort, mostly because I've listened to the four in-between so many times, I can't even count.  As far as I'm concerned, The Fourth Legacy, Karma, Epica, and The Black Halo are Kamelot's classic period, and represent the best they've made with Roy Khan.

So, Ghost Opera.  I remember listening to this when it came out and being pretty disappointed.  Of course, coming after the excellence that was The Black Halo, it would have been difficult to make an album of equal measure, but I still felt like something was missing from this one.

Upon relistening, I noticed a serious lack of Thomas Youngblood's iconic guitar riffs.  While the album is decently crunchy, the lightning-fast melodies seem to be missing this time, focusing on a more symphonic approach, helping to set a rather grim tone.  While this isn't a concept album, themes of death, futility, and abandonment pervade most of the songs.

That's not to say the album is bad.  The orchestrations are dynamic and effective, and Roy Khan remains a wonderfully dramatic singer.  While this may not be his best work, he does show a considerable amount of range in his performance, almost like an actor.  And the album has their iconic Kamelot sound, so it's by no means a betrayal of expectations.

However, the songs don't seem as inspired as on their classic albums, coming across as maybe a little too dour.  Perhaps it's just a consequence of nostalgia, as I discovered the band in college and binged on them hard.  Still, even upon relistening it, I feel this a weaker effort compared to previous heights.

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So things have taken a bit of a video-y turn lately around here.  I do hope I can balance things out in the future.  I'm mostly happy that I'm able to keep posting things on such a regular (if inconsistent) basis.  For now, this seems to be working, so I'm sticking with it, but I know I want to do more.  Hopefully, I can find time for other things as I go on.

Until then, rock on!  \m/

Last Played - March 2019 Part 2!

It's time for another installment of "Last Played" and once again, I'm hitting albums from all decades!  Here's what I've been headbanging to for the last few weeks.

Dragonland - Starfall

Yup, on to the next Dragonland album.  With this one, they set aside their epic storytelling for a more standard set of songs, and I think this one is their strongest yet.  While the lyrics remain melodramatic and the tone sweeping and epic, the songwriting feels stronger than their previous efforts.

Still, the band is still telling stories, such as the mini epic of “The Shores of Our Land,” the Charles Manson inspired “Calling My Name”, and the ambitious, mostly instrumental three-parter “The Book of Shadows.”  However, the songs that stand out to me are the title track “Starfall” and “The Returning,” maybe because they’re more straight-forward power metal songs.  Oh, and the Helloween cover is solid as well.

What sets this album apart from their previous efforts, though, is how they push into progressive metal territory.  While they’ve had dashes of it in the past, mostly with their full album stories, here the songwriting on this album shifts better from mood to mood, augmenting their power metal chops.  Definitely an improvement!

Pearl Jam - Vs.

While I’m going forward with the Dragonland albums, I’m going backward with Pearl Jam!  Once again, I’m diving into the classic grunge, and that’s definitely what this album has to offer.  I do think this one is a little more raw and confrontational than either Ten or Vitalogy, but I suppose with a title like Vs., that should be expected.

To be honest, there wasn’t much that stood out to me.  It was mostly a solid chunk of thick guitars with some nice riffs, and Eddie Vedder’s iconic vocals drenching everything with his moods, be it somber or angry.  Again, if this is your thing, you probably have this already.

Queen - Queen

While I’ve heard Queen’s big hits on classic rock stations all my life, I haven’t spent much time with their studio albums, so on a whim, I decided to dig deep into the history of rock and listen to Queen’s first album.

Right off the bat, there is no mistaking the band.  Between Mercury’s dynamic vocals and May’s iconic guitar harmonies, it seems Queen already had the elements of their iconic sound from the beginning.  If there is anything unexpected, it’s that the songs have more of a progressive rock style to them, with complex arrangements and guitar riffs.  Overall, the album is fairly eclectic, but that would only serve as a precursor for what would come.

However, the album does have its flaws.  Some of the songs end rather anticlimactically, and the energy seems to fade in the second half.  The songs are not necessarily bad, but they don’t have the same level of drive and dynamics as the first half’s material.  Still, a fun album for taking a peek into the early sounds of an iconic band.

Nightwish - Dark Passion Play

I remember when this album came out, as it was the first after Tarja Turunen’s controversial dismissal.  We all wondered what kind of album Nightwish was going to make with this new singer, and when it landed, it did pretty well, but I remember having a few qualms.  I recently relistened to it to see if time has helped make this album stand on its own.

And honestly, my opinion hasn’t really improved.  This album has the band really shifting away from their classic power metal sound into something more versatile, with more progressive and folk metal elements.  As a consequence, the songs don’t seem quite as powerful, though they remain just as dramatic as ever, with the epic symphonic scores behind the guitars.

That being said, there are still some good tracks here, mostly notably “Bye Bye Beautiful,” “Amaranthe,” and “Last of the Wilds.”  And while she may not have the same sonic presence as Turunen, Azette Olzen is still an adequate singer with her own take on this style of music.  Perhaps not the band at their best, in my opinion, but definitely one in transition, as they move into new genres and territories.

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Well, that's the latest from me.  I know I was kind of getting into a groove there, only to have it fall apart again.  I think that's just how things are going to be for now.  I know it's not great to have posts be so sporadic, but I think it's the best I can do for now.  However, I am enjoying this, and that helps a lot.  So here's to more rock!

Last Played - March 2019

Time for another round of "Last Played."  As always, these articles are about older stuff, but good music doesn't get old, it just ages with grace, right?  Here's what I've been listening to lately!

The Alan Parsons Project - Pyramid

When I was working on the final installment of The Big Three here, I decided I needed to listen to some Alan Parsons to get into the mood, and decided to go with this one.  It’s one of the earlier ones, so we get more of a progressive rock feel with the symphonic flourishes and the songs blending from one to the next.

As I mentioned in that other article, the APP tend to focus on topics for their albums, and this one is obviously about the Egyptian Pyramids and Egyptology in general.  Using this material, the songs focus on the eventuality of humanity’s mortality and how even the things we build will eventually crumble or lose their original meaning.  Even the song “Pyramania” focuses on the silly and shallow nature of how the symbols of Ancient Egypt still crop up on modern culture.

However, don’t get the impression that the album is downer.  It’s more of an observation on how much this one culture has affected so many others, and made us wonder.  Even the instrumental songs portray the grandiosity of Egyptian folklore and mythology, tying the whole thing together.  Definitely a great album from beginning to end!

David Gilmour - On An Island

Despite being a big Pink Floyd fan, I admit that I haven’t really bothered much with the solo work of any of its members.  I knew that of the members of Pink Floyd, I would be most interested in David Gilmour’s solo work, so I decided to give On An Island a shot, as I’d heard good things about it.

As expected, I got a set of some nice, mellow bluesy pieces, full of nostalgic moods and textures.  However, I noticed there wasn’t any of the Floyd’s melancholy or bittersweetness, with this one settling in to something more calm and leisurely.  It does have its darker moments, but they are often swept away by the breezy, almost pastoral vibes.

I don’t know if there is anything really mind-blowing here, but I do think I need to give a few more spins before I can really collect all of its pieces.  It’s certainly nice to hear Gilmour play his seemingly effortless licks, but the song-writing doesn’t seem to be as strong as the playing.

Dragonland - Holy War

Last time, I listened to Dragonland’s first album, so now I’ve giving the second one a go, and to be honest, it’s really more of the same.  Epic grandeur, lighting fast guitar riffs and solos, sweeping symphonic scores, all telling a fantasy story.

This album does seem to have some better songwriting than the first one, though.  There are still a few rough lines, as the lyrics are forced into melodies, but things seemed to shift from moment to moment a little more naturally, making it easier to follow.  No real surprises, but a better effort from clearly talented musicians.

Oh, and their cover of “Neverending Story” is amazing!

Pearl Jam - Vitalogy

While I know I focus on classic rock and melodic metal sounds, I wouldn’t want anyone to think I’m above styles and impact of alternative rock, especially grunge.  I’m always in for good, crunchy riffs.   That being said, I admit that my knowledge base for this genre is not as strong, so every now and then, I’ll pick something up from the early 90s sounds to try and broaden my horizons, and (due to other circumstances) I decided to give this one a shot.

My only real knowledge of Pearl Jam was listening to Ten a few years back and thinking it was okay.  This album, while still very grungy, has the band dipping more into late 60s psychadelia for inspiration.  While I think it works for songs like “Not For You,” “Tremor Christ,” and “Corduroy,” they do take it pretty far, with “Bugs” being a strange, accordion-driven track, and “Hey Foxymophandlemama, That's Me” being more of a sound collage of psychiatric patients.

Still, there’s good rock to be heard here.  While your mileage with grunge may vary (and depend on your nostalgia for the time period), this album serves as a solid example of the sound at its peak while also trying to break out of the box at the same time.  Perhaps not something I’d listen to often, but not bad while it’s on.

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I feel like I'm getting into more of a groove with this blog.  I admit I haven't been covering new stuff as I would like, but I'm getting there.  Hopefully, I can maintain this kind of consistency moving forward.  Until then, rock on! \m/