Author: mikeladano

Metal, hard rock, rock and roll! Record Store Tales & Reviews! Grab A Stack of Rock and more. Poking the bear since 2010.

The Contrarians Live: Favorite Bands… WORST Album Covers – Tonight at 7:00 PM EST!

Tonight’s topic comes from the mind of Martin Popoff.  The rock and roll wordsmith has plenty of good ideas, but 10 Worst Album Covers by 10 Favourite Bands is kind of a double whammy.  Not only does it give us a chance to showcase some bad album art, but it also allows us to list our 10 favourite bands.  This will be a fun, fun night.

For those keeping track, this is my eighth week in a row on the Contrarians.  The subjects thus far have been:

Tune in tonight and comment!  Martin always tries to address the comment section.

THE CONTRARIANS – Favorite Bands… WORST Album Covers – Wed. December 11 – 7:00 PM EST

REVIEW: Paramore – This Is Why (2024)

PARAMORE – This Is Why (2024 Atlantic Records)

So here I am, sitting down to write my very first Paramore review, and this is what singer Hayley Williams has to say to me in the very first verse of the first song, “This Is Why”:

If you have an opinion,Maybe you should shove it,Or maybe you could scream it,Might be best to keep it to yourself.

Well, I already started writing to here goes.  I don’t think Hayley will have an issue with my opinion in this instance.  I’ve long been a distant observer of the band, so it was finally time to check out an album.  This Is Why was the only one in stock at the local store, so this is why I bought This Is Why.

The title track demonstrates the immense talent of this trio, augmented by backing musicians.  Brian Robert Jones, one of the band’s live guitarists, plays bass for example.  Otherwise we have singer extraordinaire Hayley Williams, longtime guitarist Taylor York, and founding drummer Zac Farro.  It is Farro who immediately grabs you on the song “This Is Why”, with his complex jazzy drum beat that the song is built on.  Meanwhile, York slashes his guitar with echo, plink, and skwonk in tasty ways.  Though the song is not straightforward in construction, the verses and chorus worm their way into your brain in short order.  It’s hard to describe what is going on here, but I hear funk, psychedelia, power and pop.

Williams is one to the best singers in any genre today, and you won’t find anyone fronting a band like she does.  She possesses not only unusual power and control, but also a knack for unique expression.  “The News” exemplifies these qualities, while also giving us another crazy Zac Farro drum part.  The angry chorus seethes but also soothes.  Hayley throws everything she has into these verses.  The lyrics also resonate with this anxious age in which we live.  “Turn on, turn off the news!” she exhorts. “But I worry, and I give money, and I feel useless behind this computer,” she shares.  The chorus is the main thing though.  It scorches.

A light but bouncy and dexterous bassline grounds the third track, “Running Out of Time”.  There’s a hint of funkiness in the chorus.  This song sounds like it came from a strange era from another dimension:  the early 70s crossed with the early 80s.  You can really move to it.  I also love the call and answer vocals:  “I’m always running out of time!”  “She’s always running out of time!”

“Ç’est Comme Ça” is a fun track with spoken word verses and a bouncy chorus.  Farro keeps the beat dancy.  York uses layers of guitar to add texture.  It’s a short song and over before you know it.  The final song on side one is “Big Man, Little Dignity” which is catchier than its title.  For those who like guitar hooks, this song has a nice one with a solid bassline that rolls through.  The delicate chorus is immanently catchy, because it contrasts with the rest of song.  The whole thing is great.  A 1970s sound comes through, and the clarinets and flutes are a nice touch.  Bass clarinet too!  Unique, smooth, melodic in every direction.

“You First” brings the hard edge back.  The dissonant guitar line quickly falls into place within the ears.  It has a Cars-like vibe, but heavier.  The bass is no longer funky, but thumpy.  Always interesting though; the basslines on this album are all worth listening to.  The chorus on this song is explosive.  The combination of Hayley’s lungs and Farro’s snare drum just doubles the power.

Vibraphone opens up “Figure 8” with a bass clarinet.  It’s not a softy though.  Hayley offers biting verses, but once again when things come to the chorus, it tends to get explosive.  It’s at that point that Farro channels his clever drum parts into sheer power, and Williams pushes the limits of the mixing board with her voice.  It’s always melodic though, with the song never losing sight of itself.

“Liar” offers a respite, with delicately picked guitar lines backed by understated (but not uninteresting) drums.  Hayley’s vocals here are delicate and demonstrate her versatility.  Following this, “Crave” amps it up slightly, but also turns up the “melody” knob.  The chorus doesn’t disappoint.  What surprises is the closer “Thick Skull”, which is one of the softer songs.  Musically only, not lyrically!  “Only I know where all the bodies are buried, thought by now I’d find ’em just a little less scary.”  This song is loaded with texture:  different guitar effects, piano, percussion and of course Hayley’s diverse singing styles.

Of note, all songs are credited to the three members of Paramore, and there is no long list of high priced producers.  Paramore is a band.

This Is Why is a pretty great rock album with a foot in pop.  It works best when the band is playing it upbeat, though the slower songs may prove to be dark horses as time goes by.  The album is deceptively busy:  the hookiness makes it feel straightforward, but when you listen to the musicianship, they are not playing down to anyone.  Farro and York deserve credit for exploring non-mainstream styles in a mainstream band, while Hayley must always be commended for her excellent lyrics and absolutely stunning voice.  There are few singers like her, and that’s why she’s the focus of Paramore.  However, as stated above, Paramore is a band, and the writing and playing of everyone involved must be addressed in any review.  There’s cool stuff in these grooves.

“If you have an opinion, Maybe you should shove it?”  I don’t think I’ll keep this opinion to myself.  I think Paramore are tremendous.

4/5 stars

Tim’s Vinyl Confessions Ep. 589: Sammy Hagar Deep Dive #9 (VOA)

This week on Tim’s Vinyl Confessions: #8 in his Sammy Hagar Deep Dive video series.  This all coincides with a new book he has out, all about the Red Rocker’s discography.  V.O.A. is a special album for me personally as it was my first ever Sammy Hagar solo purchase.  I bought it for “I Can’t Drive 55” but I found a whole lot more.

What did Tim and I like, and dislike about this record? Find out today on Tim’s Vinyl Confessions.  Don’t Make Me Wait too long…the show will be up this afternoon!

 

REVIEW: Accept – Blind Rage (2014 Japanese import)

ACCEPT – Blind Rage (2014 Nuclear Blast / Japanese bonus track)

Accept finally proved they didn’t need Udo Dirkschneider with Mark Tornillo.  He has had a steady run of reliable albums that continues to this day.  2014’s Blind Rage was his third with the German metal legends.  Blood of the Nations and Stalingrad are hard to beat, and Blind Rage comes in third.

The album debuted at number one on the German albums chart.  It Accept’s last album with guitarist Herman Frank and drummer Stefan Schwarzmann, and produced generically by Andy Sneap.  Sneap gets a great sound, but as we’ll see, there’s too much formula and same-sameyness to the songs as the album goes on.  Fortunately, the album gets off to a good start.

“Stampede” is a quintessential opener!  Breakneck speed, but with melodic harmonies on guitar.  Wolf Hoffman certainly knows how to write riffs and guitar melodies.  Mark Tornillo is in great voice, growling low before hitting you with those screams, punctuated sparingly.  A tad generic with that shouted “Stampede!,” chorus but the screams and the tempo make it worthwhile.

The lyrics on “Dying Breed” are cringe worthy, I’m so sorry to say.  Some sample lines so you get the idea:

  • “Long ago a sabbath black cut through the purple haze.”
  • “Screaming with a vengeance that we will forever hear.”
  • “The zeppelin led it’s voyage thru skies of purple deep.”
  • “And in a land down under highway to hell was paved.”
  • “An iron fist cut the deck and drew the ace of spades.”

I am on record as disliking these kinds of references within lyrics.  Fortunately, Mark sings it with conviction, and the song itself is pretty awesome.  Guitar melodies are very much like a national anthem.  There’s another shouted chorus, “We’re the last of a dying breed!” but let’s hope metal doesn’t die prematurely.  Wolf throws in some classical-influenced guitar thrills to compensate.

The best song on the album is the desperation-drenched “Dark Side of My Heart”  Melancholy metal with a stunning chorus.  You can’t help but sing along, and all this is augmented by stunning guitar melodies by Wolf.  Accept always keep things moving, but it’s so much better when it’s melodic, and this is the most melodic song on the album.

The first slow song on the record is track #4, “Fall of the Empire”.  It takes a little longer to sink in, but the chorus is melodic enough.  However, Accept’s penchant for those low pitched gang choruses is already starting to wear.  Wolf’s solo here is really different, with a nice dry tube-y tone and some really unusual melodic choices.

Crank up the afterburners for “Trail of Tears”, a song about the trials of the Native American.  “Who are the savages now?” asks Tornillo.  The drums by Schwarzmann are phenomenal.  Another high speed blur of modern metal, and one that sticks in the brain afterwards.  Classical influences can still be heard in Wolf’s melodies.

Guitar harmonies take center stage for “Wanna Be Free”.  Slower, more deliberate, dark and with a message.  “No more crime and poverty,” “No more human trafficking”.  Fairly simple, but that’s often the goal of these kinds of songs.  Keep it positive, and not political.  Though the guitars are always enticing, this might be the first one you feel like skipping.

Nuclear war is always a hot topic for metal bands, ever since Black Sabbath popularized it in the 1970s.  In “200 Years”, nuclear war has devastated the planet to population zero:  “200 years after mankind”.  We’re back to the stone age just as prophesied.  “I do not know with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.”  That’s a quote often attributed to Albert Einstein.  Great topic, great song, with a neat little exotic interlude by Wolf in the middle before the solo.

Skipworthy “Bloodbath Mastermind” is just generic metal.  Yes, it bangs, but there are no exceptional hooks.  Pass.

Ear fatigue setting in, “From the Ashes We Rise” repeats the grooves that are becoming monotonous.  We realize now that the Japanese 12 song track listing is just too long.  This album should have been a simple, traditional 10 songs.  Having said that, at least “From the Ashes We Rise” has melody, while “Bloodbath Mastermind” did not. Ultimately it sounds like a knockoff of another song on the album.  A good knockoff, at least.

Back to quality, “The Curse” is a little more unique, and focused once again on melody.  It’s a little somber, which is a nice change of pace after so much defiant headbanging.  Some memorable hooks; different from the rest of the album.  A highlight.

The closing track on the standard album is the Priest-like “Final Journey”, the guitar solo of which creatively features a very recognizable melody lifted from Grieg’s “Morning Mood”.  Good closer, lots of building tension in the guitars.

The Japanese closer is “Thrown to the Wolves” which is fine, just like many of the album tracks, though like many of them, plagued with generic riffing and melodies.  Catchy enough, just…not unique enough.

Blind Rage is a solid album, but Accept’s repeated use of certain elements such as those low-pitched choruses makes some songs really hard to remember and differentiate.  Of the 12 songs, there are probably 10 keepers.  It’s not a bad album by any means, but the formula is starting to set in and it takes many listens to really separate the songs in your mind.  A little editing would have been wise.

3.5/5 stars

 

 

IRON MAIDEN SERIES ANNOUNCEMENT! Grab A Stack of Rock Celebrates 50 Years of Iron Maiden

Coming in 2025, right here on WordPress and YouTube.

M – Hi!  This is Mike!

H – And this is Harrison, from Grab A Stack of Rock

M – And we just wanted to let you know we have something very exciting cooking up for 2025.

H – That’s right.  2025 is the 50th Anniversary of the formation of Iron Maiden, and we are going to mark the occasion with a series of deep dives.

M – Right here on Youtube, we plan on discussing every studio, and every song, in detail.  We’re also bringing in a slate of special guests to help us.

H – Not just studio albums, but we will also be talking about the official live records too.

M – Live records, B-sides, the history, the artwork…we plan on doing Iron Maiden right.

H – I guess it will be my job to talk about the tours, correct?

M – That’s right buddy.  You’re an expert on the setlists, so we’ll have to touch on what songs were played, and which ones never were.

H – We have our work cut out for us my friend.

M – We sure do, but it’ll be a labour of love.  I’m really looking forward to this, especially some of the guests that will be joining us.

H – Let’s not spoil everything just yet.

M – You’re right Harrison.  So like, subscribe, and share the Grab A Stack of Rock Youtube channel for 50 Years of Iron Maiden.

H – Coming in 2025.

#ironmaiden #nickomcbrain #brucedickinson #pauldianno #steveharris #eddie #derekriggs #martinpopoff #martinbirch #davemurray #adriansmith #paulmarioday #denniswilcock #blazebayley #janickgers #adriansmith #cliveburr #dennisstratton #grabastackofrock

Top Five Marillion Christmas Tunes featuring Todd Evans and the Debuts of bicyclelegs and Davey Cretin on Grab A Stack of Rock

Merry Christmas from Marillion! A happy Christmas present:  all the way from New Yawk City, Mr. Davey Cretin joins Grab A Stack of Rock as surprise guest!  Davey comes aboard with an already epic cast:  bicyclelegs, also in his debut, and the returning Todd Evans.  Together we broke down our favourites from a large pool of seasonal Christmas songs by Marillion.

Bicyclelegs has 26 Marillion Christmas releases, dwarfing my 19.  More Christmas albums than studio albums.  Though there was a little bit of repeat on some favourite tracks, there was also one clear winner.  You’ll have to watch to see which one.  There was also a bit of a discussion on a certain Christmas song made famous by Mariah Carey.  Who did it better:  Carey, or Marillion?  I’m sure you can guess my preference.

From carols dating back to the 1600s, to drunken covers and originals, we ran the gamut of styles.  Though there was levity, there was also clear passion for this band, their musicianship, and what they mean to each of us.

Next week, there will be a special live presentation of three older Grab A Stack of Rock shorts, with new intro and outro by me.  I hope you will check it out.  I even included an easter egg for you to find.  Meanwhile, I’ll be busy recording a super-fun episode with Peter Kerr at Rock Daydream Nation.

Check out the Marillion show below:

Marillion Christmas: Top Five Christmas Tunes by Marillion, with Todd Evans & bicyclelegs

GRAB A STACK OF ROCK With Mike and the Mad Metal Man
Episode 81:  Top Five Marillion Christmas Songs with Todd Evans & bicyclelegs

Todd Evans is back to talk Marillion once again!  He brings with him Australia’s own bicyclelegs, with whom I’m covering favourite tracks from each studio album on his channel.  These two progressive rock professors will be joining me to discuss our favourite Christmas songs performed by Marillion.  The band have recorded both covers and originals, and tonight we’ll brief you on what we think are the cream of the crop.

I have 19 Marillion Christmas albums in my collection; for the physical media buffs, I will show you each one.  For simplicity’s sake, one could also use the compilation A Collection of Recycled Gifts, which in its extended format has 15 songs to choose from.

Please join us live in the comments section tonight for some progressive rock Christmas fun.  There may even be surprises.

Friday December 6 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic.   Enjoy on YouTube or on Facebook!

My Music Corner: Up to the Limit Episode 14 – Accept: Blind Rage (2014)

NOTE: My text review of Blind Rage by Accept will go up in the coming days.

Johnny Metal and John the Music Nut have been breaking down, in detail, every Accept studio album.  I jumped on board with Blind Rage, the third album with Mark Tornillo.  I chose this album since I had the Japanese import and I wanted the two Johns to have a chance to cover a rare bonus track on their show.

In this episode, we break down the album track by track, with a high level of agreement between us.  The Music Nut then goes through the tour in detail, discussing all the songs that were played live, and how often.  Some are still played live today.

If you want a sneak preview into my Blind Rage review, watch this episode, as I tried something new here:  reading my review aloud (not easy).  I may have even done some singing.

Check out the show, and look for my text review in a few days.

The Contrarians Live: Dreaming in Stereo – Beds & Sleeping on Album Covers – Tonight at 7:00 PM EST!

I’m very excited to finally be doing a show with Martin Popoff this week.  Martin is back on the Contrarians live Wednesday chat!

For those keeping track, this is my eighth week in a row on the Contrarians.  The subjects thus far have been:

This week, a joint suggestion from Tim & Jamie:  Album covers with beds, or sleeping.  Lots to choose from this time.

THE CONTRARIANS – Dreaming in Stereo  – Wed. December 4 – 7:00 PM EST

GUEST FILM REVIEW: The Trial (1962) by Holen

THE TRIAL (1962 Astor Pictures)

Directed by Orson Welles

In some ways, it’s a shame that Orson Welles made Citizen Kane, and made it as his first picture. It seems to enable general audiences to ignorantly overlook an extensive and mostly excellent body of work. One of my favorites, and a film Welles himself once referred to as “the best film I have ever made,” is 1962’s The Trial. Welles tackles the Kafka novel of the same name with a masterful understanding of its source.

The tale is a surreal examination of a corrupt justice system in a vaguely dystopian society. Welles brings Kafka’s surrealism to screen in what might be the most strikingly acute representation of dream logic ever filmed. Certainly closer in feeling to my dreams than anything Buñuel or David Lynch ever made, great as their work remains. In The Trial, The tension is brought to a slow boil, as opposed to any cheap scenes of outright horror. The film has been compared to a nightmare, and too often cinematic portrayals of nightmares defer to sensationalized moments of screeching noise and hellish imagery, neglecting that ineffable feeling of dread that accompanies true nightmares in the moment. That feeling of fear and not being entirely sure what it is triggering the state of alarm.

A story like this could easily come off as cold, but the narrative focuses on the man himself over the system oppressing him, grounding the story through his point of view. Anthony Perkins plays the accused, only he and the audience are never told what crime he allegedly committed to warrant the persecution. It feeds into the dreamlike fear of not having all the pieces, a fear of the unknown, and ultimately a lack of control. It’s a powerlessness in dreams that parallels the powerlessness many feel at the hands of a cold and impersonal judicial system, and the marriage makes for one of the most emotionally compelling movies of this type.

The more confused we get, the more helpless we feel along with the accused. But the film never goes so off the rails that we’re lost completely. It gives the feeling of drowning while being so close to the surface. We can almost piece it together, but it’s murky. The feeling of disorientation doubling as a way to generate fear, and further represent how many must feel being subjected to the complexities of the legal system.

The visual language of the film is anchored by a bleak but soft black and white. Welles impresses with his typically inventive shots and images, many left off kilter in the slightest of ways, making extensive use of shadows, auras, and ambiguity. Rooms lead where it’s not possible to go, settings feel strange, and the extras make no noise. They’re strange and bizarre placeholders in the background, silent and faceless observers.

In spite of the narrative inducing the sensation of lacking control, it’s clear we’re in the hands of a director in total control of every aspect of his film. The cohesiveness of the story, visual style, and, mood give us something to hang onto as we’re thrust through this nightmarish tale. Every piece works in tandem to create an overlooked masterpiece from one of cinema’s geniuses, spawn from a novel by one of literature’s very same.

5/5