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 - 2004!

Yeah, this one is about a week and a half late, but better late than never!  2004 would naturally be another decent year full of power metal, but I decided I'd give a few new albums a chance instead of going over ones I've heard before.  However, of those, the major standout for me is Nightwish's Once, as that album was one of my favorites in my initial year as a metalhead.  The symphonic flourish of those songs was incredible, and convinced me to continue enjoying the genre.  Check out the playlist below for more highlights from the year.  As for this article, I admit I ended up just diving into some more power metal, but these were albums I've been wondering about for a while.  Let's get into it!

Twilightning - Plague-House Puppet Show

Speaking of my early metalhead years, I came across this band's debut album Delirium Veil and absolutely loved it.  Definitely inspired by fellow Finns Stratovarius and Sonata Arctica (with a bit of Europe for good measure), they took a much more synth-heavy approach to power metal and spiced it up with some interesting prog elements, like mixed-meter sections.  I thought it was novel at the time, but I never followed up on their later albums.  Fortunately, this article gives me the opportunity to check out their sophomore effort.

While much remains the same, the songwriting has taken a shift towards more of an 80s pop metal sound, much like what Edguy was doing in the later 2000s.  The proggy elements have also disappeared for some pretty straight forward songs.  However, what worked before still works here.  Ville Wallenius and Tommi Sartanen have tons of incredible fret work in both licks and solos, Mikko Naukkarinen is right there with them on the keys while also providing a solid synth ambience, Jussi Kainulainen and Juha Leskinen are solid enough as the rhythm section, and Heikki Pöyhiä belts out the lyrics with gusto.  If there is a problem, it's that most of the album kinda blends together more.  There are a few ballads to break things up, and they're not bad, but overall, this album mostly sticks to a rockin' feel outside of a few power metal-like sections.

I think I still like the first album more, as I think it's more ambitious and iconic.  While these songs aren't bad, the production is solid, and the album flows quite well, this just feels a bit lackluster compared to what came before.  I definitely liked the title track as an opener, "Fever Pitch" had a great build up in energy as the song went on, and the rest of the album is enjoyable enough.  I just wish there was more going on.

Dream Evil - The Book of Heavy Metal

So I've been listening to the title track of this album for years, but I haven't checked out the rest until now.  While I found their second album to be decent (though not as good as their first), I went into this third one with some high hopes.  For the most part, they've been met, as the band shifts into more of a traditional metal band with power metal moments.  

There are two main takeaways I have here.  First is that they really focused on having catchy hooks and riffs, making these songs really stick with you.  The second is the fact that Gus G. really goes hard on this album.  Sometimes, he's full of legato on the melodic solos, sometimes he's full speed shredding, and it's very front-and-center on this album.  However, the rest of the band is solid, as the band shifts from high-speed numbers, to anthemic pieces, to hard rock jams.  While "The Enemy" and "No Way" keep the power metal around, most of the album sticks to a mid-tempo groove of one kind or another.  Some of the songs like "Tired," "Unbreakable Chain," and "Only for the Night" make me think of Scorpions, actually, though that might be because vocalist Niklas Isfeldt reminds me of Klaus Meine sometimes.

I do wish there was more of the power metal from the first album, but the heavy metal and hard rock stuff is pretty fun.  The lyrics can be campy, so your mileage may vary with those, but overall, the album is never dull.  And that title track might be the best thing they've ever written.  Every time I put it on, you had better believe that I'm singing out the chorus as loud as I can!

Angra - Temple of Shadows

Yup, more Angra!  I promise this was the planned album for this article before I heard the band was going on hiatus, doing a quick tour of their homeland to celebrate the 20th anniversary of this album.  While the last album was a solid return to form with a new lineup, this one has them coming back with another concept album.  This one tells the story of an 11th century crusader being given a strange prophecy by a Jewish rabbi.  As events unfold, he finds himself questioning the teachings of his faith and finding the meaning of his life, while being given visions of the future.

The band is definitely going big with this one, really wearing their Dream Theater influences on their sleeve.  The album shifts between power metal triumph to somber acoustic ballads to technical riffing to jazzy songs like "Sprouts of Time."  "Spread Your Fire" is a firey opener (after the intro track), "Temple of Hate" gets neo-classical, while "Wishing Well" gets kinda folky and proggy, kinda like the Flower Kings. "Morning Star" really runs the gamut, going back and forth between heavy riffing and more somber, mysterious tones.  The lyrics themselves are mostly fine.  It feels a bit preachy here and there, but otherwise, they tell the story pretty well.  While it certainly is progressive metal, nothing feels confusing or jarring.  It's all well-arranged and performed, and the album flows well from song to song.

However, I don't know if I like it as much as their other albums.  I think this is one I will need to revisit a few times before I can really decide how I feel about it.  It has a lot of little bits I like, but the songs don't quite come together for me.  I guess maybe I went in thinking I'd get more power than prog, and this is definitely more on the prog side.  Still, it's undeniable Angra, maintaining an interesting balance between their influences while bringing in new ideas.

Anniversary Series - 1989!

Another month, another Anniversary Article!  1989 is an interesting year, as rock was in the middle of a lot of transition.  Grunge and alternative rock was slowly growing, pop metal was as big as ever, thrash and death metal were finding their audiences, and other genres were bubbling up.  Here's how this year went!

The year starts of with a number of big hits, as Skid Row and Warrant release their debut albums.  The former provided "18 to Life," "Youth Gone Wild," and the big ballad "I Remember You," while Warrant was about the "Down Boys" and "Heaven."  Great White would soon follow with ...Twice Shy, and the sort of title track cover song "Once Bitten Twice Shy."

However, the beginning of the year, saw other iconic releases, such as Doro's Force Majeure, her first album on her own, Metal Church picking up Mike Howe for Blessing in Disguise, and Dream Theater released their debut with When Dream and Day Unite, carving a small niche for progressive metal that they would widen later.  Meanwhile, Seattle was getting a taste of the future with Nirvana's debut Bleach and Soundgarden's Louder than Love.  In the midst of all this, Jon Anderson would leave Yes and form a group with former Yes members called Anderson Bruford Wakeman Howe.  Their self-titled album would be a unique prog rock highlight for the year.

As the year goes on, we get more epic hits, with Mötley Crüe's Dr. Feelgood being a massive single factory, including the title track, "Kickstart My Heart," and "Same Ol' Situation."  Alice Cooper would comeback with his own take on the genre with "Poison," John Sykes would form Blue Murder and record their debut album, while his former bandmates Whitesnake would carry on with Slip of the Tongue, featuring "Judgment Day."  

However, in my opinion, the winner of the year is Candlemass.  Their fourth album Tales of Creation is peak doom metal, in my opinion.  I know I don't talk much about the genre on the blog, but this album is my standard for what a good doom metal album sounds like.  From the epic riff on "Under the Oak," to the atmospheric plodding on "Dark Revelations" and "The Edge of Heaven," and even the sudden high-speed instrumental "In the Unfathomed Tower" are all highlights.  A favorite album of mine, from any year.

Wrapping things up, we see Blind Guardian's follow up Follow the Blind, featuring their classic closer "Valhalla" with Kai Hansen showing up with some vocals of his own.  Stratovarius released their debut Fright Night, being more of a speed metal group before they became power metal titans.  Guitar legend Michael Schenker teamed up with Robin McAuley and release Save Yourself, a unique team up that probably should have lasted longer.  Finally, Savatage would really lean into a Queen-like theatrical style with Gutter Ballet, definitely showing signs of where they would end up, to say nothing of their Christmas-themed spin-off.

So that's another year wrapped up again.  Once again, check out the playlist below for more, and let me know in the comments what else stands out to you from this year.  In the meantime, I've got some more albums to listen to, so keep an eye out for more reviews.  Until then, rock on!  \m/

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/

Retro Reviews - April 2024!

I'm finally getting around to releasing some articles again, and it feels good.  This will be the first of the Retro Reviews, focusing on older albums and leaving the New Releases as their own things.  This time, we're definitely getting into some classics, and while they may not have been incredible, they all had their stamp on rock and metal for their time.

Lee Aaron - Metal Queen

Declaring herself to be metal royalty might be pretty bold, especially with Lita Ford and Doro probably being better known, but maybe it's one of those first-come-first-serve things.  In any case, this Canadian rocker sought to plant her flag in the growing metal scene of the 80s with this album and succeeded to some degree.  I admit I didn't know what I was getting into with this, as I checked it out kind of on a whim, but it turned out to be a pretty nice, if average, chunk of radio-friendly metal.

It's biggest problem is that the songwriting is kind of generic, with lots of metal clichés, and a big, poppy production much like the glam metal of the day.  The guitar work is solid, but nothing really outstanding.  The album really does hang on Lee Aaron's vocals, and fortunately, she's pretty good.  She's got a nice bit of grit, and has this Dio style of reaching for those epic notes and wails.  "Lady of the Darkest Night" and "Deceiver" are solid rockers, while "Got to Be the One" and "Steal Away Your Love" have a slower, more dramatic feel.  However, "Shake It Up" is pretty cheesy, trying to be a danceable metal song, and the closer "We Will Be Rockin' " isn't much better.  While I've definitely heard worse from the decade, and it certainly has its charm, it's hard to feel like this isn't much more than a novelty at best.

Motörhead - Bomber

Motorhead is one of those bands that was really influential, but never really got a ton of attention or massive success like their contemporaries.  While I've enjoyed some of their songs, I admit I haven't spent much time with their albums.  So here I am, picking up their third, as I've listened to the first two before.  Unsurprisingly, it's a pretty consistent chunk of rock and metal, though it does have a few rough spots.

The album starts off well with "Dead Men Tell No Tales," an anti-drug song that has some good energy and chugging.  However, the album kinda drags after that.  The songs aren't bad, but they don't really have much beyond the Motörhead grit.  Things pick up again with "Stone Dead Forever," featuring a fun rock jam at the end, "Step Down" is a mean bluesy piece with guitarist Eddie Clark doing the singing, and "Bomber" is an energetic rocker that closes the album well.  Motörhead really does have their distinct style, one they've never felt the need for change.  Basically, what I'm saying is that you know what you'll get with this band when you pick up one of their albums (much like with AC/DC), and there's something to be said for a band that's honest with itself and its fans.

Saxon - Saxon

Going from their latest to their first is quite the jump, I must say!  However, in an effort to flesh out my Anniversary Article from last month, I figured I should check out some classic NWOBHM metal.  While I've enjoyed Saxon's stuff here and there, I have never checked out their debut.  While it's a little rough around the edges, and has a stronger 70s rock vibe, the band definitely started off well with some catchy songs.  

Things start off well with "Rainbow Theme" being an instrumental start to "Frozen Rainbow," an epic that teases the grandeur the band would reach for throughout their career.  However, the rest of the album is definitely more rock 'n' roll focused, with plenty of 70s energy.  "Big Teaser" and "Still Fit to Boogie" fall into a kind of AC/DC, party rock vibes, "Judgement Day" has some solid riffing, and "Militia Guard" ends on another epic, though it's weirdly upbeat for the tragic story it's telling.  Biff Byford's singing is iconic from the start, despite how young he sounds here, and the rest of the band were clearly ready to push themselves into the new wave of metal they were in.

While it may not be a strong album (and quite short at under 30 minutes!), looking back on it now, it's hard not to see it representing the shift in rock music at the time.  Still retaining the bluesiness of the 70s, but stepping into the chugging metal of the 80s, it's very much a time capsule of what was going on and where things would be going.  On its own, it's a solid collection of rock songs

---

I'm gonna try and step things up more for this blog, as there are a lot of albums I want to listen to, especially classic ones, so keep an eye out for more of these Retro Reviews.  I've got another Anniversary Article coming at the end of this month, featuring one of my favorite years for rock and metal.  Until then, rock on! \m/

New Videos - October 2023!

Happy Halloween!  Once again, I've got another handful of new videos for you to rock out while you celebrate the spooky season.  Well, okay, not all of these are really Halloween-themed, but they're all pretty good songs, which are never out of season!  Check these out!

While this is a band I keep meaning to catch back up on, but it seems they're plowing ahead with a new single, which hopefully will lead to a new album!  As expected, it's a solid anthemic rocker with a good chorus, as it seems the band hasn't lost a step in all these years!  I'm definitely looking forward to what they do after this.

After they blew me away a few years ago, Sorcerer is back to bring another slab of epic doom metal, with the emphasis on "epic!"  Back are the thick guitars, intense noodly solos, and Anders Engberg's soaring vocals, channeling a bit of Rainbow-era Dio a little.  The hard tempo shift for the solo also got my attention, as this song is more than just another plodding doom rocker!  I need to get into more of this band!

Trying to find a vein of hope in the midst of all the negativity, Firewind sticks with their heavy/power metal sound, which is still pretty solid.  Herbie Langhans gives the song the energy it needs with his charismatic gritty vocals and Gus G provides his pyrotechnic fretwork, making for a crunchy-but-anthemic piece of uplifting music.

While I admit I haven't kept up with Sonata Arctica lately, a number of folks are calling this a return to form of their old school power metal days, and I hear it!  The uptempo harpsichord synths channel the likes of Ecliptica and Winterheart's Guild in a way I haven't heard from them in a while!

I can't believe it's been five years since Firepower.  That was a good album, and with a bit of a synthy start, these legends are intent on carrying on their classic metal assault with another album due next year.  While there are no surprises here, the band is still executing their sound at a high level.

Last Played - July 2023!

After having a very busy June, I've finally got some time to catch up on some newer releases from earlier in the year and an older album that I admit is mostly just marking off an item on a checklist.  Still, it wasn't all bad, and the newer albums had some decent moments as well.  Here's what I've been listening to lately.

Big City - Sunwind Sails

This band blew me away a few years back with their curious blend of pop and prog metal, and when they announced their fourth album, I knew I had to give it a listen.  The first single showed that they have retained their particular style, and the rest of them album provides more of the same, but it struggles to really grab me.

The album has a lot of things going for it.  The production is big and anthemic, everyone's performances are solid, and they certainly don't rely on clichés for their ideas or lyrics, often dipping into science fiction elements.  The guitars provide a lot of noodly solos and crunchy riffs (Daniel Olaisen and Frank Ørland back again), and Jørgen Bergersen voice is huge and natural, their 80s rocking style ringing out with confidence.  The songwriting isn't afraid to mix it up at times either, throwing in a darker riff or a softer section, letting some songs drift in the five or six minute territory.  However, I can't deny that there seems to be something missing.  Maybe the melodic hooks aren't really working, making the songs less memorable, as they tend to pass delightfully in one ear and out the other.

I'm wondering if this is an album I'm gonna have to spend some time with in order to get a better idea of what these guys were going.  There certainly seems to be a push to make things more cinematic, taking their pop metal sound and boosting to a bigger scale, but I don't know if it's really making the music better.  I did like "I'm Somebody" as a solid opener, and "After the Raid" felt like it was inspired by Gamma Ray, but overall, initial impressions leave me lukewarm.  

Iron Maiden - Virtual XI

Yup, it's finally time to talk about the other Blaze Bayley album.  I was pretty underwhelmed by the first one, but from what I had heard, this one is just as bad, if not worse.  As it turns out, I think Virtual XI is actually an improvement, if only a minor one, as many of the problems from The X Factor return.

Primarily, the muddy production comes back, as well as the extended song lengths.  Honestly, many of these tracks feel long just for the sake of long, often repeating choruses over and over, as if they felt the need to pad them out for some reason.  "The Angel and the Gambler" is the biggest offender, as that song had maybe enough ideas for 4 minutes, but it goes on for 10!  The songwriting does have a few shake-ups, but most of the songs follow the same "Fear of the Dark" formula that the last album did.  

While I do think the band feel a little more energized, they still sound like they lack a lot of inspiration.  There are some solid guitar melodies and solos, the dynamics shift in ways that are pretty typical (though they are boosted by some synthesizers adding a few layers), and Blaze sounds decent, but it's hard to shake this sense that they're still in cruise control.  "Futureal" and "The Clansman" are probably the only songs that stand out, as the first has good energy, and the second does build to a decent level of epicness.  Overall, it's not awful, and not as sluggish as The X Factor was, but it's easy to see why most Maiden fans consider both of the Bayley albums to be so skippable.

Silver Bullet - Shadowfall

After stumbling into the band with a neat little power metal song about the Soul Reaver games, I decided to check out what else this band had to offer for 2023.  What I got was a set of songs that shift back and forth between AOR and heavy/power, like a mix of modern HammerFall and Eclipse, but with more symphonic keyboards.  

Maybe it was just the mood I was in, but the more metal songs stood out to me more.  "Shadow of the Curse" is a solid opener, really using the keyboards to add lush layers.  "Soul Reaver" was fun to hear again, and "Nighthunter" had a bit of a traditional metal vibe (at least until the choirs came in).  "The Ones to Fall" and "Creatures of the Night" were more on the AOR side, and "Falling Dawn" was a mix of both styles.  "Dusk of Dawn" gets doomy and dramatic with a slower riff and the massive orchestrations, only to get broken up with an uptempo section for the second half of the song, and "The Thirteen Nails" goes full-on symphonic metal.

Overall, it's a decent album, with a solid sense for dynamics and orchestrations, but otherwise it's pretty standard power metal.  It's also a little on the short side, at 45 minutes, but I think they were able to cover a good range of ideas in that time.  It's not particularly original (as most power metal fans will feel pretty comfortable with what Silver Bullet provides), but it's executed well.  While I had never heard of the band before, I'm curious to check out their older albums to see what they're like, if I can find the time.

---

I don't know if I have much to say at the moment, other than that I'm trucking along.  My next article, which will be for 1998, is going to be a doozy, so I need to get started on that sooner rather than later (you'll see!).  I've been seeing some pretty high temperatures around, so I hope everyone is staying cool this summer.  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/

Anniversary Series - 1983!

After doing that massive collection of reviews for albums from 1983, I'm more than prepared for this Anniversary Article.  As I mentioned in that other article, 1983 was a pretty exciting year for rock and metal, and going over this year, it's hard to decide to what to keep and what to leave out!  Let's get into it.

Right off, we have some pretty massive releases from some great melodic rock bands.  Journey push their Frontiers with massive hits like "Separate Ways (Worlds Apart)" and "Faithfully."  Styx released Kilroy Was Here with the ever-catchy "Mr. Roboto" and the great ballad "Don't Let It End."  Blues-rock masters ZZ Top put out Eliminator, featuring a lot of classic rock staples like "Give Me All Your Lovin'," "Got Me Under Pressure," "Sharped Dressed Man," and of course, "TV Dinners."  (Well, okay, that last one is just a personal favorite.)

Heavy metal was just starting to break into the mainstream, starting with Def Leppard's Pyromania, with tracks like "Photograph" and "Rock of Ages" getting tons of airplay on MTV.  We also saw Mötley Crüe Shout at the Devil while displaying "Looks that Kill," but it would Quiet Riot's Metal Health that would be the first metal album to reach #1 on the Billboard 200, soaring with their cover of Slade's "Cum On Feel the Noize," beating out Michael Jackson's Thriller.

Great metal albums would continue to come out as the year went on.  Iron Maiden followed up their titanic Number of the Beast with Piece of Mind and "The Trooper."  Dio would start his own band with Holy Diver and sing about being a "Rainbow in the Dark."  Anvil and Manowar would carry on the US side of traditional metal with Forged in Fire and Into Glory Ride, respectively.  However, Metallica would provide the shot in the arm for the underground scene with their debut Kill'em All, and kickstarting thrash metal the world over.

Progressive bands would find themselves in a strange position.  Many of the old guard were suddenly finding pop success.  Genesis's self-titled album provided "That's All" and "Mama" as big radio hits, prog supergroup Asia would struggle with Alpha, despite being a very solid album, and Yes would reform around new guitarist Trevor Rabin for the massive hit "Owner of a Lonely Heart" on 90125.  However, with the review I gave last month, newcomers like Marillion and IQ were putting a new spin on what prog could sound like.

Getting to the end of the year, we have some more excellent metal to round us out.  Night Ranger's debut album Midnight Madness was big, with "(You Can Still) Rock in America," "When You Close Your Eyes," and the massive power balled "Sister Christian."  Ozzy regrouped after the disastrous death of Randy Rhoads by finding Jake E. Lee and releasing Bark at the Moon, and Accept would find international success with Balls to the Wall.  

Whew!  That was quite a lot, and there's plenty more in the playlist below, so be sure to check out what's down there.  I know that every year generally has some solid stuff, but 1983 was clearly a great year for rock and metal.  If there was anything I missed, let me know in the comments.  

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.

---

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/

New Videos - November 2022!

I admit it's been a bit of a slow month for me, and I feel like I've gotten behind again on new releases like I did last year, but I'm still trucking along alright on other things like this.  Definitely had some fascinating new videos get released lately that I'm pretty excited to talk about.  Next year looks like it's going to be one busy year for rock and metal, but I suppose that's not a bad thing!  Anyways, here's some new videos for you all!

Despite their popularity, I admit I haven't really heard Godsmack outside of a handful of songs, but I'm always up for some good melodic rock.  This song definitely has more atmosphere than I was expecting, and has a nice little groove here and there.  Given that this may be their last album, they might be trying for something bigger than usual.

Beriedir is a band I've been seeing here and there over the year.  They share a lot of qualities with their fellow Italian prog metal peers, though I think they have a stronger dramatic flair to their songwriting.  I know this is one I have on deck to review, so keep an eye out for more about them!

Well, this is quite the bolt out of the blue!  I knew they were working on new stuff, but I had no idea they were this close to being done with a new album!  I like the song, as I feel like it has a lot of that old-school, Motorhead-inspired energy.  However, I was pretty underwhelmed by Hardwired... despite a punchy lead single, so we'll see how their new album really turns out next year.

After enjoying their debut album a few years ago, I'm glad to see these guys are back with more melodic rock.  While it's pretty standard (if crunchy AOR) stuff, they play it with great energy, and that synth solo is pretty wild.  I'm definitely looking forward to hearing more of these guys!

I mostly learned about Simon Collins through Sound of Contact, and when that band moved on without him as In Continuum, it seemed he disappeared from the prog rock world.  However, now he's back with former Sound of Contact guitarist Kelly Nordstrom on a new project.  The song is definitely spacey, but it shifts well between the heavy riffs and ambient sections.  Certainly worth a look.

After enjoying their last album, it seems Big City is back for more of their curious blend of prog and glam metal.  While the chorus is full of 80s anthemic pomp, the riffing certainly leans closer to proggy or even power metal territory, with double-kicking drums!  They definitely have a unique blend of sounds and its on full display with this new single of theirs.

New Videos - October 2022!

Happy Halloween!  Sorry for the last of articles this past month.  Things have been busy for me, and I haven't had time to catch up on things like I wanted to.  However, I should be ready to get back on track for the next few months.  In the meantime, I've certainly found some new videos for you.  Turn these up!

Speaking of albums to catch up, Allen/Olzon is very much near the top of that list.  While this single isn't as strong as the other singles, I can't deny the symphonic production really elevates the song without detracting from the two singers' talents.  Solid symphonic pop metal.

One Desire continue their track record of catchy, 80s inspired rockers, full of anthemic melodrama.  It sounds like they're carrying over the symphonic elements that they expanded on with their last album, which will certainly make whatever they do next sound huge.  Definitely on the best bands in the 80s retro rock scene.

Herman Frank and his new buddies have got another stomper metal track for us as their album comes out.  Once again, they got the anthem tone and style down pat, and I'm sure the rest of their debut album is going to be more of the same.  Some very headbang-worthy stuff here.

Now here's a throwback!  I remember when this band first showed up, blowing folks away with their NWOBHM-styled retro metal back in the late 2000s.  However, right away, they had a lot of lineup complications, and the band got kinda kicked around.  I wasn't even sure if they were still a thing, but here they are, blasting away like it's 1982!  Clearly inspired by classic Judas Priest, this track has plenty of guitar leads and riffs to satisfy the inner teenage metalhead of just about anyone.

Speaking of comebacks, this second single for Sword's new album is just as good as the first, going for more of a mid-tempo stomper with a slice of menace on the side.  I love that they have the same lineup as they did in the 80s and are carrying on like they haven't missed a step!  I'm definitely looking forward to hearing more from them on their new album.

Seven Kingdoms is a band I had seen around, but never really gotten to.  However, just based on this single, I think I've been missing out.  Between the high speed shredding and Sabrina Valentine's soaring vocals, this is power metal that demands attention!

Anniversary Series - 1992!

While I am dedicated to getting these anniversary articles done, I have to admit I don't really have a lot to say about 1992.  Of course, there were certainly big things happening this year, but most of it is outside of the scope of this blog, with the expansion of genres such as groove metal, extreme metal, and punk rock.  Still, there are a few things I can bring up as being important releases for the year.

Naturally, the year also saw a continuation of the grunge explosion, but most of that first wave happened last year, as Nevermind, Ten, and Badmotorfinger continued to sell copies.  This didn't leave much new for the genre, but we did get two big releases.  Alice in Chain's Dirt had success with tracks like "Would?", "Them Bones," and "Rooster."  Meanwhile, Stone Temple Pilots exploded with their debut Core.

Of course, heavy metal hadn't quite been completely erased by the alt rock movement.  Iron Maiden told us of their Fear of the Dark, being the last album with iconic singer Bruce Dickensen for 8 years.  Black Sabbath would suddenly reunite with Heaven and Hell lineup (albeit temporarily) for Dehumanizer.  Manowar gave us The Triumph of Steel, featuring a 28 minute epic about the story of Achilles.  Blind Guardian would push further into their fantasy themes with Somewhere Far Beyond.  Megadeth would follow their rivals Metallica with the mainstream success of Countdown to Extinction, featuring the massive "Symphony of Destruction" and the quirky "Sweating Bullets."

In terms of classic, melodic rock, there are a few gems.  Asia would reform around John Payne and release Aqua, Neal Schon worked with the Gioeli brothers for the first Hardline album Double Eclipse, and Def Leppard would find some left over pop metal appeal with Adrenalize.  AC/DC would also release a widely celebrated live release, simply titled AC/DC Live.

However, in terms of melodic rock and metal, what most likely might be the most important release is Images and Words from the prog metal giant Dream Theater.  While the fusion of prog rock and metal had been kicking around in the 80s, it wasn't until this second album of theirs that the genre really took off, as many bands have since tried to emulate what Dream Theater established here.  Not only featuring their only hit, "Pull Me Under," but also other favorites like "Learning to Live" and the renowned "Metropolis Part 1."  Melodic metal would never be the same after that album.

I'm sure there are plenty I missed from this year, so if you think of any, let me know in the comments below.  Still, a pretty big year for a few reasons.  As always, check out the playlist below for more.  Until then, rock on! \m/

Last Played - June 2022!

Sorry for the lack of content.  Been busy with other things lately, so I haven't been as focused on listening to new stuff.  However, I did squeeze in these three, which are a solid trio of albums.  Here's what I've been checking out lately!

Hardline - Double Eclipse

While I've enjoyed a few of Hardline's more recent songs, I've heard that their debut album is a classic hard rock gem that came out at a time when that style was getting pushed to the curb.  Featuring Neal Schon of Journey (while they were on hiatus), and Dean Castronovo, who would later join Journey and be on plenty of modern AOR bands, this certainly has the credentials, and songs are exactly what I expected.

Right off, the first thing I noticed was the massive production.  This is stadium-ready rock right out of the gate.  The guitars are massive and crunchy, and Johnny Gioeli's vocals soar over everything with gusto.  The songs seem to drift back and forth between Whitesnake-style pop metal and the AOR style the band would become better known for these days.  It also finds a decent balance between hard rockers and epic ballads.  The lyrics are a little cheesy, but it fits right in with contemporaries like Steelheart and Slaughter.

However, Hardline got dropped by their label after this and wouldn't come back together for ten years with nearly a new lineup, but I know the 90s were pretty hard on bands like this.  It's also interesting to hear Neal Schon do something heavier than what I'm used to hearing from him.  The songs that stood out to me the most were "Rhythm from a Red Car," "Everything," and the Japanese exclusive track "Love Leads the Way," which is probably my favorite.  With big, rocking tracks like these, I can see why this album would have been a gem for those trying to find melodic rock in the grunge era.

Cristiano Filippini's Flames of Heaven - The Force Within

Back in November of 2020, I checked out two songs from this group and thought they were some decent symphonic power metal.  The name stuck with me, though, and this month I thought I'd finally go back and give their entire album a chance.  Feeling like a sonic mix of Rhapsody of Fire, Beast in Black, and Sonata Arctica, the album starts with a lot of energy, but seems to lose a lot of that drive towards the end.

The production really stands out here, going for this lush, layered, wall-of-sound style that really goes as epic as it can, making it easily comparable to Rhapsody of Fire.  Songs like "We Fight for Eternity" and "Far Away" are solid examples of the symphonic side of the band.  The lyrics are also reminiscent of their fellow Italians, as it's full of fantasy themes and personal stakes.  However, in the midst of all the orchestrations, there seems to be an emphasis on 80s synths, a la Beast in Black, including some solos!  Tracks "Against the Hellfire," "Dying for Love," and "Moonlight Phantom" are good examples of this sound.  Finally, vocalist Marco Pastorino seems to be an Italian Tony Kakko, giving these cheesy lyrics a strong sense of authority with his performative style.  The album's ballads "Always With You," "Finding Yourself," and "Missing You" show some strong Sonata Arctica influences as well.  And where is the titular Cristiano Filippini?  While I think most of his work is in the orchestrations, there are some nice melodic guitar solos throughout the album.  I get the impression that he probably a quite capable shredder, but instead he goes for more of an emotional, melodic approach most of the time, which I thought fit the songs quite well.

Describing all of this may seem like the album is rather all over the place, and it certainly has a lot of dynamics over its runtime.  However, the production keeps things pretty consistent in tone, so nothing felt out of place.  My favorite track has to be "Lightning in the Night," because I feel like it's the one that blends the different styles together for a great power metal epic.  Unfortunately, it's sandwiched by a pair of ballads, and the rest of the album doesn't have quite that same energy towards the end.  Still, I think this was a pretty solid listen, overall, and I would certainly want to check out any more from this project, if they decide to make a follow up to this.

Seven Planets - Seven Planets

After enjoying their debut album last year, I thought I'd take some time and listen to the second album Seven Planets had to offer.  Once again, we're back into that classic instrumental jazzy blues-rock, where there is plenty of licks and drum fills.  However, this album certainly sees an increase in the psychedelic side of things.

Probably the biggest difference is the amount of effects on the guitars to really let them drift in and out of the song.  While the fun licks are still here, the guitars are much more atmospheric than before.  Nowhere is that more prevalent than on the 10 minute epic "Objects in Space."  This one really takes the listener on a journey, with some nice builds and breakdowns that flow well.  In fact, flow is probably the highlight of the entire album, as the songs just kinda drift through the mind with ease.

Not to say that the album is forgettable by any means; there are plenty of solid riffs and melodies to be found here.  Stand out tracks for me were the epic "Objects in Space," "Lamont Starfield" with it's harder rock riffing, and "9th Time," which starts kinda mellow, but builds up pretty well, ending with a lot of good energy.  The whole album is just so jammy, though, that it feels like it washes over the mind, like a soothing bath.  I do think this is an improvement over the first album, though, as the guitar effects help to establish a solid, spacey atmosphere that I enjoyed quite a bit.

---

I think, for the forseeable future, I'm going to shift my schedule slightly.  My goal now is to try and do three articles a month: a Last Played, an Anniversary Series, and a New Videos.  I don't mean to make excuses, but right now, I've got some other concerns that are taking priority.  Still, I don't plan to quit by any means; I still have plenty of things I'm looking forward to talking about!  So things might slow down a bit, but I'm still marching forward.  Next will be the Anniversary Series article for 1992, so look forward to that!  Until then, rock ! \m/