Quiet Riot took the unusual step of firing their only original member, lead singer Kevin DuBrow, in 1987. They soldiered on with new singer Paul Shortino and did a brief tour of Japan before calling it a day for the band. Meanwhile, Kevin DuBrow was supposed to working on a new band called Little Women.
In 1991, various media were reporting that Kevin DuBrow and Carlos Cavazo had gotten back together in 1991 as a new band called Heat. It was a quiet reunion for the singer and guitarist who had been estranged since DuBrow’s firing in 1987. Within two years of forming Heat, the band had morphed into a new version of Quiet Riot, now featuring former drummer Frankie Banali and newcomer Kenny Hillary (RIP).
Terrified features 3/4 of the classic Metal Health lineup with only Rudy Sarzo being absent. (He’d join again later on Alive and Well). Like a mighty ship changing course in heavy waters, Terrified is a monstrous Quiet Riot CD, anchored by Cavazo’s newly heavy guitar playing and Banali’s inimitable thunder. The drum production on this album could be the best on any Quiet Riot disc, and up there with Banali’s sound with bands such as W.A.S.P.
Lots of winners on the Terrified: “Cold Day In Hell” boasts an angry 90s groove, but with the melodic sensibilities of Metal Health-era QR. “Loaded Gun” almost sounds like a Metal Health outtake, because it has a throwback vibe. Their cover of “Itchycoo Park” is the only acoustic song, a much needed respite before re-entering the fray on the storming title track. Only a few filler tracks (in a row) almost derail the album, but soon we’re back on track with “Rude, Crude Mood”. It may be one of the worst lyrics that DuBrow’s ever written but the music sure rocks. “Little Angel” is fast but forgettable, and before long you’re into “Resurrection”, a six-minute instrumental tour-de-force. Banali and Cavazo take the helm on it with a shuddering riff, and they don’t let go until it’s fade out. An awesome track.
Quiet Riot’s career can be divided up into a number of phases. In the 1970s, there was the Randy Rhoads era represented by two decent Japanese albums. This was followed by the the so-called “classic era” of major label releases (Metal Health to QR) from 1983-1988. Then there is the reunion era which runs from Terrified to Rehab (2006) and finally Kevin Dubrow’s death in 2007. As a coda, Frankie Banali resurrected the name with a variety of lead singers and continues to tour and record. Their last album was 2014’s 10 featuring lead singer Jizzy Pearl. Terrified would stand as the best album of the reunion era, which they sadly struggled to equal on later releases like Down to the Bone.
30 years ago, there was a heavy metal band from Quebec named Sword. They only released two albums (Metalized and the more ambitious Sweet Dreams) before disbanding at the end of the 1980s. Lead singer Rick Hughes is one talented guy though, and he gave it another shot with a hard rock band called Saints & Sinners in 1992, who were produced by Aldo Nova.
Hughes has remained active in Canada, though Sword are now long gone. Fortunately the internet has given old metal bands like Sword a way to get back in touch with their fans. Thanks to the web, you can now buy a live CD recorded in 1987 on Sword’s opening tour with Motorhead. Lemmy took the band under his wing early on and fortunately this live tape survived. They played two nights at Hammersmith Odeon and recorded them to 4-track tape. The liner notes do not state which gig the CD is from, or if it is a mixture of both. Considering the age of the tapes, Sword’s Live Hammersmith CD stands up remarkably well. There is a real sense of “being there” at Hammersmith, in spite of (or because of) the sonics.
Ripping through all 10 tracks from their debut album, Sword made the most of their opening slot. Even so, they still had time for a brand new song too, “Prepare to Die” (later released on Sweet Dreams). With 11 songs and only 36 minutes, Sword’s already thrashy material seemed faster live. Sword’s songs had the goods, too. These blazing aggressive tunes weren’t simple or easy. Most importantly, Rick Hughes’ incredible metal shrieks were 100% intact in the live setting. Hughes’ voice was critical to the Sword sound, being their most unique characteristic. It is always disappointing when you hear a band live, and the singer can’t scream like the album. Not a problem with Sword.
The singles “F.T.W.” (“Follow the Wheels”) and “Stoned Again” are the immediate highlights. The gallop of “F.T.W.” sounds like a heavier Iron Maiden, while “Stoned Again” goes for the groove. If anything, the songs have more impact in the live CD setting. It is quite possible that Sword were one of those bands who were better live than on album. They were, at the very least, flawless live. Rick Hughes didn’t miss a note, word or scream. Dan Hughes (drums) was also bang-on. You can’t get a live album like this without the rhythm section doing it right. Dan Hughes and bassist Mike Larock were right there, locked in, and driving the machine forward. Larock had the groove, and also a knack for throwing in catchy bass runs. As for the lead work, Sword were a one-guitar band, so Mike Plant had to switch from rhythm to lead seamlessly, and he made it all sound easy.
Inhabiting the fine line between metal and straight-up thrash, perhaps Sword were not unique out there in the 80s trying to make it. This CD proves that they did have the talent. As Henry Rollins says, live is “the only way to know for sure”. A soundboard recording like this is as close as you will get.
As an added bonus (always appreciated in these frugal days), the Sword CD is signed by all four members and comes in a jewel case. A very nice reward for the devoted fan. You can buy Live Hammersmith from the Sword Facebook page.
Welcome to the first of many year-end lists here at mikeladano.com! I’ve decided to call this series“2016 Can Suck Balls“. We will discuss the celebrity deaths that plagued this year on my own list, but first up to bat is the man the myth the legend — Dr. Dave Haslam. His heavier-than-fuck lists always generate a lot of interest, so Dave’s going first!
Please welcome Dr. Dave with his Top Albums list of 2016.
GETTING MORE TALE #537.1: 2016 Can Suck Balls Year End Lists, Part 1 – Dr. Dave Haslam
Well, it was an…interesting…year. The deaths came fast and furious, and the tail end of the year for me went from the sublime (Cubs win!) to the ridiculous (Trump wins!).
It will be fun watching the dumpster fire that is the United States over the next year, and perhaps a few of these tunes will serve as a compelling soundtrack for that.
10.A 3-way tie between Opeth – Sorceress, Winterfylleth – The Dark Hereafter, and Nails – You Will Never Be One Of Us.
Why a three way tie? Because “Top Tens” are an arbitrary convention. I understand that we use the decimal system on this planet, but we’re talking music here, not distance, or measurement, or even the weight of your momma. Opeth was certainly phenomenal live, and there are parts of Sorceress (particularly the title track) that I love, but there is a lot of fluff on this album, a lot of acoustic bits that just didn’t grab me. If even 75% of it was of the calibre of the title track then it would easily be my #1 album. As it is, it merely shares a tie with Winterfylleth, who are awesome, but released an album that was pretty meagre compared to their recent efforts, and Nails, a band I probably wouldn’t even like that much except that the pure, unhinged fury of You Will Never Be One Of Us pretty much encapsulates my reaction to the election of Cheeto Mussolini by our terminally stunned neighbors to the south. Check out the title track (hmm, I see a theme here) if you want the most succinct example of unbridled aggression released this year.
9. Deathspell Omega – The Synarchy of Molten Bones
So Spellcheck flags “synarchy” as a spelling mistake, which casts a poor light on Spellcheck’s recognition of obscure political terms. And, now that I notice it, Spellcheck also considers “Spellcheck’s” (the possessive form of the noun Spellcheck) as a spelling error as well. What is my takeaway from this? That Spellcheck doesn’t like being talked about, or having particular qualities or characteristics ascribed to it. Well fuck you too, Spellcheck. I don’t even need you, so blow me.
Anywho, this is a half-hour long EP, and it sure isn’t Drought, an EP from 2012 which demonstrated new levels of variety and composition from these devout French Satanists. Instead, this returns to their classic sound: eerie, frenetic, bewildering, and very very fucking evil. There’s a reason why these guys don’t do gigs – it would probably be impossible to do this live. I can only chuckle at the thought that the U.S. Army uses Metallica or some other mainstream band to torture Muslim detainees when they could be using this instead. Then again, maybe that’s for the best. This music would likely have Navy SEALs shitting their undies.
Sample only if you’ve given up on sanity as a “life goal.”
8. Meshuggah – The Violent Sleep of Reason
Recorded together live in the studio, this album has a more organic sound than any of their more recent releases. If you know them, then you know what to expect. They are a consistent, well-oiled machine, and there are few surprises or major deviations here. The song that really hooked me is “MonstroCity” (cool title, bro), which has a lurching, idiot-man-child-on-meth kind of funk to it – my favorite tune on the album. This album almost didn’t make the list, as my ability to truly appreciate Meshuggah depends on my mood; however, since I have been in a “smash-shit-up” kind of mood lately, here it is.
7. Devin Townsend – Transcendence
This fucking guy. Devy likely won’t get his proper due until years from now, but now is the time to get on board, if you haven’t already. Is it my favorite release of his? No (I’m looking at you, Ocean Machine). But when you can be as heavy as Devy can, and be as melodically lush and compelling, then you are as far past the run of the mill as it gets. As Rush rides into the sunset (did I mention that 2016 was a very trying year?), Devin Townsend is the Canuck that will pick up that torch and run with it. Time to recognize this national treasure while he’s still alive. Give “Failure” a listen and disagree. I dare you.
6. Dunsmuir – Dunsmuir
My love for Neil Fallon (and Clutch) is hardly a secret. He is the hard-rock equivalent of Tom Waits, but that comparison fails once I realize that Fallon’s tales and subject matter are even more compelling to a freak like me than Waits’. The band behind him soars, snarls, and grooves in a way that sharts on much of what we consider “classic metal.” This is why Vinny Appice replaced Bill Ward in Black Sabbath, and why Tim Sult can access limitless possibilities at the blusier end of heavy guitar. “Crawling Chaos” should give you a good idea.
5. Alcest – Kodama
A fine return to form from the French pioneers of blackgaze (black metal + shoegaze). Unlike last album Shelter, this one has bite to it, adding much appreciated energy to their lushly melodic soundscapes. With clean vocals and blackish wails, blast beats and proggier grooves, Kodama is an almost perfect balance of their disparate influences. Yes, this requires patience, and it is designed to be atmospheric rather than fist-pumping. Go to bed, turn out the lights, spark one up, and listen to this at volume on good-quality headphones. Immerse yourself. “Oiseaux de Proie” should serve nicely as an introduction.
4. Gojira – Magma
A third French band on my list? Tabernac! This one’s a grower, not a shower. This is a pretty new band for me, and I’m sure getting on the Gojira train at Magma station is like not getting into Mastodon until Once More Round the Sun or The Hunter (“Dude, like, haven’t you heard their early stuff? It kicks this album’s ass, man!”). Yeah, fine, whatever. That doesn’t change the fact that this album has a certain something that I can’t quite put my finger on. While they might have kicked your ass in a more aggressive and complicated fashion a few years ago, they’ve allowed some restraint and melody into their sound, and it has paid off in a big way. “Stranded” is what sold it for me, starting with a Meshuggah-esque riff overtop a deep but spacious groove, which then morphs into a simple bridge riff that is as cool as it is accessible, until the three and a half minute mark, when the real earworm of the song kicks in. Composition might be a four-syllable word, but it’s certainly not a four-letter word. Sometimes simplicity really is the closest step towards genius.
3. Deftones – Gore
I’ll save my rant about how unfair it is to lump these guys into the nu-metal category alongside vastly inferior bands like Korn and Chimp Trisket for a later time. Suffice it to say that this album rewards multiple listens. The story is that guitarist Stephen Carpenter had thoughts about stepping away from the recording of Gore because of how atmospheric and subtle the ideas were compared to their earlier albums. And it’s good that he didn’t, because there is still plenty of succulent riffage here. Chino Moreno is still a very versatile vocalist, going from a whisper to a scream to a croon in no time, and the rhythm section is always tasty and totally underrated. “Pittura Infamante” is probably the best example of how this band has grown – although each of their last three or four albums are totally wicked. This song resembles Gojira’s “Stranded” in that it shows how deceptive simplicity can be the secret weapon that veteran bands use to economize their songs for maximum appeal while still maintaining their true identity. And watch out for one of the riffs of the year at about the 2:25 minute mark. Wow. Then again, listen to “Hearts/Wires” for a more relaxed version of this album. Or the first track. Oh fuck it. It’s all amazing.
2. If These Trees Could Talk – The Bones of a Dying World
I had no idea that these post-rock alchemists got signed by Metal Blade, and I knew nothing about this album’s existence until I randomly came across it at Encore Records, which is where I had to special order their two previous albums about a year ago. This is textbook post-rock, and if you are confused by that particular genre designation then listen to “The Giving Tree.” It’s less spacey and discordant than Mogwai, less stoner-rock than Pelican, and much more immediate than Godspeed! You Black Emperor. There are a lot of layers, textures, and dynamics to be explored with three (3) guitarists, and ITTCT indulge that potential without it all turning into a sprawling, unfocused mess. I get a Steve Rothery vibe from “The Giving Tree,” although it is quite a bit heavier than you would expect from the heart and soul of Marillion. I’m glad that music like this exists. Sometimes you just don’t need a vocalist to get to the real heart of the matter.
1. Abbath – Abbath
After an acrimonious split with his Immortal bandmates, Abbath made the best Immortal album since 2000’s stone-cold classic Sons of Northern Darkness (one of the best heavy metal albums of the past 30 years, by the way), albeit under his own moniker and with a different rhythm section. And that rhythm section kicks massive ass, driving the kind of militant and triumphant anthems that will inspire you to crush your enemies, see them driven before you, and hear the lamentations of the women on some frosty tundra where glaciers loom and wolves lie in waiting to feast upon the bodies of the vanquished. It doesn’t get more metal than this. Like Slayer, Abbath knows that downshifting to mid-tempo is where the truly heavy and epic begins, and “Winterbane” is a perfect example of this. Merry Christmas, motherfuckers.
Close but no cigar: Metallica – Hardwired…To Self-Destruct (good, but too much meh); Russian Circles (haven’t heard it enough); Khemmis (so close…); SubRosa – For This We Fought the Battle of Ages (not as good as More Constant Than The Gods); Inquisition – Bloodshed Across the Empyrean Alter beyond the Celestial Zenith (crazy title, great black metal album).
My main obsession in 2016 that does not involve a particular album released in 2016:
Live MGLA – I’ve spent most of my YouTube time in the past year listening to and watching this Polish black metal band slay audiences and perfect heavy metal with an aggressive yet understated style that simply beggars comparison. This is THE SHIT. The drummer is unbelievable, the riffs are unimpeachable, and the compositions are incredible if you consider that hypnotism is just as valuable as anything “showy” or “obvious.” This gets me hard more than anything else in the universe right now. No grandstanding, no histrionics, no drama, no “image,” no trying too hard. This is simply perfect heavy metal. For a short, two-song sampler, check out “Brutal Assault 21 – Mgla (live) 2016”. Or for a boringly- filmed but excellent-sounding full gig, check out “MGLA – Live at Dark Easter Metal Meeting 2016 – Full Show” on YouTube.
“I don’t care ’bout the weather, the band’s here to play.”– Jon Harvey
MONSTER TRUCK – Sittin’ Heavy (2016 Dine Alone 2 LP edition)
Why are you not rocking? This is the question that Monster Truck ask to open their 2016 release Sittin’ Heavy, easily the best record the quartet have released to date. “Rock and roll might save your life, it might save your life tonight.” Perhaps this is the Truck’s modus operandi, because judging by Sittin’ Heavy they are interested in delivering the rock and doing it right.
From the short blitz of an opener, Truck go right into the first single “Don’t Tell Me How to Live”. The track has been a radio staple in Canada for most of 2016, and it’s easy to see why. The slow riffy groove is easily digestible by rock fans craving that sound, backed by a searing chorus about eagles and lions. Some have compared this band to another Nickelback, but on Sittin’ Heavy they have moved far beyond those measures. Nickelback has never delivered anything this classic sounding. Track three, “She’s a Witch” has a modern swampy vibe that Chad Kroeger couldn’t hope to taint. Three songs in, Monster Truck delivered three completely different tunes, though all with the rock solid Truck groove. One ingredient that separates the Truck from the crowd is the soulful organ provided by keyboardist Brandon Bliss. “She’s a Witch” is one track with a bizarrely heavy soul-metal vibe. That vibe culminates with “For the People”, an uplifting track that closes side one of the vinyl. The soul-rock vibe is obvious and augmented by Ian Thornley of Big Wreck who lays down some of his trademark wicked slide guitar. The Wreck-ifying of the track unites the two bands in a cool, celebratory way.
Flip the vinyl, and take a moment. “Black Forest” is a organ based track, slow and mournful, and very different from any of the four on side one. When a band like Monster Truck turn down the volume, they risk revealing that there is little substance beneath the howling distortion. This is certainly not the case here. “Black Forest” has a more subtle touch, and the band allow it to breath. As a result it’s one of the most stand-out tracks.
“Another Man’s Shoes” walks us back into familiar territory. The Truck don’t make things complicated, and guitarist Jeremy Widerman’s Frehley-like solos are just what the doctor ordered for these musical bruisings. They take a left turn down Abbey Road next by adding some Beatles-like piano vibes to “Things Get Better”, an outstanding track. “I got a feelin’ thing’ll get worse before they get better,” sings Jon Harvey but he couldn’t be more wrong. Sittin’ Heavy keeps getting better the more you play it, and “Things Get Better” is a high water mark. Side two blasts its way to a finish on “The Enforcer”, which races home with plenty of the Truck’s trademark “woah-woah-woah” gang vocals.
The third and final side (we’ll talk about that shortly) begins darkly with a Sabbath-like “To the Flame”. Widerman and Harvey seemed to study at the feet of Iommi and Osbourne when composing this menacing crawl. “Midnight” takes the tempo back up to cruising speed. Going in at low altitude, the Truck bomb your senses with a vinyl-only bonus track. Considering the price you pay for a record vs. a CD, it is nice to get something like a bonus track for your dollars. In the 80s, it was common to put a bonus track on the CD, since it was the most expensive format at that time. Now the situation is reversed.
A choppy riff introduces “New Soul”, a purely enjoyable return to the church of soul-rock. It’s a head-bangin’ good time. Clap your hands for a good time (unless you’re listening to this while driving, in which case, keep ’em steady on the wheel). Then the final track is appropriately the ballad “Enjoy the Time” which sounds like a natural way to end a soulful rock album like Sittin’ Heavy. Its Supertramp-like keyboard tones lend it a unique sound over the rest of the album. It also sums up the vibe of the whole album: “Enjoy the time we have, before they’re gone away.”
But what about the fourth side? What’s on that? Check out the etched vinyl, baby!
If you are looking for a new rock album that sounds classic, then you have found one. Those who like a rock record to be a journey of highs and lows and with a satisfying conclusion, then Sittin’ Heavy is the one. With little doubt, this one is going to be on a few best of 2016 lists at the end of the year.
The below is a personal non-preachy discussion on living life as a Christian heavy metal fan. I’m not interested in changing anyone’s personal convictions, just telling a story. If this bothers you, press “back” now.
GETTING MORE TALE #533: Spirituality as a Heavy Metal Fan
Any fan of heavy metal music who is also a believer in the Lord above has had to come to grips with this apparently hypocrisy. How can one follow the word of God and yet listen to Ghost?
Believe In One God Do We, Satan Almighty, The Uncreator Of Heaven And Evil, And The Unvisable And The Visable, And In His Son, Begotten Of Father, By Whom All Things Shall Be Unmade, Who For Man And His Damnation, Incarnated, Rise Up From Hell, From Sitteth On The Left Hand Of His Father, From Thense He Shall Come To Judge, Out Of One Substance, With Satan, Whose Kingdom Shall Haveth No End.
I wrestled with this contradiction very early in life. As a young Catholic-raised kid discovering rock music, I wanted to make up my own mind. One of my earliest sources of music via the magic of Sunday afternoon taping sessions was my next door neighbor George. In addition to the Kiss discography, George had most of the Maiden, Priest and Ozzy catalogue either on LP or cassette. George wasn’t particularly religious, but one afternoon he did tell me, “I won’t listen to anything Satanic.” I took that to mean that Maiden, Priest and Ozzy lyrics checked out A-OK.
Many people of faith have found that their religious convictions shake and waver over the years. That period for me began in the 1990s, although I never considered myself an agnostic or an atheist. I was in the early years of my University career; that period when you think you know it all. I remember some fierce discussions around the dinner table with me loudly proclaiming that I was the only sitting authority on whatever subject had come up. My parents remember them too, as the naive younger me spouted off about whatever I read on an overhead projector. Meanwhile, I was frustrated that they didn’t seem to be giving my lecture serious enough consideration. Some dinners ended up with me storming up to my room in anger with my food unfinished.
One of my earliest courses in University was my first year introduction to Anthropology. The prof, whose name long escapes me now, was an animated character. His long hair was always tied up in a ponytail on the back of his head. He wore suits and ties to class, which most profs did not. Many (especially in the psych department) preferred socks and sandals. He told anecdotes and moved around a lot. He always kept one hand on the podium. The class noticed his storytelling sessions always proceeded with one hand firmly anchored, keeping him in a tight orbit at the front of the classroom. He was a fantastic teacher and I briefly considered a career in Anthropology before I realized it involved a great deal of travel and going out of doors.
He was most certainly an atheist, which is unsurprising considering that the first semester of the class was about primate evolution. He was fascinating, and though I never doubted the science of genetics and natural selection, he certainly proved to me that the simple 7-days 7-nights story of the Bible did not happen as simply as it was written. That could only be allegory for a sequence of events that humanity did not have words for or basic knowledge of at the time. Knowledge is cumulative. We know now that we can follow the development of life through fossils, getting older and older as we dig deeper. Things line up, make sense. He explained to us why the concept of a “missing link” is a logical fallacy.
None of this bothered me. Even though I wouldn’t consider myself a spiritual person at that age, I just assumed any God who is truly all knowing and all powerful could easily create the universe as it was, with the laws of nature, physics and all the matter inside it, via the Big Bang. It would still turn out exactly as He envisioned it to, because that’s the definition of an all powerful God. There didn’t seem to be any contradiction to me. I tried to argue this as part of an intro Philosophy course paper that I wrote the same year. I attempted to go to the quantum scale to explain things and blew it fabulously. That paper was a C-, if I recall correctly. The T.A. that marked it suggested that the quantum section should have been axed completely. (He was absolutely right!)
At the same time, I was very deeply invested in a love of heavy music, having collected at least 400 tapes at that stage. Stryper aside, none of them were Christian rock. There were plenty of masters of the dark arts, however: Alice Cooper, the Ozzman, the Sabs, Priest, Maiden and the lot. As least, that’s the way many religious folks seemed to think it was over the years. I couldn’t hear any Satanism in their lyrics. Look at the words to Sabbath’s “After Forever”:
I think it was true it was people like you that crucified Christ, I think it is sad the opinion you had was the only one voiced, Will you be so sure when your day is near, say you don’t believe? You had the chance but you turned it down, now you can’t retrieve.
Perhaps you’ll think before you say that God is dead and gone, Open your eyes, just realize that He’s the one, The only one who can save you now from all this sin and hate, Or will you still jeer at all you hear? Yes! I think it’s too late.
Because the song also has a line that goes “Would you like to see the Pope on the end of a rope – do you think he’s a fool?,” some folks are likely to get their panties in a bunch. Context in any art form is important, often true with lyrics. It’s hard to imagine Ozzy sitting there seriously worshipping Satan when he’d rather be drinking, don’t you think?
At the same time, I was collecting the albums of Savatage, and their lyrics sometimes had a clearly Christian bent. Their Streets album features a character called “D.T. Jesus” and a full-on Holy character redemption. This didn’t bother me either. It stirred warm memories of Bible stories that I learned in school. Most importantly at that time, I was learning that music lyrics are not always meant to be taken at face value. Take Poison for example. You might think that the “Unskinny Bop” might be an exercise regime. They cleverly disguised their true intention with made-up words. Ozzy isn’t singing about his belief in the undead in “Bark at the Moon”. Maybe he’s inspired by some movie he saw as a kid. Does it really even matter? It’s just a song. It’s just entertainment.
There is one instance when paying attention to the words does really matter, such as when a vulnerable youth might think “Flying High Again” sounds really fun and cool because Ozzy said so. But that is where the parents must step up. It’s not Ozzy’s responsibility, nor the state’s, to monitor what your kids are doing. Pay attention to what they are listening to and make sure you give them the straight talk on any issues that concern you. That’s what my parents did (unbeknownst to me). My mom read over the lyrics when I wasn’t home. She never had made any musical demands of her son other than “turn it down” when it was too loud.
I felt a stronger return to my faith around the time I met my wife. Our connection seemed beyond just two random people falling for each other. It seemed like two puzzle pieces coming together. Like I’d finally found the one who understands and puts up with my bizarre self, and vice versa. It’s not about thinking “I was made for loving you, and you were made me loving me,” so much as feeling it. One thing I learned from Philosophy class is that faith is not something you can prove or disprove. The definition of an omniscient and omnipotent God means He or She could create the universe we live in without leaving any trace of His/Her existence, nor any purpose we can comprehend. Maybe we’re all just chess pieces on a big chess board. You don’t know and you can never prove it one way or another, because how do you know your “proof” isn’t just another move in the chess game?
Faith means you believe something or not. I think science is pretty bang-on with how it describes how the universe behaves, and will continue to modify and reshape its theories based on what comes flying out of the next particle accelerators. It’s an exciting time to be following science, as we unlock some of the most elusive particles predicted by theory. At the same time, events in my life (far more than just meeting my wife) have made my heart lean further in the direction of faith than disbelief. I think whoever it is that created the universe did so with the laws of nature that we study today. I think that science is peering into the mind of God, as Einstein suggested. I came to these conclusions on my own; only later did I realize many got there before me.
As for lyrics about Satan even though I’m on the other guy’s side? I think it’s all about being a good person in the time you’re given on this Earth. I don’t care what you call it; that doesn’t mean we can’t be friends. As long as you try to go about your life without being an asshole, sure we can be friends. For example I’d be foolish to exclude you from friendship just because we don’t share the same opinions on (delicious) olives. I’d be equally foolish to exclude you just because you have different ideas about how we all got here. I think, if anything, we’re all here to help each other. We should do that anyway, even if it’s just holding a door open for your neighbor. There are some things that some Christians consider hellfire-worthy sins that I could care less about. It was always important for me to find a balance between my spiritual beliefs and what I know to be right or wrong. I’ve encountered a few Christians who say that homosexuality in a sin. A really bad one, too. I don’t want anything to do with that statement. I know in my mind and my heart that it doesn’t matter what gender you’re attracted to. What matters is using your time on this Earth to be the best person you can be.
I like Ghost; I don’t have to sing along to their music if I’m not feeling the words. That’s free will, and I don’t think I’ll go to hell for exercising it, even though some folks have warned me that’s where I’m headed. I hope that when it comes to the important choices in life, I’ve made more of the good kind than bad. At the end of it all, that seems to be more important.
Reverend X. Much different than Catholic school. Is that a phone book?
When grunge took over the airwaves in 1991-1992, a lot of older guard bands found themselves without a record contract. W.A.S.P.’s 1992 concept album The Crimson Idol failed to generate enough interest for Capitol Records to continue investing in the band. A greatest hits contractual obligation album was a typical move for bands in this situation, and that is how First Blood…Last Cuts came to be. With that in mind, the 16 track album is great bang for the buck. Rarities and new songs add value, and the photo-loaded booklet is tons of fun.
A rarity right off the bat, “Animal” was a non-album single and W.A.S.P.’s first. It’s better known as “Fuck Like a Beast”, and that might explain why it wasn’t on the W.A.S.P. album. A good but not exceptional track, it does boast a nice metal chug, but it’s otherwise just there for shock value. It is primitive metal akin to the first LP, with Blackie in full screech. You either like W.A.S.P. or you don’t.
“L.O.V.E. Machine” from the first LP is remixed with the first verse re-recorded, for some reason. Presumably Blackie must have been dissatisfied with the original. There are several remixes on this CD, including singles “I Wanna Be Somebody”, “I Don’t Need No Doctor” (a metalized Ray Charles cover via Humble Pie), “Blind In Texas” and “Wild Child”. The remixes generally have a sharper drum sound, particular the tracks originally from the muddy first album. The remixing leads to an uneven listen. Rather than sounding fresh, the remixes feel off-kilter and slightly unfamiliar, especially when butted up against non-remixed tracks. The muddy “On Your Knees” follows the remixed “I Wanna Be Somebody”. The transition between the two songs, both originally from the same album, could be better.
Thankfully the strong songs outnumber the middling by a hefty margin. “Headless Children” and “The Real Me” (a Who cover from Quadrophenia) remain two highlights of the W.A.S.P. canon. The chugging heavy epic “Chainsaw Charlie” has never been topped by Blackie.
The final incentives are the two new songs, although one (“Rock and Roll to Death”) was recycled on 1995’s Still Not Black Enough. “Sunset and Babylon” is special as it features Lita Ford on guest lead guitar. The nimble-fingered Ford adds some character to the tune, a pretty standard rock n’ roller from Blackie and cohorts.
At 75 minutes, First Blood…Last Cuts is a long running album providing great value. Perhaps it runs a song or two too long, but nit picking aside it is a solidly hot listen through. The drunken cowboy blasts of “Blind in Texas” are as fondly remembered as the gentle strumming on ballads like “Hold On to My Heart”. Indeed, as the album runs on to its second half, ballads begin to outshine the rockers. “Forever Free” remains one of W.A.S.P.’s brightest stars, as likeable as it was in 1989. “The Idol” is a darkly beautiful ballad demonstrating that Blackie Lawless is indeed deeper than just his assless chaps. Although the album dialogue should have been chopped for this greatest hits CD, it just breaks up the flow.
Most people do not need all the W.A.S.P. albums. In fact, scientific studies have shown that one or two W.A.S.P.’s is all the average homo sapiens will ever need. First Blood…Last Cuts would be solidly recommended CD for your first or only W.A.S.P. purchase.
Al Atkins was the original lead singer in Judas Priest, before “Bob” Halford was invited to join. You’ll find a number of Atkins credits on the first two Priest albums, even though he was out of the band by that time. In fact, Atkins formed a band called Judas Priest in 1969. The band were named by bassist Bruno Stapenhill. They split in 1970, and Atkins went looking for a new band. He found them in Ken “KK” Downing and Ian “Skull” Hill, who were looking for a singer. With Atkins and drummer John Ellis, they eventually settled on the name Judas Priest, same as Atkins’ prior band. And yes, that means that Ian Hill is actually the only remaining original member of Judas Priest.
Atkins wrote and co-wrote much of Priest’s earliest material. Before he left, he wrote a song called “Whiskey Woman”. Rob Halford used that song and merged it with one of his called “Red Light Lady”. The result was “Victim of Changes”, the first and perhaps greatest of Judas Priest’s epics. Two other songs he wrote in Priest were “Mind Conception” and “Holy is the Man” which were demoed but never released.
Atkins worked a 9-5 job after Priest, but got back into music again in short order. His fourth solo album, Victim of Changes, was essentially a tribute to his Judas Priest years. It is a collection of new recordings of (mostly) a lot of numbers that Priest played live during the Atkins era. As a gimmick, he had Priest’s drummer from the 1980s, Dave Holland, on this album.
Atkins and Halford couldn’t sound less alike. Rob is known for his high-pitched operatics. Atkins has a gutsier, grittier sound, somewhat like a Paul Di’anno meeting Blaze Bayley. There is no question that Rob is the right singer for Judas Priest, so it is really only a matter of curiosity to hear these tunes with Atkins singing. The tunes are at least good.
The unreleased “Mind Conception” commences the disc, re-recorded and very modern sounding especially in the guitars. It is difficult to know exactly what the original “Mind Conception” sounded like, but it’s very safe to say it would not have sounded like this. In the liner notes, Atkins states the original demos were recorded stoned and with a sore throat. “Holy is the Man” has a slower groove to it, and would work very nicely as a modern Priest track. As the only representation of these unreleased tracks available, die-hard Priest collectors will want to hear them. Another track of interest is the cover of Quatermass’ “Black Sheep of the Family” which Priest played live at their earliest gigs (along with Hendrix’s “Spanish Castle Magic”). Rainbow’s recording is still the one to beat.
The familiar Priest tracks are actually anything but. They are probably arranged more like the way Priest used to play them in the early days. “Never Satisfied” is extended with a tough bluesy acoustic intro. The heavy parts have a Zeppelin-y beat, due to Holland’s straightforward style. Same with “Winter”. Then there is “Caviar and Meths” which is a whopping 7:12 long. According to Atkins, this song was their big finale live, but never recorded in full in the studio. This version is the full-length arrangement that they used to close with live. And it’s brilliant. Finally there is “Victim of Changes” itself, and Atkins has some help from a backup singer for the high parts that Rob does.
There are a couple tracks that could be considered filler, since they have nothing to do with Judas Priest. These are the instrumentals “The Melt Down” and “Metanoia”, written by guitarist Paul May. They are excellent tracks, however, and should not be ignored. (“Metanoia” serves as a postscript to “Winter” on the CD.) They are European sounding heavy metal tracks, loaded with guitar drama and ferocity.
Check out Victim of Changes for a glance at what Priest might have sounded like with Al Atkins singing lead. One can hope for those unreleased demos to surface, but one can also wish for the moon.
The scene: Earth, post-Rapture. A seedy bar somewhere in America, haunted by the few remaining survivors. In walks a cloaked figure, here to recruit the only man who can help him defeat the Antichrist: former CIA agent Stan Smith. On the jukebox in the futuristic post-apocalyptic watering hole: “Barael’s Blade” by The Sword. (American Dad season 5 episode 9 – “Rapture’s Delight”)
Sounds bizarre, right? Seth MacFarlane’s American Dad has always usedmodern rock musicin interesting ways, and this wasn’t the only use of music by The Sword on that show. “Iron Swan” appeared in an episode called “Minstrel Krampus” (also featuring soul crooner Charles Bradley). Interestingly, not only are both these appearances in rather twisted Christmas episodes, but both songs were drawn from The Sword’s debut long-player, Age of Winters.
The doomy riffs of opening track “Celestial Crown” immediately recall early Black Sabbath circa 1970-72, but drawn out, slowed down, grinding heavy like a glacier carving its path through a mountain. J.D. Cronise’s howling vocals break the ice on “Barael’s Blade”, but the assault continues right on to “Freya”. This track, the ogre stomping “Freya”, wields multiple guitar riffs as heavy as the thunder of an avalanche. The Norse goddess of fertility is also the goddess of war and death. “Freya” brings the sonic conflict to your speakers.
When the “Winter’s Wolves” arrive, your senses are already overloaded by the riff-heavy metal. “Wolves” centers on a heavy drum section, like Bill Ward on ephedrine. Almost as if part of the same song, “The Horned Goddess” reverberates like a coda to “Winter’s Wolves”, different yet solidly in the same icy field. “The Horned Goddess” soon transforms into a stampede of mammoths making their last stand. Hypnotizing lead vocals welcome you into this hazy landscape of sound.
Acoustic instrumentation brings “Iron Swan” a different aura, like the Beatles via The Sword. Then it immediately launches in a thrash metal “War Pigs”, as if all the speedy chops the band had in storage were being used up right now at this very moment. Epic only touches on what “Iron Swan” is, as there is so much riffery that it becomes overwhelming. Scientific studies* have shown that the human memory can only retain so many riffs at one time, and so “Iron Swan” becomes like a wave of them hitting your senses one after the other.
Painting of an Aurochs (Wikipedia)
The Aurochs, a part of European megafauna until their extinction in the early 1600s, were the direct ancestor of the modern domestic bovine whose products millions of people consume every day. It is the Aurochs you see in cave paintings today. The Sword have given us a seven-minute-plus “Lament for the Aurochs”, and we do not forget the impact that mankind has had on the ancient land we inhabit. Although back-breeding has produced Auroch-like “Heck cattle”, we shall never feel the ground shake with a herd of Aurochs again.
“And none may see again the shimmering of Avalon, Or know the fates of all the races man has cursed, Long gone are the ages of the alchemists, Now there are none who know the secrets of the earth.
“Lament the passing of the Aurochs, And the slaying of the ancient wyrm, Would you dare meet the gaze of the basilisk, Or face the flames as the phoenix burns?”
The Aurochs give way to an epic instrumental “March of the Lor”, another exercise in maximizing potential riffage. When “Ebethron” arrives to end the album with a hammering blow, it is a mercy killing. Age of Winters is almost non-stop, all-in, nothing but riffs and pounding through its entire length. That in mind, it only takes a short while to recover, and hit play one more time….
I look forward to exploring more of The Sword’s discography.
4.5/5 stars
Look for a review of album #2, Gods of the Earth, soon.
“The best revenge is to live well.” — Don Dokken’s liner notes. Passive aggressive much?
Dokken imploded in 1989 not with a bang but a whimper. Rather than remembering the live album they finished with (Beast From the East), people recall the animosity and bitter attacks in the rock press. George Lynch and Mick Brown began Lynch Mob, while Jeff Pilson formed War & Peace. Don Dokken meanwhile was cooking up a hot new band. The only issue was the name. The ex-members, who owned a stake in the Dokken name, refused to let Don use it. They also shot down the names “Dokken II” and “DKN”. (Reportedly Dokken was told if he wanted to just use the vowels “OE” for his new band, that would be fine with the others!) Don was understandably upset that he couldn’t use his own last name for his name, so he opted to bill himself as Don Dokken the solo artist.
His solo band was a killer. Fresh out of Europe with a smash hit album under his belt, John Norum joined on guitar. Billy White from the thrash metal band Watchtower was the second guitar player, giving Dokken a double guitar lineup (or three if you count Don himself). King Diamond’s Mikkey Dee was aboard on drums, several years away from joining Motorhead (and now Scorpions). Rounding out the band was veteran Accept bassist Peter Baltes, who played with Dokken in their earliest days.
With all this burning anger coupled with tremendous instrumental firepower, one might expect Don to come back rockin’ harder than ever. His solo album Up From the Ashes was a down-ratchet from Dokken, slightly, with an emphasis on melodic rock. It did however continue the core Dokken sound, with some biting and very Lynch-like guitar riffs.
Entering with the kind of jagged riffs that made Dokken famous, “Crash ‘N Burn” sounds almost exactly like Don’s old band. Hard rock, smooth vocals, and six-string acrobatics. There is no familiar Jeff Pilson backing vocal, but Peter Baltes and John Norum get the job done. The incredibly impressive guitar histrionics are clearly not George Lynch, but fans will love what John and Billy White cooked up. A strong follow-up called “1000 Miles Away” sits in a comfortable mid-tempo rock zone. It’s not a ballad, it’s not a rocker, but it’s somewhere in between. Hit material. The album’s single was a track called “Mirror Mirror”, with a stuttery Van Halen riff. The lyrics are very telling:
“Mirror mirror, on the wall, Seven years, I survived them all, Mirror mirror, tell me more, If that was love, then love is war.”
Dokken had a roughly seven-year long life as a recording band, so think what you will.
A lot of Up From the Ashes fits into a nice little hard rock box, a little smoother around than edges than classic Dokken, but strong as ever. “When Some Nights” has a similar vibe to “1000 Miles Away”, and there are many others. No real weak songs abide within. There are only a few that are head and shoulders standouts. Among these is “Living a Lie”, a sharp Norum co-write with a Europe-like sound. Also up there, “Give It Up” is a brief blast of rock. “Stay” leans in a slightly more pop direction, successfully so.
Drony ballads are less impressive. “When Love Finds a Fool” is fortunately the only one, which does at least boast some impressive musical contributions from all the players. The momentum is killed by starting side two with this slow Scorpions-wannabe. Another issue is a slightly damp production, which makes the drums sound woefully underpowered. This is a shame since Mikkey Dee is such a drum demon.
With Up From the Ashes, Don re-established himself. Nobody could accuse him of leaning on George Lynch. With the benefit of 20/20 hindsight, this band really should have been called Dokken.
METALLICA – “Lords of Summer” (2014 Blackened Record Store Day single, additional download versions)
This past Friday, Metallica ended the eight-year long wait for a new album and put out the sharp-edged Hardwired…To Self-Destruct. If you go for the deluxe edition (a measly $16!) then you’ll get the full 78 minute studio album and a bonus CD (to be reviewed later) with another 14 tracks. That’s another 79 minutes of metal for a grand total of $16. The value is insane.
Cast your minds back to 2014. Metallica, embarking on a summer tour, released a new single called “Lords of Summer”. The concept of “Lords of Summer” was pretty simple. It’s a song about touring season, and it was one of the new pieces of music that the band were working on for the next album. Ultimately, a slightly shorter and re-recorded “Lords of Summer” was included on the bonus CD for Hardwired. The vinyl single (Record Store Day, limited to 4000 copies) has the original “First Pass Version” (8:20). This was also made available via download. If you’re already familiar with “Lords of Summer” then this is the version you know. The “First Pass” is not as polished as Hardwired, but similar in direction with the same focus on metal riffs and melody. Like much of the album, “Lords of Summer” careens from riff to riff blasting away at different tempos. While not one of Metallica’s most remarkable songs, it has some cool individual riffs cooked up within it.
For the sake of completion, we should also discuss the “Garage Demo Version” of “Lords of Summer”. This was included as a bonus track with Metallica’s official live downloads from that tour. It was first played in Bogota Columbia, March 16 2014. The “Garage Demo” (also 8:20) is different recording from the “First Pass”; very similar but even rougher. Fans familiar with Metallica’s usual demos know that they are often so rough that the lyrics are not yet in place. This time, the song was already fully formed in its demo stage.
The Record Store Day vinyl single contained a bonus live version, recorded in Rome on July 1 2014. By that time the band had been playing it all summer, so it’s tight. Kirk’s solo is drowned out in the mix, but of course you can hear the drums loud and clear. Compare this to the version in Bogota, which captures the song played live for the first time ever. The arrangement is the same, but it’s still coming together in Bogota. The Roman version demonstrates that practice makes perfect. But why stop there? There are a total of 33 different live versions available for download on Metallica’s site!
There is one last bonus, which is the etched B-side on the Record Store Day vinyl. Admittedly it looks pretty…but it’s just an “M”. It’s minimalist cool, but what happened?…they couldn’t afford to etch the etallica?
For this review, we listened to the following:
“First Pass Version” (8:20, available as single download or on vinyl Record Store Day single)
“Garage Demo Version” (8:20, available with purchase of a concert at LiveMetallica)
July 1, 2014, Rome Italy (8:48, available on vinyl Record Store Day single or for download at LiveMetallica)
March 16, 2014, Bogota Columbia (9:18, available for download at LiveMetallica)
With 31 more live versions online, plus the new album version at 7:09, there are in total 36 official versions of “Lords of Summer” out there to consume. Happy hunting.
QUIET RIOT – Terrified (1993 Moonstone)
There is one instance when paying attention to the words does really matter, such as when a vulnerable youth might think “Flying High Again” sounds really fun and cool because Ozzy said so. But that is where the parents must step up. It’s not Ozzy’s responsibility, nor the state’s, to monitor what your kids are doing. Pay attention to what they are listening to and make sure you give them the straight talk on any issues that concern you. That’s what my parents did (unbeknownst to me). My mom read over the lyrics when I wasn’t home. She never had made any musical demands of her son other than “turn it down” when it was too loud.
AL ATKINS – Victim of Changes (1998 Pulse)
DON DOKKEN – Up From the Ashes (1990 Geffen)
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