Reviews

REVIEW: Ruko F11PRO 2 Plus drone

PRODUCT LINK:  Get yours on Amazon today.

RUKO F11PRO 2 Plus drone

Are you ready to level up your drone videos?  If you have been wanting to fly higher, further, faster and capture amazing videos while doing it, then the Ruko F11PRO 2 Plus might be the perfect fit for you.  All you need to get started is a micro SD card (to record video) and a phone.  This drone is 360 grams, so you will also need to register it, which can be done in minutes.  Check your local regulations.

The drone comes with two batteries which give you a flight time of 35 minutes each, depending on conditions.  This is longer than the average drone, usually good for 20 to 30 minutes.  You will also receive all the cables for any phone connection, spare propellers, and replacement tools.  Not to be underrated, the drone also comes with a paper manual instead of a PDF file.  The included controller is sleek, with a small digital screen feeding you information about battery life, GPS connection strength, distance and altitude.  It is easy to learn how to fly, and once calibrated, the drone is extremely stable.  If you take it straight up, you can bring it straight down with minimal drift.  The running lights make it easier to spot in the sky.  In hand, it feels strong, sturdy and robust.

If you’re already familiar with drones and their features, you probably want to know all about the camera.  The videos in this review (at bottom) are their own testimony.

Video and photo quality are unparalleled.  With photos at 8k UHD, and video footage at 4k and 30 fps, you will capture smoother, sleeker, clearer images than ever before.  The camera offers a 5X digital zoom as well.  When you take these videos and play them on a high definition display, it will feel as if you are flying.  The three-axis brushless gimbal is key to the smooth feel of these videos.  Whether you are maneuvering your drone, adjusting the camera angle, or doing both at once, the videos are completely smooth and always level.  Even in windy conditions, you won’t notice any shake on video.   The drone will remain steady as you capture the images with all your creativity unleashed.  The special sauce might actually be the Sony lens, for top colour reproduction and light capturing.  The videos demonstrate this incredible life-like colour reproduction.

The drone has many features you can access through the phone app.  Taking off and landing in one touch?  Got it.  The controls include a high powered “sport mode” with extra responsive controls, to handle higher wind situations.  If it loses signal or a battery runs too long, it will automatically “return to home” (a point you can set) and land.  Range?  10,000 feet!

Features aside, one thing you can’t appreciate about this drone by reading specs and manuals is just how fun it is to fly.  There is so much satisfaction in pulling the sticks back and starting the motors.  Then pushing the stick forward and watching the drone rise.  Feeling the controls and seeing the response from the drone, as it responds precisely to every movement.  Then letting it loose, and watching it speed confidently away, but always under complete control.  Release the stick, and the drone hovers still, awaiting your next command.

Equally as fun is working with the flawless videos you will capture.  No more editing around shaky moments.  Every detail becomes clear.  In particular, I enjoy discovering details that I didn’t notice while flying.  Whether it’s an accompanying seagull or the vivid deep blue of water, every flight seems to reveal new details about the world around us.

We could talk about the night mode, where you can capture better images in the dark.  We could discuss the Optical Flow Positioning feature, which allows the drone to navigate by its own built-in cameras when the GPS goes out.  There’s even an infrared sensor to measure distances for low-altitude flight.  There’s a GPS follow feature, programmable routes, and more.  Still, there is no topping the sheer satisfaction you get from performing a perfect, flawless manual landing.

After a thorough series of flights, there is only one feature that I wish this drone had.  I love the 5x zoom feature, but I wish there was an external control for it.  You have to tap a button, select “zoom”, and adjust it via the phone screen.  A zoom dial on the side would have been perfect!

If you are ready to take your drone flights to another level (literally) and come back with brilliant 4K footage, then the Ruko F11PRO 2 Plus is what you need.  When you fly it yourself and see the results, you’ll understand.

5/5 stars

REVIEW: Ruko U11MINI 4K(RC3) drone

PRODUCT LINK:  Get yours on Amazon today.

RUKO U11MINI 4K(RC3) drone

Interested in flying a drone, but don’t know where to start?  What you need is something easy and intuitive, that doesn’t require registration, and comes with everything you need to get going, in one package.  I present to you the new Ruko U11MINI 4K(RC3) drone.  In one handy case, you can get flying in minutes without having to use your phone.  Because this drone is under 250 grams, you don’t need to register it.

Let’s unpack the convenient carrying case.  Inside you’ll find a paper user manual (always superior to PDF files), your drone, some spare propellers, charging cables, batteries, and the secret weapon:  the RC3 controller with built in 5.5″ screen.  With no need to connect and pair with a phone, the controller connects to the drone automatically on startup.  The antennae fold away neatly, and the controller offers programmable buttons along with the standard controls.  No more worrying about your phone battery, or the phone overheating.

Once you have everything charged to full, you’re ready to get flying.  The drone has a range of up to 6 km, and is able to capture 8K photo resolution and 4K video recording.  Speaking of video, you get a crisp 3-axis brushless gimbal for stable, smooth, and high-quality footage.  You can see a sample video below.

The U11MINI 4K features a cruise control function for easy flying.  It works just like your car – just hit it, and the drone will continue along that flight path and speed.  There is an advanced positioning system, with GPS, a barometric altitude hold, optical flow positioning and TOF positioning for times when the GPS signal is weak.  You’ll achieve more stable low-altitude flight, and smoother landings, as I did on my first flight.  The drone has three speeds:  low, medium and high (“sport mode”).  The sport mode can be used in windier conditions, to give the drone more responsive power.  There is an automatic return to home feature, if the drone loses signal or the battery runs low.

There are several intelligent flight modes.  GPS follow is a common one, allowing the drone to automatically follow your position on the ground.  There are also programmable routes, and an image follow feature.  You can have the drone follow an object that you select on the touch screen.  You can also have it circle around a point of interest.

You can choose to store your video footage on a micro SD card (not included), but you don’t have to.  Videos can be stored on the controller, which can be connected to a Wi-fi network.  From there you can upload your footage to a Google drive account, without having to worry about cards.  This makes the drone extremely attractive for beginners who don’t have extra micro CD cards sitting around.

One of the most underrated features of this drone is the camera zoom feature.  With a simple dial on the side, you can quickly zoom in and out, as demonstrated in the video below.  The simplicity of this control makes you wonder why every drone doesn’t have one.

For beginners, this drone is the ideal, logical launching point.  Grab one on Amazon today, and you’ll be in the air in no time.

5/5 stars

REVIEW: Blotto – Metalhead – Video 45 (VHS)

BLOTTO – Metalhead – Video 45 (1983 Sony)

This review is a slight cheat.  Because I pledged never to open my VHS copy of Blotto’s Metalhead Video 45 (Nigel Tufnel told me “It can’t be played, ever”), I’ve chosen to just review the videos from the Blotto YouTube channel.  I’m entrusting the band that the VHS experience would just be a little more VHS-y.

This videocassette was a gift from guitarist Bowtie Blotto, a truly good guy completely unlike his evil “Dr. Bow” character.  All the guys are great, so be forewarned, this review is also coming from the perspective of someone completely sold on the Blotto concept, music, humour, and band.  This is not an objective review.  For this site, that’s simply impossible.  We’ll try our best OK?  That’s all we can promise.

Let’s get you up to speed first, just so we’re all on the same page.

Blotto is a rock band from Albany NY who garnered early MTV video hits with “Metalhead” and “I Wanna Be A Lifeguard”.  They inject a dose of comedy into their songs and performances.  Not too much, not too little:  the Goldilocks zone, just right.  It’s a fine line, right?  A fine line between clever and stupid, as Nigel Tufnel also told me once.  It is a tightrope, and Blotto managed to balance it without tilting too hard to either side.  They rock, and they laugh.  Or perhaps they laugh, and they rock.  Either way, the music video format was ideally suited to the band.  It enabled them to really get the comedic side across.

We open with the legendary “Metalhead” (5:32), as featured on the Metal For Breakfast compilation LP, and Blotto’s Combo Akimbo album.  The scene is set:  Blotto, the band are in rehearsal, but missing a member!  Where is lead singer, Sarge?  Absent.  “Suddenly there’s an endless void where I used to keep my brain,” sings the headband and studs-wearing Sarge as he wanders the back alleys of Albany.  The band rock on, awaiting the arrival of their singer, each one sporting a unique look.  Guitarist Broadway has the rock star hair and stature.  Cheese on bass rocks the bald head, looking like he was recruited from a London punk band.  Bowtie, of course, rocks the bowtie and glasses.  In the 1980s, I can remember being offended that a “bald punk guy” and a “nerd guy” were playing a heavy metal song, but I was also 12.  Meanwhile, drummer Lee Harvey’s flowing locks give him that casual but seasoned pro drummer look.

Suddenly the garage door opens, and the tardy Sarge finally shows up to the shocked looks on Blotto’s faces, as Sarge bangs his head against a beam.

“Ah, ah, ah, I’m turning into a heavy metalhead!”

Sarge has a serious case of it, hanging with bikers and getting skull tattoos.  “Some home-grown for the ride back home, Van Halen on the 8-track!” declares Sarge.

Blotto break into an instrumental solo section, while Buck Dharma from Blue Oyster Cult wails on the solo (while watching the video from his home, it seems)!

Will Sarge survive his transition into a heavy metalhead?  This legendary video still works today, because that “metal head” persona is now like a cultural icon of the 80s.  With a well produced and perfectly edited video, Blotto encapsulated so much of that “metal head” stereotype in one hilarious video.  Stay tuned for the extended ending, and a one-in-a-million shot with a motorcycle helmet.

Also from Combo Akimbo is the more upbeat “I Quit” (2:13).  Lead vocals this time are handled by Broadway.  Blotto are now stuck working in an office, still rocking, but also drowning in paperwork.

“You can’t fire me!  I QUIT!” shouts Broadway at his boss, while the rest of the band echo his sentiments.  It does seem like a pretty seedy office and not a fun place to work.  It also appears that Lee Harvey has taken a second job on a paper route, but he’s not enjoying that either.  Eventually everyone quits leaving just Bowtie alone in the office!  Meanwhile, drummer for hire Lee Harvey finds another job, holding a ladder.  Is he playing drums with four sticks?

The third and final video is from the 1979 EP, Hello, My Name Is Blotto, What’s Yours?  “I Wanna Be A Lifeguard” (3:55) was one of the first videos aired on Day One of MTV, so it’s important for that reason.  This fun surf rock song was begging for a music video.  Featuring Chevrolet Blotto on keyboards, and a pre-bald Cheese, Blotto are now working in a shopping mall.  It doesn’t appear to be a fun job.  “I just want an ocean and some sunscreen lotion,” sings Sarge.

Blotto get their wish, and appear on a beach in swimming gear.  What the viewer doesn’t know is that the video was filmed in late winter (look at the bare trees) and the band were absolutely freezing on the beach!

This song is loaded with clever surf rock hooks and a killer drum part by Lee Harvey.  Not just that “wipeout” beat that opens it, but the drums through the whole song are relentless and well composed.

That’s the thing about Blotto that, perhaps, some people missed.  These guys could play, every one of them.  Listen to Cheese’s bassline on “Lifeguard”.  It literally swims along with the song.  And his tone!  Bassists would kill for his sound:  clear and loud with depth and attack, but not dominating.  Lyrically and musically, “Lifeguard” is quite canny beneath the wavy surface.  You have to understand music to pull off songs like this, because jokes alone can’t carry a song.  Blotto had a rare combination of instrumental savvy, and witty nudge-nudge lyrics.  How many songs can you name that specifically reference listening to Van Halen on an 8-track deck in the car?  Perhaps some can relate.  And who can’t relate to wanting to be a lifeguard?  “Hardly any clothes, sand between my toes!”  Sounds alright to me.

At roughly 12 minutes’ length, the Video 45 format never really caught on.  When you think back to the 1980s, with extended play features, you could record up to 8 hours onto a videotape, though not in the best quality.  I think people expected more content when buying a VHS tape in the 80s, and the “video EP” concept went under.  That’s just speculation, but videos this short were very rare at retail.

To be objective and look from a more critical angle, I think “Metalhead” and “Lifeguard” work best as videos.  “I Quit” is less fun because it’s set in an office.  “Metalhead” and “Lifeguard” have more band performance shots as well.  “Metalhead” is clearly the most polished of the videos, and probably the most gag-loaded.  All three are fine examples of the kinds of things a creative band could do with a modest budget in the early days of video.  “Lifeguard” existed before MTV did, so you really have to give Blotto credit for being on the cutting edge of music video.

4/5 stars

REVIEW: Potensic ATOM 3-Axis Gimbal 4K GPS Drone

Potensic ATOM 3-Axis Gimbal 4K GPS Drone

Welcome drone enthusiasts and newcomers alike!  Thanks for clicking this review.  I hope you find this helpful and informative, as I have had many adventures and misadventures with four of these “under 249 gram” drones now!   This little craft do not require a license to fly.  Let me run you through my backstory with three previous drones, which you can click for more information.

The Ruko’s superior camera was a marked improvement in my drone video quality, no matter how hard they were to fly.  I thought about upgrading my Potensic.  Why not?  You only live once.

One thing about the old ATOM SE’s camera was that it didn’t have a fancy 3-axis gimbal.  What’s that mean?  It means that it couldn’t keep a level picture, with the horizon always…horizontal.  When the drone was flying in wind, it needed to tilt to compensate and stay stationary.  Most of my old ATOM videos have a visibly crooked horizon.  But that’s just the obvious difference.  The 3-axis gimbal gives it an unprecedented smoothness.  All my old videos had jerky movements.  Not anymore.  This camera is like an aerial steady-cam.

It wasn’t all smooth flying.  I had some issues out of the box.  I think one was caused by an uncalibrated controller.  It was veering off to the right upon takeoff, much like the Ruko used to do.  A calibration of the joysticks seemed to fix this.  It also defaulted to a “beginner mode” that I failed to notice and caused some confusion at first.

My second issue happened after a windy flight in Tiverton, Ontario.  I decided to bring the drone down after a few seconds, as the wind was unusually strong.  After a drive home, I was not able to re-connect the drone to the controller.  The drone was acting up, and wouldn’t power down without removing its battery.  I spent days trying to get the two devices to pair.  After a desperate email to Potensic, the problem revealed itself.  They advised me to try a number of things including re-pairing the devices without a memory card inserted.

The drone came with a 64 gig micro CD card (a surprise in itself!) but I decided to use a Gigastone 128 gig card instead.  It was actually my second Gigastone.  The first one failed right out of the box and wouldn’t format.  It turns out, the second Gigastone also failed sometime in the car between Tiverton and Lorne Beach.  Upon removal, the drone and controller paired immediately without issue.  Who knew that the memory card, which is used to store images and videos, was critical to the proper operation?  I mean, you can fly without one.  But throw a bad one in there by mistake, and you will stay grounded.  So there’s a tip for you:  if you’re having issues with your drone, take out the memory card as a first step.  Two Gigastones failed one after another!  Another tip is not to buy a Gigastone 128 gig card.

Once we got all these little details ironed out, the Potensic flew steady and true, just as my original did.  I’ve started to discover new features.  The camera has a zoom!  Pinch and zoom; it’s that simple.  This is going to improve my video making abilities over Lake Huron.

I ordered the option with three batteries.  No matter which version you choose, you will get the equipment you need (minus the micro SD card which only came with the three battery option).  In addition to the controller and all the cables, this version comes with the three batteries (32 minutes life each), and a charging block to simultaneously charge all three batteries and your controller at once!  It all comes in a handy carrying case, with handle.

There are lots of features for me to play with that I haven’t touched yet:  6km transmission distance, visual tracking, pull-away shots, boomerang shots…lots to try out, though I always prefer manual controls.

Check out the videos below and be sure to check back as more are added.  The new Potensic drone is going to drastically improve my video making abilities in 2026.

5/5 stars

 


Calibrating: “SMC” by Def Leppard


Sunrise Test Flight: “Mighty Morris Ten” by Episode Six


High Wind Test Flight: “Next Summer” by Arkells


Final Test Flight & All Bugs Worked Out: “Michigan Left” by Arkells

Mental Health For Metalheads: A Self-Help Book By Metalheads For Metalheads Is Now Live For Sale On Amazon
Mental Health For Metalheads: A Self-Help Book By Metalheads For Metalheads Is Now Live For Sale On Amazon. 50% Of The Profits Go To The Sophie Lancaster Foundation Charity.

🅻🅸🆅🅴 50 Years of IRON MAIDEN bonus episode: Johnny Metal has SEEN Burning Ambition!

50 Years of IRON MAIDEN bonus episode:  Johnny Metal has SEEN Burning Ambition!

A special 🅻🅸🆅🅴 episode – 3:00 PM afternoon show

GRAB A STACK OF ROCK bonus episode

2026 sees the release of the official Iron Maiden documentary Burning Ambition.  This milestone certainly deserves its own episode of 50 Years of Iron Maiden.

Fortunately, Johnny Metal saw the film on May 7.  He came to us with his thoughts, and we’d like to share them with you today.  This afternoon, May 8, we are doing our first Grab A Stack of Rock afternoon cottage show of the season.  Johnny will be joining Mike to share his review of the film.  (Meanwhile, Harrison will slumber in Australia, preparing for a weekend of recording.)

Please join Johnny and Mike, live this afternoon, to talk Burning Ambition!

Friday May 8 at  3:00 PM EST, 4:00 PM Atlantic.  Enjoy on YouTube or Facebook.

Past episodes:

Handy YouTube Playlist:

 

 

Handy YouTube Playlist:

 

 

REVIEW: Judas Priest featuring Ozzy Osbourne – “War Pigs (Charity Version)” (2025)

JUDAS PRIEST featuring OZZY OSBOURNE – “War Pigs (Charity Version)” (2025 Sony)

In one of the most amazing collaborations in all of metal history (no hyperbole), Judas Priest teamed up with Black Sabbath’s Ozzy Osbourne for a cover of the Sab’s “War Pigs”.  In another amazing circumstance, the track wasn’t left to the digital download ether.  No; it was even given a CD release, albeit an expensive one when shipping is factored in.  The best part is that a all profits that the label would have received were donated to the Glenn Tipton Parkinson’s Foundation, and Cure Parkinson’s.   Glenn Tipton was diagnosed with Parkinson’s Disease in 2008, while Ozzy was diagnosed in 2020.  This would be one of the last things Osbourne would ever do in music.

The cover art (credited to Mark Wilkinson) features the six musicians compiled together from separate photos:  Scott Travis (drums), Ian Hill (bass), Rob Halford (vocals), Ozzy Osbourne (vocals), Glenn Tipton (guitars) and Richie Faulkner (guitars).  Priest’s live guitarist, producer Andy Sneap, handled the studio duties and additional guitar for a seven-man lineup.  Trivia buffs would love to know that both Ozzy and Rob Halford have performed as lead singer of Black Sabbath, so Rob is no stranger to this classic.

The first concern upon pushing play was, “How will Judas Priest, a single guitar band, do an old Black Sabbath tune?”  Would the styles mesh?

Yes they would.  Gloriously so.

From the opening chords, it was clear that Priest know how to meld the two metal worlds.  The guitar sounds singular, monolithic, like Iommi, before one comes careening in as if from “Sinner”, merging the two worlds.  The track generally goes this way:  true to the Sabbath sound, with occasional guitar chemistry that only Judas Priest can conjure.  The solo work is Priest, but vintage Priest, not modern-day shred.  Also noteworthy is drummer Scott Travis, who tries his best to inhabit that Sabbath world, especially on the cymbals.  He does a few double bass flipouts, but keeps them sparing and appropriate to the song.

As for the vocals, Ozzy sounds more at home, but the two trade off just as you imagine old pals would.  Ozzy takes the first line; Rob growls the second.  It’s a cool contrast:  the Prince of Darkness and the Metal God, together at last.  The two pair up on some key chill-inducing lines.

Let us be glad that this pairing happened.  It existed, and we have a CD of it.  Magnificent.  Rest in peace, Ozz.

4.5/5 stars

 

 

REVIEW: Alice Cooper – Welcome To My Nightmare Live at The Forum, Los Angeles 6/17/75 (2025)

ALICE COOPER – Welcome To My Nightmare Live at The Forum, Los Angeles 6/17/75 (2025 Rhino)

For the first time ever, Alice Cooper was on tour without the Alice Cooper Band.  Dennis, Michael, Neal and Glen were set adrift.  Supporting his first solo album, Alice brought with him Dick Wagner and Steve Hunter on guitars, Prakash John on bass, Whitey Glen on drums and Jozef Chirowski on keyboards.  A more dramatic show was presented, including almost the entire new album.  (Only “The Awakening” was never played.)  So focused on the new album was this set that a smaller ratio of old Cooper classics were included.

At this point, only a few years into his career, Alice was already introduced as “legendary”.  He opens with an ominous and “Welcome to My Nightmare” and the crowd begins screaming as soon as he enters.  Alice’s voice is a little off from the start, but the band behind him has every beat covered.  Compared to his previous group, this one truly sounds like a “backing band”, with the star up front and group of pros behind him taking care of business.  That’s not a criticism, just an observation, and the soloing on “Welcome to My Nightmare” prove how great they are.  It’s a very different sounding group from what we heard before.

Not playing the Nightmare album sequentially, “Years Ago” recurs throughout the early songs played.  Old songs framed by “Years Ago”?  Quite clever.  Here, the first verse leads into “No More Mr. Nice Guy”, a very slick version though Alice sounds hoarse.  Even still, he powers through the chorus and falsetto.  If anything, he is less able to deliver some of the melodic hooks accurately.  Back to “Years Ago”, we get the second verse before “Billion Dollar Babies”, which is the strongest performance so far.  The extra keyboards and guitars are more than welcome, beefing up Alice’s stage sound and adding a side of virtuoso musicianship.  On its third appearance, “Years Ago” consists of a creepy keyboard solo, extended from the album version.  This time, the crashing guitars of “I’m Eighteen” shake us from the nightmare.  Though he’s vocally great here, Alice does mess up a line and goes in for a re-do.  That’s what makes a real live performance so beautiful.  The lead soloists weave tapestries of tasty hooks as the song goes on.

The fourth and final “Years Ago” delivers the “I’m a little boy…” verse, and it’s a bit weird sounding live with that “Steeeeven, Steven come home!” part included.  A transitional segue consisting of some of the music from “Black Widow” and a lot of original riffing too leads into “Some Folks”.  This is done instrumentally with the twin lead guitars playing the first chorus, until Alice himself enters the fray.  His vocal is undeniable rough here, except when doing the falsetto.  Fortunately it’s a great song and a brilliant performance by the band.

“Cold Ethyl” rocks a little more straightforward than the last few minutes of music.  Cooper delivers the creepy vibe here; a pretty solid version.    A brief musical interlude sets up the opening chords to “Only Women Bleed”.  The keyboard provide the strings, and the delicate picking of Hunter and Wagner is spot on.  Alice is strong here.  He seems to struggle vocally when he sings in that “rough” raspy evil voice, but not so much when singing clean or falsetto.

There is a fade out before “Devil’s Food” and “The Black Widow”, but this duo is a show highlight.  Prakash John gets a bass solo moment between the two, as does everyone else, as it’s ten minutes of music before “Black Widow” begins.  As to that, Vincent Price’s part plays on tape and you know what is coming next.  “Black Widow” lacks the certain special haunting quality of the album version, but this one makes up for it in drum and guitar power.  This is much more a heavy metal exercise in Arachnology.  The only thing that could follow such a song is “Steven”, which is excellent except for some startling screaming during the song that is a big loud when it comes!  Your neighbors will wonder what the hell is going on at your house!

“Welcome to My Nightmare” is reprised, as the show ends appropriately with a trio of “Escape”, “School’s Out” and “Department of Youth”.  “Escape” is a show highlight, the irresistible riff blasting hard (and we get plenty of too).  Alice is pretty solid here too.  “Department of Youth” is an extended outro with loads of playing by the band (and band intros).  It sounds absolutely huge!

This album is really a treasure for Steve Hunter and Dick Wagner fans.  There is so much guitar, all over the entire show.  Jozef Chirowski is really outstanding on keyboards.  This is a player’s Alice Cooper album.  Vocal issues aside, the only issue I had was with the drum sound.  A little flat and thuddy.  This is a 50 year old recording and we admire it for its authenticity.

3.25/5 stars

REVIEW: Helix – Scrap Metal (2026)

HELIX – Scrap Metal (2026 Perris)

I don’t know what changed, but buying the new Helix album in 2026 was a headache.  For a Canadian fan of a Canadian band, all I wanted to do was hop on my Amazon and buy it with Prime.  Even though it was reportedly charting on Amazon in Canada, I could not find the CD for sale.  Not wanting to deal with the problems I had with Helix 50, I was determined to get it through one of my usual channels.  Our local store didn’t have it.  I saw a reviewer in New York received a review copy, but I discovered that physical review copies were not available to Canadians.   (I was offered the files to review, but we only review physical product, and you’ll see why this is important as we go through the songs.)  In the end, Jake (Not From State Farm) gifted me a copy that he bought himself, and sent it to me free of charge.  The album is finally available on Amazon, but only about six weeks after I had been trying to buy one.   Why is it so hard for Canadian fans of a Canadian band to just buy the album through their usual channels?  At least it didn’t hinder sales, as the new Helix album Scrap Metal reportedly did very well.

What exactly is the Scrap Metal album anyway?  Think of it as a new mini-album, with bonus tracks!  Eight songs, plus four tracks that were previously released on the albums below:

  • “Jaws of the Tiger” (re-recorded version):  On B-Sides, Best Of 1983-2012, and Never Trust Anyone Over 30.  Original version on Over 60 Minutes With…
  • “Danger Zone”:  On B-Sides, and Best Of 1983-2012.
  • “The Same Room”:  This is the full-length track, not the rarer CD single edit version.  On half-ALIVE and Best Of 1983-2012.
  • “The Pusher” (Steppenwolf cover):  On half-ALIVE.

The other eight songs on the album are either new ones written with Sean Kelly, or unfinished old songs, re-worked for release in 2026.  This is similar to the tactic used on the excellent Old School album.  Some of these tracks feature the late Greg “Fritz” Hinz.  Many were co-written by the beloved and much missed Paul Hackman.

What’s remarkable is how cohesive Scrap Metal sounds.  Regardless of the differing origins of the songs, it plays like an album.  You can hear some stylistic differences over time, particularly with the addition of shredder Sean Kelly on guitar, but it feels like an album.  You can’t necessarily tell that 30 or 40 years have elapsed between some songs.  Let’s run through them track by track.

The lead track “Stuck in the 80’s” has been well received by fans.  Musically it is sharp, riff-oriented mid-tempo rock.  Impeccable backing vocals on the verses, with trademark Helix shouts on the chorus.  The lyrics will resonate with many, though on a personal level I can’t relate.  I enjoyed the music of the 80s, but I would not want my tastes or style to be stuck in that decade.  Helix actually did some of their best stuff in the 70s, 90s, and 2000s!

“Fast & Furious” is far better than any movie with that name.  Fritz Hinz on drums, written with the late Paul Hackman.  This thrashy winner has singer Brian Vollmer singer in a distorted 90s voice, which is an interesting choice that the first three songs all feature to some degree.  The guitar solos have a Judas Priest dual solo vibe, very impressive and very much a welcome sound.  After all, Paul Hackman and Brent Doerner were a formidable guitar duo in the 80s.  That same vibe continues here, in shred town!  Stuck in the 80s indeed?  This kind of guitar work puts Helix in the world-class category.  Absolutely incredible.

“Pretty Poison”, written by Hackman and Vollmer with Sean Kelly coming in to help finish it, is a dirty mid-tempo rocker.  Once again the riffing is intact.  The chorus has excellent atmosphere.  Aaron Murray plays drums on this (and the previous “Stuck in the 80’s”.  The backing vocals on this have the traditional Helix vibe, and the guitar solo is melodic greatness.

The entire classic lineup (plus Sean Kelly) receive writing credits on “Hot Heavy & Wild” which sounds like a Judas Priest title circa Turbo.  Great chorus on this slower, grinding rocker.  The backing vocals stand out once again.

Helix have a penchant for typos and misprints (see:  Helix 50 and Gimme An R!) and I’m not sure what the next song is called.  If you look at the back cover and CD, it’s called “Money (Goes With Everything)”.  If you look at the lyric sheet, it’s just “Money!” with an exclamation point.  This is a Vollmer/Hackman song, resurrected with Sean Kelly shred.  It absolutely has the classic Helix vibe.

“Jaws of the Tiger” falls here, the version from the B-Sides album.  Much like “Fast & Furious”, this has a fast thrash-like tempo.  This helps keep the album cohesive.  The lineup here is in question.  The liner notes credit Brent Doerner on lead guitar.  He was not credited on B-Sides.

Up next, “Coming Back With Bigger Guns”.  Once again the classic Helix sound is present, especially with the backing vocal arrangements.  Pristine and perfect.  This album is exceptionally well recorded.  This is a Hackman/Vollmer co-write, the same team that produced so many Helix classics of the past.

Moving on to “Danger Zone”, this has always been one of the best songs from B-Sides.  It too is a Hackman/Vollmer co-write.  It grooves.  The groove is infectious.

A change of pace is due;  Helix have never “just” been a rock band.  The ballad “Tie Me Down”, recorded in 2019, features Fritz Hinz on drums.  This nice song could easily have been included on an album like Back For Another Taste.  If it had, MuchMusic airplay would have been guaranteed!  Brian is singing great on this one, but the “Ooh, ooh” backing vocals are sublime.

Hackman/Vollmer return for “Closer”, the last of the new songs.  Also recorded in 2019, bassist Daryl Gray sounds great on this, and all the tracks he appears on.  He also plays guitar, along with once-and-present Helix guitarist Kaleb Duck, and current guitarist Chris Julke.  “Closer” has the quality we’ve come to expect from this band’s music.

The album closes with two more tracks from the studio side of half-ALIVE:  single “The Same Room” and Steppenwolf cover “The Pusher”.  It’s amazing how good “The Pusher” sounds, something that may have slipped between the cracks before.  Interestingly, new Helix drummer Jamie Constant is credited on “The Same Room” .  He played on this Helix track three decades ago.

Frustratingly though, even though this album includes songs written and performed with Sean Kelly, other newer tracks like “Not My Circus, Not My Clowns” and “Brother From A Different Mother” remain physically unavailable.  This would have been the perfect CD to release them on, even as bonus tracks.

Scrap Metal is a solid Helix “mini-album with bonus tracks”.  I would have chosen different material from albums past, but as an album this plays consistently well.

4/5 stars