King Record Co.

GUEST REVIEW: Anthem – Ultimate Best Of Nexus Years (2012) by Thunder Blackmore

By Thunder Blackmore

ANTHEM – Ultimate Best Of Nexus Years (2012 King Record Co.)

In the world of metal, there is no short list of underrated bands from every corner and country of the world. Specially with long-standing bands that are still going strong to this day. Would it be bands like E-Z-O from Japan, Pretty Maids from Denmark, Thor from Canada, or Helloween from Germany, everyone regardless of nationality has a favorite band, who did well for themselves, but could’ve, would’ve and should’ve gone big. And while my choice for most underrated metal band ever would go to my fellow countrymen Pretty Maids (national bias has its moments), Japanese metal legends Anthem earns the runner-up spot, easily.

The band, led by bassist Naoto Shibata, who are perhaps more famous for his work with Loudness and Crush 40 in the 90’s, had a tough time in the 80’s with success in their homeland and even a small US tour in ’87, but also with internal struggles which prevented the band to go beyond like their fellow and more successful countrymen, Loudness. Ultimately the band would be disbanded in 1992 until they reunited in 2001 and have been going strong since then. A band considered by many to be part of the big four of Japanese Metal (with X Japan, Loudness and Flatbacker/E-Z-O) with mostly consistent excellent releases throughout the years, who just now are getting released to the west on streaming services and (hopefully) physically by Nuclear Blast. So far, there’s two options for getting into Anthem’s discography, which just so happen to be compilations. For their new era, there is Nucleus, released by the aforementioned Nuclear Blast. But as for their classic period, the import to buy is this one. Ultimate Best Of Nexus Years.

Japanese releases has a reputation of not being a very cheap options, so getting this compilation is definitely a good starter point. It collects songs from the band’s initial 80’s era, starting with the self-titled debut and ending with their final album before their hiatus, Domestic Booty (you’ll be the judge for the supposed meaning of “booty”). Given that the compilation is split into two cd’s, it also reflects the times with the singers Eizo Sakamoto and Yukio Morikawa representing disc 1 and 2, respectively. This decision, coupled with the track list being in chronological order, can be difficult at first listen. Not necessarily with the tracks themselves but more with the unevenness with the production, as the first Anthem albums sound pretty rough. Granted, that’s not a problem exclusive to the band, but that also means that you’ll have to skip to track 13, “Bound to Break”, if you are somewhat put off by the roughness.

If you can hang with it, you are in for 2 hours of kickass catchy melodic metal majesty from glorious Nippon with no noteworthy duds. Even with my nitpicky desire to swap out some tracks for others, I’m still absolutely happy with this purchase. Standouts have to be “Venom Strike”, “Shadow Walk”, “Bound to Break”, “Hunting Time”, “Night After Night” and “Show Must Go On”. The latter being their first original song with English lyrics (courtesy of the late Chris Tsangarides) and being their first to be featured in the Anime OVA, Devilman.

Until Anthem can finally release their back-catalog on physical media for a much more affordable price (CD, vinyl or otherwise), this one will do wonders in the meantime.

4.95/5 stars

Thanks to Thunder Blackmore for this awesome review.

 

 

REVIEW: Quiet Riot – Hollywood Cowboys (2020 Japanese import)

QUIET RIOT – Hollywood Cowboys (2020 King Record Co. Japanese import)

We all wanted Frankie Banali go out on a high note.  He fought hard.  His battle with cancer was inspiring.  Unfortunately, his last Quiet Riot album Hollywood Cowboys is not memorable except as the drummer’s finale.  The shame of it is, they previous album Road Rage was pretty decent so it wasn’t unreasonable to get hopes up for the sequel.

The songs just aren’t memorable enough.  It’s bad when you can’t remember which track was the single (“In the Blood”).  The opener “Don’t Call It Love” is better; singer James Durbin was able to infuse the chorus with some passion.  The problem is none of the songs stick.  Can you remember how “Change Or Die” or “Wild Horses” goes without a listen?  “In the Blood” isn’t terrible by any stretch but there are no real singles on this album.

The musicianship is fantastic, with Frankie drumming like only he could.  There’s some tasty organ on “The Devil You Know”, but no hooks.  You can hear that they worked hard on Hollywood Cowboys, adorning songs with “woo oo ooo” backing vocals and lickity-split solos by Alex Grossi.

Some highlights include an AC/DC-like blues called “Roll On”, and the ballad “Holding On” which nails the vintage Quiet Riot vibe.  There’s also a blast of Priest-like metal called “Insanity” that has plenty of power if lacking in melodies.

The album sounds as if rushed, which would be understandable given the circumstances, but that’s the impression it gives.  Even the cover looks rushed.  The mix is really saturated and could have used some more loving care.  To its credit, it is probably the heaviest Quiet Riot album ever, from drums to riffs.

Here’s the mindblowing part.  Only one guy on this album is still in Quiet Riot, and that’s guitarist Alex Grossi.  James Durbin left before it was released, and he was replaced by former QR singer Jizzy Pearl (from the 10 album).  Legendary bassist Rudy Sarzo is returning in 2022, replacing Chuck Wright.  Lastly and most regrettably, Frankie’s stool was filled by former Type O Negative drummer Johnny Kelly.  None of that is relevant a Hollywood Cowboys review, it’s just recent history.  One does wish for more stability in the lineup, and perhaps Sarzo will bring that.

The Japanese import bonus track this time out is a lacklustre acoustic version of “Roll On”.  Frankie plays with brushes, so it’s interesting from a drummer’s point of view.  Sadly it’s the kind of bonus track that’s just not worth the price paid for the import.

Hollywood Cowboys is a scattershot collection of parts that never coalesces into songs.  Everybody wanted Frankie Banali to succeed, in every way possible.  But one must also be honest in a review, and can take no pleasure in shitting all over Frankie’s last record.

2/5 stars