MartinDavey87's Reviews
It’s crazy to think that somehow this album would spurn an upwards momentum that would lead Limp Bizkit to, at one point, being the biggest band on the planet. Released in 1997, ‘Three Dollar Bill Y’all$’ is the debut album of the Florida-based nu metal outfit. They weren’t the first band to fuse rock and rap, in fact, bands like Stuck Mojo, Body Count, H-Blockx and Clawfinger and countless others were already worldwide names by this point. But for some reason, ‘Three Dollar…’ was one of the earlier albums that helped usher nu metal into the mainstream. I just can’t see what people saw in it!
Now, I should point out, I’m not a Limp Bizkit hater. In fact, I really like them! They’ve released some absolute bangers, and, let’s face it, was the soundtrack to my (and everyone else’s) teenage years at the turn of the century. But that still doesn’t explain to me what people back in 1997 saw in this album.
Overall, it’s very forgettable. The guitar riffs are quite messy, and Fred Durst’s blend of rapping, singing and shouting just aren’t really cutting it. At least not yet, anyway. Then there’s the cover of George Michael’s ‘Faith’ which was an early hit for the band, but again, does nothing for me. But if I had to pick, I guess ‘Pollution’, ‘Counterfeit’ and ‘Stuck’ are all okay.
But only okay. Nothing more.
It’s amazing that the band would go on to absolutely conquer the world, because if any bands released a debut this lacklustre and generic today, they’d be doomed. Still, the band are headed to bigger and better things, so skip this album and get the next one.
Heavy: 1. of great weight; difficult to lift. 2. of great density. 3. 'Paradise Lost' by Symphony X.
Symphony X's seventh studio album, 'Paradise Lost', is, simply put, heavy. The majestic sounds of their earlier releases are gone, and the more orchestral feel of their previous two albums have dwindled. Now, in their place, is an all-out assault of the heaviest, beefiest, and arguably some of the most aggressive music you'll ever hear.
The song structures, while still maintaining progressive characteristics, are nowhere near as complex as past efforts, and the keyboards don't have as prominent a role in the songwriting. Much of the music is based around guitarist Michael Romeo's massive riffs and vocalist Russell Allen's intense yet melodic voice, both fitting together so perfectly that it's easy to forget the bands more classically-inspired days.
'Set the World on Fire', 'Serpent's Kiss', 'Paradise Lost' and 'Revelation' are all fantastic-enough reasons to get this album, but then there's what I consider one of the heaviest songs of all time; 'Domination'. The sheer weight of its huge riffs is insane, amazingly produced to really give it the thickness it needs. You really don't know what "heavy" means until you've cranked this song out at full blast!
Overall, this is certainly not Symphony X's best album, but it's a natural change of direction for the band, and one which should help them appeal to a broader metal audience. And you'd sure-as-hell better be a metal fan if you're going to listen to this!
‘Reinventing Hell: The Best of Pantera’ is a 2003 European compilation album by groove metal legends Pantera, who had been on hiatus at the time of its release, and would officially disband a year later, following the tragic killing of guitarist Dimebag Darrell.
Pantera have always been a bit of an odd one for me. Highly revered by the metal community, I’ve always struggled to see what all the fuss was about. While their hit singles have been absolute bangers, I find the bulk of their albums consist of filler material, and the band really not all that they’re hyped up to be.
But that’s where this compilation comes in, because it features literally all the hit singles. Every major highlight from each of their 90’s albums is here (ignoring their earlier 80’s hair metal material), leaving out all the filler and subpar tracks. With the likes of ‘Cowboys From Hell’, ‘Domination’, ‘Walk’, ‘Mouth For War’, ‘I’m Broken’, ‘Cemetary Gates’, ‘Revolution is My Name’, ‘This Love’ and ‘5 Minutes Alone’, this truly is a sonic tour-de-force of heavy metal brutality.
And each song truly represents the best the band has to offer. Dimebag Darrells crushing guitar riffs are complimented by Phil Anselmos monstrously aggressive voice, which on the albums at times become nothing more than incomprehensible grunts and shouting, yet here, with the right material, truly show how intense and powerful he could be.
I’ve never been the biggest Pantera fan, nor will I ever be, but this album pretty much has all the hits on it that I like. Plus, it comes with a DVD featuring all the bands promo videos! Outdated and unnecessary today, I know, but still a nice little touch, anyway. As blasphemous as it may sound to fans, I consider this, ‘Reinventing Hell’, the essential Pantera album.
Queensryche's first ever release, a four-track EP, re-released in 2003 with an additional ten live tracks, isn't anything I find particularly memorable. The main four tracks, the original portion of the record, are good, but not overly special. 'Queen of the Reich' and 'The Lady Wore Black' being the better two tracks. The musicianship and production are fairly standard of 80's metal, and are more reminiscent of the new wave of British heavy metal than the more prog-inspired style the band would later go on to adapt.
The ten live tracks are a nice touch, but ultimately that's all they are, nothing more than "a nice touch". They don't really add anything to this release and are easily forgotten about.
No doubt the band will go on to release some classic albums, especially in their early years, so this is mainly a disc for the die-hard Queensryche fans (if such a thing exists).
‘The Expedition’, released in 2000, is a live album by power metal band Kamelot. It follows their forth studio album and rather than being one specific concert, features highlights from their tour of the same year, supporting power metal peers Stratovarius.
The band perform exceptionally, especially vocalist Roy Khan who can really belt out the high notes, and there’s no doubting the energy of the music or the enthusiasm of the musicians, especially as there’s a palpable chemistry between everyone involved. However, now the down side... I find Kamelot’s first four albums range from okay to good, and while the songs here are some of the best of the bands earlier days, I’d still prefer to listen to their later material, which, conveniently, starts to really pick up with their next studio album.
But for what it’s worth, this is still a decent enough release. The sound is spot on, giving everyone space to shine and stand out without drowning anyone else out. There are some cringe-inducing moments too, such as Roy Khan shouting “let’s tear this place apart” between songs! I love his voice, and his energy is infectious, but this isn’t the kind of music to mosh to.
Thankfully there’s only eight live tracks, keeping the album fairly short and sweet, as there’s then three new studio tracks included at the end, and this is where you really get your money’s worth. ‘One Day’ is a nice enough ballad, but the key highlight for me is the rerecording of ‘We Are Not Separate’ from the bands debut album. With a much updated and richer sound, improved vocals and arrangements, this song is a true gem in Kamelot’s discography and one of their finest works.
For that alone, this album is a great addition to any Kamelot fans collection, and at least worth checking out once by any casual listeners.
I came across this album in a music shop for £3 and decided to check it out. I'd heard a lot about Meshuggah and what people were calling their "math metal" (which I suppose has today been replaced with the term 'Djent'), and was intrigued. However, to be honest this is probably one of the worst albums I own.
Being a thrash metal fan during my teenage years, I thought I'd be able to tolerate the shouting vocals, which was originally my biggest concern, though it really doesn't matter. The album as a whole just doesn't work for me. The music all seems dull and boring, incredibly repetitive, and the constant guitar riffs playing over drums in different time signatures (I believe this is known as a 'polyrhythm'), may seem impressive musical capability, but ultimately lacks any actual musicality, providing nothing more than material for music theory enthusiasts to analyze.
Obviously there is a market for this kind of music, because Meshuggah seem to have garnered a pretty big, incredibly passionate fanbase. And whilst I'd normally be open to giving certain bands multiple chances, Meshuggah is a band I certainly won't be trying out again.
‘Reinventing the Steel’ is the ninth and final studio album by groove metal band Pantera. Released in 2000, the band members would fall out big-time shortly after, and would end up disbanding a few years later. So with this release bringing their career to an end, all I can do is look back on this and wonder, “what the hell am I missing?!”...
Pantera are so highly revered and beloved by metal fans that I easily fell into the hype, going only by their hit singles from the early 90’s. Sure, ‘Cowboys from Hell’, ‘Walk’, ‘Mouth For War’ and ‘Domination’ are all metal classics which had me anxiously awaiting really digging into their albums, but honestly, that literally was the best the band had to offer. The rest really was just hype.
While their main output was mostly mediocre albums with a couple of decent hits, I really hoped that ‘Reinventing...’ would give the band one final hoorah. But alas, nope, it’s just another generic album. Although there are a couple of moments of goodness, most of the songs sound average and uninteresting. It’s almost as if the band were just going through the motions by this point.
The album is well produced, however, giving the music a solid punch, and like on previous releases, when the band are good, they’re really damn good! But as always, this is very rarely the case. ‘Revolution is My Name’ is an absolute banger, and ‘Yesterday Don’t Mean Shit’ and ‘Goddamn Electric’ are alright, though not quite as memorable. But otherwise, the rest is pretty mundane, by-the-numbers tracks, with jarring riffs that make the album seem disjointed most of the time.
I fell into the Pantera hype for a good fifteen or so years before actually taking the time to really listen to their albums properly, and I’ve got to say, what a huge disappointment this has been. Sure, they’re heavy as hell, and there’s no denying how influential they were in the 90’s, but truthfully, their entire back catalogue just gets a huge “meh” from me.
I think it’s safe for me to ignore this album, and all of their albums for that matter, and just stick to their ‘Reinventing Hell’ greatest hits compilation, which is pretty much all their decent tracks right there.
Released in 1993, ‘Tokyo Tales’ is the first official live album by German power metal legends Blind Guardian. Having been a long-time fan of the band, I’ve always swayed more towards their later, more progressive and “epic” albums, whilst finding their earlier, speed metal days a little too repetitive for my liking.
Recorded whilst touring for 1992’s ‘Somewhere Far Beyond’, it was at this point that the band would begin to incorporate a wider range of influences in their music and focus on concept albums, more ambitious arrangements and lavish orchestrations. However, while ‘Tokyo Tales’ covers pretty much all the best songs those early albums have to offer, it’s still a bit too samey for my tastes.
With songs like ‘Banish from Sanctuary’, ‘Majesty’, ‘Welcome to Dying’ and ‘Lost in the Twilight Hall’, the set list is pretty good. The sound is great, and is pretty similar to the studio albums, and the audience is truly alive and loving every minute of it. But ultimately this comes down to taste. I’d rather listen to the studio counterparts of these tracks, and even then, I think I’d prefer to listen to ‘Nightfall in Middle Earth’ or ‘A Twist in the Myth’ than anything from those early albums.
‘Oceanborn’ is the second studio album by symphonic metal legends Nightwish. Released in 1998, it comes just one year after their debut, but already there’s a marked improvement in every aspect of the band and their music.
For starters, everything is more polished. The compositions flow a lot better and don’t seem as disjointed as before. The interplay between all the musicians, in particular, guitarist Emppu Vuorinen and keyboardist Tuomas Holopainen is fantastic. Full of exciting melodies and energetic performances, the music sounds much more vibrant and alive on this release. There are also more varied influences on this album, such as ‘Swanheart’ with its folk influence, ‘Moondance’ with its exotic flavour, and a wide use of neoclassical runs used throughout. It makes for a much more refreshing album.
Then there’s the production. Wow! A huge improvement! While ‘Angels Fall First’ always sounded raw and, in my opinion, a little flat, ‘Oceanborn’, again, sounds much more alive. Everything is clear and well balanced and it suits the music perfectly.
However, despite all the praise, there are still a few filler songs, and in general, a lack of that “big” sound that Nightwish would develop more over the years. But it’s not really a criticism, as this is a really good release. And songs like ‘The Riddler’, ‘Gethsemane’, ‘Passion and the Opera’, ‘ Stargazers’, ‘Sacrament of Wilderness’ and their amazing rendition of the classic ‘Walking in the Air’ are all great signs that this band are developing and maturing at a fast rate, and are definitely destined for bigger things.
Eight years after their last studio album and Stuck Mojo are back to breathe new life into the rap metal genre which they helped pioneer in the early 90's. While I loved 2007's 'Southern Born Killers' and even 2008's 'The Great Revival', the more hip-hop oriented rapper Lord Nelson and the commercially tinted songs (full of gospel and pop influences) put off a lot of fans.
However, a 2014 reunion show which saw the return of classic Mojo vocalist Bonz had the band once again retracing their metal roots. And while the newly revived classic line-up wouldn't last, it did plant the seeds for a new album which would take the band back into a more heavier direction.
And heavy, it is!
With new vocalist Robbie J. Fonts, Stuck Mojo have truly released a beast of an album that takes them right back to their 'Pigwalk' days. Brutal, unrelenting and uncompromising, 'Here Come the Infidels' is a great record that perfectly blends metal and hip hop whilst trying to give the genre the integrity it deserves. Rich Wards guitar riffs are as killer as ever (check that guitar tone!), and long-gone are the lyrics about friendships and "mom's favourite song", we're back to the anti-political, anti-social, anti-everything Stuck Mojo that we all know and love.
And it is glorious!
The album starts off with some of the bands best material, however, towards the end it does start to slowly creep back into that commercial rock territory. While songs like 'Tambourine' and 'Blasphemy' aren't bad by any stretch, they kind of feel a bit out of place on a release that started off as an all-out metal return to form.
Still, with that said, 'Verbal Combat', 'Rape Whistle', 'Charles Bronson', 'The Business of Hate' and the title track, 'Here Come the Infidels', are all some of Stuck Mojo's best songs, and are all perfect examples of why rap metal crossovers shouldn't be so casually disregarded. And if nothing else, surely this makes up for 'The Great Revival'... right?
As is always the problem with compilations, they quickly become dated, which is the case for 'Prelude to the Millennium', Symphony X's 1998 collection that nicely compiles material from their first four albums, which in retrospect, covers their mainly progressive/neoclassical phase (subsequent albums would go in a much heavier, power metal-inspired direction).
With that said, there is still plenty of excellent music here which can easily to used to convert new fans. Featuring some of the bands most ambitious and complex pieces, this will appeal to metal and prog fans alike, with a nice mixture of heavy, fast, quiet and epic songs. As is standard with the genre, the technical ability of everyone involved is top-notch, with particular praise going to the chemistry between guitarist Michael Romeo and keyboardist Michael Pinnella, and of course, to powerhouse vocalist Russell Allen.
Featuring some absolutely astonishing progressive metal hits such as 'Through the Looking Glass', 'Smoke and Mirrors' 'Of Sins and Shadows', 'The Damnation Game' and a re-recorded version of 'Masquerade' off of their debut album, the choice of songs here is (mostly) spot-on! And definitely highlights all of the bands strengths. However with that said, there is one problem...
'The Divine Wings of Tragedy'.
Now, the choice of songs is mostly killer here, and although there's one or two songs I'd have left off (this is always the case for compilation CD's), the real overkill is the inclusion of the 21-minute epic 'Divine Wings...'. It's a great song, but damn, it just takes up such a huge chunk here, and really, it just seems too much to hear the entire song! If it'd been up to me, 'The Accolade', 'Church of the Machine' or 'The Eyes of Medusa' are all much more accessible songs that could have taken its place. But never mind... can't win 'em all...
Symphony X are one of my all-time favourite bands, and I strongly encourage everyone to check them out. The music is incredibly well-written and will appeal to fans of both prog and metal. Despite only covering their first four albums, 'Prelude to the Millennium' is still a great starting point for anyone new to the band.
It's very rare for a band to continue getting better and better this far into their career, but with their sixth studio album, Fozzy are showing that there is still plenty of fuel left in the tank. Which is evident by their ever-growing fanbase, headlining tours and playing the main stage of some of metal's biggest festivals.
As they have done on previous releases, 'Do You Wanna Start a War?' sees a few tweaks to Fozzy's sound which prevents them from becoming repetitive whilst still maintaining their unique Fozzy tone. In particular, the riffs and song structures are a bit more stripped-down than before, there's only a couple of guitar solos, and there's a big "electronic" feel to this album. In fact, the first single 'Lights Go Out' was described by the band as being "disco metal", for its grooving dance vibe.
One thing this album has in abundance is those sing-a-long anthems that go down so well at concerts. And with the groups already strong repertoire, energetic live shows and the showmanship of professional wrestler frontman Chris Jericho, Fozzy is a band that just keeps getting stronger and stronger with each release. Guitarist Rich Ward's "less-is-more" approach to guitar riffs is a breath of fresh air in a stagnant metal scene where so many bands are trying to be as technical as possible. He can get more from a couple of chords than most bands do from a thousand notes. Need proof? 'One Crazed Anarchist'. There ya go.
'Lights Go Out', 'Died With You', the title track and an awesome cover of ABBA's 'SOS' (you're not truly a metal band until you've covered an ABBA song)... all reasons to get this album! Simple as that. How does the chant go?
FOZZY!!! FOZZY!!! FOZZY!!! FOZZY!!! FOZZY!!!... [repeat and fade out]
While Sevendust’s second album, 1999’s ‘Home’, is a step up from its predecessor, it’s still a fairly average album at best. There’s a noticeable improvement in the band’s sound and performance, and a number of solid tracks make this album superior to the group’s debut.
With nu metal on the rise, Sevendust’s “alternative” brand of metal was starting to gain the band some recognition, with a good balance of groove, heaviness and melody, the Atlanta-based five-piece are starting to sound a lot more polished with their sound. In particular, vocalist Lajon Witherspoon’s interesting mixture of singing, shouting and rapping is starting to really suit the music better than before. The guitars are also sounding a lot more confident, with the twin-guitar format being utilized to full effect.
Personal highlights for me include ‘Headtrip’, ‘Rumble Fish’, ‘Licking Cream’, ‘Denial’, ‘Bender’ and the title track. While a number of songs on this album seem similar and repetitive, these ones stand out, and show a band that may have finally stumbled upon a sound that’ll give them their own identity.
‘Home’, ultimately, isn’t a bad album, and has its fair share of memorable moments. But it’s just not an album I’d consider coming back to very often. Sevendust are certainly showing potential for greater things though, and with the nu metal subgenre on the verge of taking over the world (this is back in 1999, remember), it’ll be interesting to see if the band can fulfil that potential on later releases.
Me and the classics just can't seem to get along, can we? I know metal fans are going to know nothing but absolute and utter contempt for me (especially since I rated James Blunts first album three stars!), but I just can't get into 'Reign in Blood', which just happens to be one of the most beloved and revered metal albums of all time. Is it hyperbole? Has it not aged well? Am I just a bit of a prick? Probably all three.
Opening and closing with two of thrash metals finest compositions, the legendary 'Angel of Death' and 'Raining Blood' are two of Slayer's most famous and most popular songs. With breakneck speed riffs and some of Tom Araya's most passionate vocals, these are two of the bands most defining tracks.
They're also the only two highlights of this album.
The rest is the usual Slayer recipe... open string chugging, big screams, screechy guitar solos... I've never been too keen on the bands early material, and this certainly hasn't converted me. Sure, the music is ridiculously fast and relentlessly brutal, but that's not enough for me to find it compelling or engaging.
Still, 'Reign in Blood' is regarded as a classic, and this review won't do anything but enrage the few unfortunate souls who find themselves reading it. I've tried and I've tried, but with the exception of the two songs mentioned above, this album is more average than most people are probably willing to admit.
'Sin and Bones', released in 2012, was a huge breakthrough for American metal group Fozzy. While 2010's 'Chasing the Grail' came out to mostly rave reviews from critics, it flopped commercially, likely due to the fact that most people still couldn't take a band fronted by professional wrestler Chris Jericho seriously. However, relentless touring and an energetic live show helped the band endear to new fans, and so with 'Sin and Bones', an album brimming with anthems that were tailor-made for a live setting, did they really start to gain credibility as a legit band.
Either that, or they're like the annoying gnat of the rock world that just won't go away. But all that persistence was starting to pay off.
With a slick production and some of Rich Ward's most accessible guitar riffs (including one of the most killer tones in rock music today!), 'Sin and Bones' sees Fozzy ease up on the full-blown metal elements of their sound, and instead focus on the sleazy rock 'n' roll vibe. It sounds like it shouldn't work, but it totally suits them, especially when compared to the overall image and showmanship of the band.
Vocalist Chris Jericho (THE Chris Jericho... you stupid idiot!), shows that he is more than just a professional wrestler, but indeed a kickass front man! His vocals are incredible, and while he may struggle with them a bit when performing live, he more than makes up for it in energy, enthusiasm and showmanship.
'Spider in My Mouth', 'Blood Happens', 'Inside My Head', 'She's My Addiction' and the hit single 'Sandpaper' are all Fozzy classics that show a band who are constantly evolving and changing, yet never straying too far from the very essence that makes them who they are.
Indeed, Fozzy are huge rock stars!
I remember this one so well. It was the Summer of 2003, and I was 16 years-old. I randomly picked up 'Handful of Rain', with no prior knowledge of the band Savatage. It was alright. Nothing amazing, but one or two catchy songs that stuck with me. Fast forward a few months and I was Christmas shopping with my sister. Having stumbled across a secondhand music shop, I had to have a quick look, and it was there that I picked up 'Poets and Madmen'.
And from here, Savatage would go on to become one of my all-time favourite bands.
'Poets and Madmen' sees Jon Oliva return to lead vocals, and Chris Caffery picks up the bulk of the guitar work after Al Pitrelli had left to join Megadeth. Though not strictly a rock opera like those the band were famous for doing, there is a loose concept behind the music, based upon real-life photographer Kevin Carter. It's not exactly an easy narrative to follow, though it doesn't disrupt the flow of the album either.
With Savatage slowly taking more and more of a backseat to the Trans-Siberian Orchestra (a Savatage-related band that was having multiplatinum success), it's evident that a lot of the music here was influenced by the aforementioned group. Bigger and more grandiose than ever before, each of the songs here is a true gem in their own right, with each instrument working in complete synergy to produce some of the bands tightest and most cohesive compositions.
Highlights include 'Stay With Me Awhile', 'Commissar', 'There in the Silence', 'Surrender', 'Back to a Reason', and the centerpiece of the album, the ten-minute 'Morphine Child'. Each song really shows a band at the peak of their creativity, with plenty of crushing riffs, beautiful melodies, classical-inspired passages and the vocal counterpoint harmonies that the band had made their own.
A remarkable smorgasbord of every perfected nuance that had ever given this band their own unique sound, it's a shame that Savatage spent the majority of their career in the "underrated" category, because this album is an absolute masterpiece.
Released in 2000, 'The Fourth Legacy' is the album which saw Kamelot rise to prominence as one of power metals most popular bands of the new millennium. Following on from 1998's 'Siege Perilous', which saw the debut of vocalist Roy Khan, the band's sound was starting to incorporate a heavy use of keyboards, which added some exotic and middle-eastern touches to the music.
The production has been massively improved upon as well, and it's this which has ushered in a new era for Kamelot. With a polished sound which does justice to the atmosphere and sense of storytelling the band are trying to set, 'The Fourth Legacy' shows a huge step up in quality over its predecessors. The musicianship is also much more confident than before. With faster, galloping riffs intertwined with some interesting keyboard melodies, the group are certainly headed in the right direction in all aspects but one...
Unfortunately, the compositions themselves are still a mixed bag. While there's some instant classics in the form of 'Until Kingdom Come', 'The Fourth Legacy', 'The Shadow of Uther' and 'The Inquisitor', the rest are fairly average at best. Certainly not anything overly memorable when compared to the bands later output.
'The Fourth Legacy' is a huge leap forward from the bands prior work though, and while it still has its flaws, they're mostly overshadowed by the huge improvements in production and musicianship. At best, I could only say it's a decent album, but better things are definitely on the horizon.
Back in the early 80's when the metal world was going crazy for the rise of thrash metal and the NWOBHM (New Wave of British Heavy Metal), a new, Connecticut-based band quietly unleashed this gem upon the world, to little or no mainstream recognition; Fates Warning were laying down the blueprint for what would become progressive metal.
Sounding almost identical to early Iron Maiden, 'Night on Bröcken' takes most of its influence from the NWOBHM, with melodic, galloping guitar riffs, choc-full of harmonies and duel-guitar leads. Vocalist John Arch even sounds like Maiden's Bruce Dickinson at times. But with some interesting song arrangements and a few odd time-signatures thrown in, Fates Warning were laying down the foundations that bands like Dream Theater and Queensrÿche would build upon to make prog metal what it is today.
Fates Warning would certainly go on to release better albums than this, but this is a good, solid debut, with some memorable songs and some catchy hooks. Sadly, this record hasn't really stood the test of time, as it's mostly forgotten about today. But if you like NWOBHM or you're interested to hear the roots of progressive metal, then it's worth keeping an eye out for.
'Manifest Tyranny', the fifth album by Swedish progressive metal band Andromeda, once again sees the group pushing themselves to try new things and evolve their sound. Taking a mixture of the all-out riffage displayed in 'The Immunity Zone' and the proggy atmosphere of 'Chimera', this is a band who sounds a lot more mature and "complete" than on previous releases, with the chemistry between them firmly showing in the intensity of the music.
This is also the album where Andromeda succumbed to the dreaded metal cliché that is the political album! Lyrically, this isn't much different than any other band who has politically-themed songs, lashing out at corrupt governments that favour the rich, keep secrets from the public and advocate wars. The usual. Musically however, the band is as tight and as coherent as ever.
As always, each member here really demonstrates abilities that puts them at the top of their chosen field. After the more stripped down approach of their previous album, 'The Immunity Zone', guitarist Johan Reinholdz is prepared to rip things up again, shredding to his hearts content with some mind-blowing guitar acrobatics, which are matched note-for-note by keyboardist Martin Hedin. The interplay between these two is phenomenal, and puts them right up there with the other top musicians in the genre.
With such heavy hitters as 'Stay Unaware', 'Preemptive Strike', 'Antidote', 'Survival of the Richest' and 'Chosen by God', as well as the softer 'Go Back to Sleep', Andromeda have released an album that further solidifies them as one of progressive metal's finest bands, and a worthy successor to Dream Theater's throne.
Released in 1971, Black Sabbath's third album, 'Master of Reality', much like their previous efforts, is today regarded as a classic of the genre. Which means that for some inexplicable reason, I don't like it.
I kid. I kid.
Of course, I've given this album plenty of runs, but much like 'Black Sabbath' and 'Paranoid' (which I only gave a blasphemous two stars), I just really struggle to get excited about any of this. Now, I respect the band and their contributions to the music world, but there's just countless other things I'd rather listen to.
Being optimistic though, 'Master of Reality' does sound more polished than its predecessors, despite the short time span between them (their third album in two years, a near-impossible feat these days). While I don't really care for Tony Iommi's "fuzzy" distortion, the songwriting is sounding a lot more confident than before, and at a stretch, I don't mind the songs 'Children of the Grave' and 'After Forever'. But for the most part the doom-laden riffs kind of plod along uninterestingly, and while I still find Ozzy's vocals mostly annoying, there are moments when he does actually shine. In particular, 'Solitude' shows a mellower, softer side to his voice, which I find actually works for him.
Regardless, Black Sabbath's third record is hailed as a classic, and while my review isn't out to deliberately tarnish that (rest assured that the albums status is under no threat), nor am I trying to deter anyone from listening to it (as if a simple review in this day and age would cause that), this is merely my review of an album I'm not all too keen on, from a band I'm struggling to get into.
With 'V: The New Mythology Suite' being a huge hit with fans and praised as one of the bands finest releases, it only stands to reason that they'd further build upon the orchestral elements they'd implemented with that album. And oh boy, does it work, or what?! 'The Odyssey' continues to see the band become heavier and heavier, with more focus on brutal guitar riffs and vocalist Russell Allen stepping further away from the high-pitched wailing he'd been accustomed to with earlier albums.
Essentially split into two parts, the first seven songs are all absolute bangers! Brimming with amazing guitar riffs, mind-blowing solos, intense vocals and all-round top performances from everyone, tracks like 'Inferno', 'Wicked' and 'Awakenings' are head-banging anthems, while 'The Accolade II' is an epic follow-up to its epic predecessor.
Then there's the "second half". The main event. The 24-minute title track, which is arguably one of the bands greatest compositions. Taking the symphonic elements of their previous release, the band really crank it up a level to unleash a song that takes you right into the action with Greek hero Odysseus as he sets on his ten-year journey home to Ithaca. It features some of the most insane musicianship imaginable, with some jaw-dropping interplay between the band members, as well as some of the most emotional and sincere vocals I've ever heard.
And I know that right now you're thinking how cheesy this all sounds, right? Well, cheese is good! Everyone likes cheese! And so will you! ‘The Odyssey’ is well worth the price for the title track alone, get it now and go on the greatest adventure of your life!
Released in 2004, ‘FWX’ is the tenth studio album by progressive metal pioneers Fates Warning, and much like previous releases ‘A Pleasant Shade of Grey’ and ‘Disconnected’, it shows a band who are continuing to develop and experiment, with more focus on a heavier sound and more traditional song-structures.
Unlike its predecessors, there’s only a minimal use of keyboards and sequencing here, which is a shame as I felt on the last two albums that the band had a great and well-rounded sound, and I was hoping they’d continue in that vein. Especially as, instead of relying on tried and tested prog metal traits such as excessive flashy guitar solos, there was a heavy emphasis on atmosphere, and a fantastic interplay between guitars and keyboards, working together instead of trying to out-perform each other in shredding competitions.
However, this is still a good release, and Fates Warning’s “less is more” approach works well for them here. Sole guitarist Jim Matheos can write some incredible and compelling riffs, Ray Alder’s powerful vocals suit the heavier style of the album, and the simpler arrangements make the songs easier to digest. The polished production gives the music a loud and vibrant sound too.
Overall, ‘FWX’ is far from Fates Warning’s best album, but tracks like ‘Heal Me’, ‘Simple Human’, ‘Crawl’, ‘Stranger (With a Familiar Face)’ and the haunting and melancholic ‘A Handful of Doubt’ are all worth checking out, and given time, this album can grow on you, it just depends on whether you have the patience to let it or not.
‘Angels Fall First’ is the 1997 debut album by Finnish symphonic metal group Nightwish, who would go on to become one of those most popular and prolific bands of the genre.
Compared to later releases, however, ‘Angels Fall First’ sounds very raw, and at times, slightly disjointed and directionless, lacking the epic bombast that the band would incorporate on future albums. However, there’s still a clear vision here of what the band want to accomplish, and there’s no doubting the writing talents of keyboardist Tuomas Holopainen and guitarist Emppu Vuorinen, and the potential they display.
While ‘Angels Fall First’ is full of tasty guitar riffs and some fantastic interplay with keyboards, as well as a good balance of both male and female vocals, I find that most songs seem to deviate from the hook that first got my attention. Songs like ‘Elvenpath’, ‘Tutankhamen’ and ‘Beauty and the Beast’ have some incredibly strong and memorable melodies, but after a few minutes I find myself not really paying attention. It’s almost as if the ideas are there, just not quite the ability to flesh them out into full songs.
Still, this is a young band in their early days, playing a style of music which is equally in its early years, and so it’s forgivable that this album just isn’t overly memorable. No doubt Nightwish will improve vastly over time, but ‘Angels Fall First’ is best left for the die-hard fans of the band.
Stormtroopers of Death (S.O.D... duh!), is a crossover thrash side project of Anthrax members Scott Ian and Charlie Benante, along with Nuclear Assault’s Dan Lilker (formerly of Anthrax himself) and Billy Milano of the band M.O.D. Their debut album, ‘Speak English or Die’ was released in 1985, and is mostly a metal album with a punk mentality, with plenty of short, minute-long songs featuring satirical, aggressive, and downright offensive lyrics.
The problem for me is that it’s not 1985 anymore, and most of the satire, irony and downright offensive material goes straight over my desensitized head. The music is fast and heavy, and when the band do play for more than 30 seconds, there are a couple of decent headbangers here. But for the most part, these are all comical tracks, recorded by a bunch of friends who had some leftover studio time to kill. Oddly, this would go on to be a hugely influential album. Wish I could get that lucky.
Ultimately, this just isn’t my cup of tea, and the only reason it’s in my collection is because I’m a huge Anthrax fan. For what it’s worth, the songs ‘March of the S.O.D.’, ‘Sargent ‘D’ and the S.O.D.’ and ‘Milk’ are alright, and I’ve always found ‘What’s That Noise’ a pretty laughable track, but otherwise this is mostly immature and juvenile, and that’s probably exactly how the S.O.D. intended it to be.
‘Speak English or Die’ is not an album to be taken seriously, and whilst I’ve never been under the illusion that it was anything else, it’s just not something I’m into.
Well, 'A Pleasant Shade of Gray' appears to have been a hit with fans, so why not continue in that direction? With the single guitar/keyboard approach that incorporates more ambience, as well as a beefier production that gives the band a heavier sound, 'Disconnected' picks up right where its predecessor left off.
It seems odd for a progressive metal album to be considered "stripped down", but that's exactly what we have here. With the songwriting being the main focus, and not the performances of individuals, there is some solid music that lacks a lot of the shredding musical virtuosity associated with the genre. And it's a refreshing change.
That's not to say these guys are slouches! Guitarist Jim Matheos can write some very interesting guitar riffs, and drummer Mark Zonder is an absolute beast. Neither man afraid to stray away from standard 4/4 time signatures and go completely bonkers in some places, yet with riffs that don't come anywhere near to being too flashy or overbearing. When you include eerily compelling keyboard work by Kevin Moore (yes, THE Kevin Moore), it makes for an all-round solid package by one of prog metals pioneers.
Songs like 'One', 'So', 'Pieces of Me' and the absolute gem of the album, the 16-minute 'Still Remains', make this an essential progressive metal release, especially for fans who are growing weary of excessive soloing and musical indulgence.
Break out the loincloths and battle axes, it's time to delve into the sword and sorcery world of "real metal", as Manowar's debut album, 1982's 'Battle Hymns' shamelessly ups the ante on pure cheesiness and forces us to ask ourselves what it means to truly be a metal fan.
Kind of like America's answer to Judas Priest, Manowar's early albums seems more akin to hard rock than metal. It's got a bluesy, swinging feeling to it, that doesn't quite match up to the imagery of the band. But that's not going to stop them from preaching the gospel of the metal Gods.
But the thing is, while this might have been heavy and cutting edge in 1982... by today's standard, it's tame, light, and... well, it'll always be cheesy no matter when you hear it. Vocalist Eric Adams sings his heart out, and certainly possesses an impressive range. And guitarist Ross the Boss... yeah, that's his "name"... certainly has incredible guitar skills... just not very good songwriting ones.
Still, not all's lost, as there is some stuff here which is, well... alright, to put it bluntly. 'Death Tone', 'Metal Daze' and 'Manowar' (born to live forevermore, and don't you forget it), are all okay, nothing fancy, but certainly a precursor to the cheese that is to follow. Much like the Priest... their earlier material is pretty tame when compared to metal today, but Manowar's sound will adapt with the times and they will certainly improve on later albums, but otherwise, 'Battle Hymns' is a bit of a naff one, to me anyway.
Released shortly after the bands second studio album, ‘Interlude’ is the 1999 EP by German power metal band, Iron Savior. While their debut album was decent enough, their follow-up, ‘Unification’ was a solid release, with some strong compositions and performances. But sadly, they seemed to have gone back a step with this rather mundane, by-the-numbers disc.
Broken into two parts, live tracks and new tracks, there’s not really anything here that stands out. The live songs, taken from the bands 1998 Wacken Open Air festival performance, are okay. They’re nothing amazing, although the crowd seem into it, which is pretty nice to hear, but I think I’d prefer the studio versions.
Then there are the new compositions, and man... these suck. I just totally can’t get into any of them, and not for any particular reason either, they’re just not doing anything for me. The best one is a bloody Judas Priest cover, which in itself isn’t bad, but speaks volumes about the bands original output here.
Overall, this is one for die-hard fans... if any actually exist.
With nu metal being at its peak in 2001, it’s no surprise that Static-X’s album that year, ‘Machine’, gave them a huge mainstream push and garnered them a bigger fan base than before. Looking to capitalize on that success (and apparently with record label pressure to boot), it’s even less of a surprise that their third album, 2003’s ‘Shadow Zone’ picks up where its predecessor left off.
While there is a slightly more melodic emphasis to this album than previous releases, ‘Shadow Zone’ is still an unrelenting assault of industrial grooves and pounding, jackhammer guitar riffs, sounding massively overproduced to help make the music as big and beefy as possible. The songs are well written, and Wayne Static’s unique blend of singing, shouting, grunting, and whatever other random noises he makes, helps give the band a bit of their own identity (although, there are a couple of instances where he sounds reminiscent of Korn’s Jonathan Davis).
All the tracks on ‘Shadow Zone’ are very short in duration, with only three of them barely scraping by the four-minute mark by mere seconds, however, this makes the album easy to digest, and while some of the songs are catchier than others, none of them have time to drag on, making this album flow effortlessly. And an abundance of electronic effects give the music a great ambience and vibe.
Songs like ‘Shadow Zone’, ‘Monster’, ‘Destroy All’, ‘New Pain’, ‘Kill Your Idols’, ‘The Only’ and the melodic and eerie ‘So’ are all highlights that make this album worth checking out. While nu metal’s day at the top were Static-X’s best realistic chance at mainstream success, ‘Shadow Zone’ is still a great listen for industrial fans, and any metal fans that like their music intense, heavy and accessible might enjoy this too.
In today's edition of Bash-a-Classic, I'm looking at 'Hell Awaits', album number two for Slayer, and I'm still struggling to see what made them stand out amongst all the other thrash metal bands of the 80's.
One of the notable differences between Slayer and the other members of the Big Four of thrash (Metallica, Megadeth and Anthrax) is that Slayer's music is much less melody-based, focusing more on raw aggression and darker themes. Unfortunately, the lack of melody, in both the guitar riffs and the vocals, makes it harder for any songs to really stick in my head.
While bands like Metallica and Anthrax were already utilizing plenty of vocal hooks and memorable guitar lines, 'Hell Awaits' is a barrage of mind-numbingly boring riffs that fail to do anything other than show off Slayer's penchant for sheer speed and wailing guitar solos that go absolutely nowhere. Tom Araya's vocal style, a weird combination of angry talking and shouting, doesn't produce anything catchy, with literally every single song on this album sounding identical to the last.
Despite repeated listens, I just can't get into this album. I know Slayer are one of metals most beloved bands, and in fairness they will go on to produce some great material, but damn, these earlier releases are just brutal, and not in the good way.
After their 1995 concept album 'Dead Winter Dead', which spawned a small radio hit for the band, and the recently-formed Trans-Siberian Orchestra, which also garnered mainstream success, Savatage continue down the route of epic rock operas which would see the band reach new heights of creativity and critical acclaim during the late 90's.
Featuring all the pomp and circumstance that the band had incorporated into their sound since 1994's 'Handful of Rain', and even way before that if I'm being realistic, 'The Wake of Magellan' sees everything come together for Savatage. The story itself doesn't really make much sense to me, but it ties around the fictional story of a sailor who goes out to sea to end his life, only to find new meaning to carry on, and two real-life events involving a journalist who was murdered whilst trying to battle the growing drug trade in 90's Ireland, and of a sea captain who had Romanian stowaways thrown overboard.
How does any of this fit together? I have no idea (and I doubt many people do), but the music itself is compelling and the performances are sincere. That's good enough for me!
Using the same lineup from the previous album, the band have really gelled by this point, and the chemistry is evident. Zak Stevens delivers powerful vocals as always, and founding member Jon Oliva returns to sing for a number of songs, having never sounded better or more confident. His keyboards add a warm depth to the record as well, giving it that orchestral feeling but without all the pomposity of a full orchestra.
'Turns to Me', 'Morning Sun', 'Another Way', 'Paragons of Innocence' and 'The Hourglass' are all highlights that this fantastic album has to offer, with the true gem being the title track, 'The Wake of Magellan'. It's a big, epic piece, with an absolutely mind-blowing finale which sees the band utilize the vocal harmony counterpoint which they had used more and more over the last few releases, but perfected here.
A truly underrated gem when it comes to concept albums, capturing the very essence and atmosphere of a journey out to sea, 'The Wake of Magellan' is an absolute epic from start to finish.
With Kamelot's third studio album comes a major turning point in the bands history for two reasons. Number one being that with 'Siege Perilous', keyboards started to play a more pivotal role in the music, as opposed to previous releases where it was used sparingly in the background. And number two, of course, is the addition of former Conception frontman Roy Khan, a man who's distinct voice would go on to give Kamelot the identity they needed in order to stand out from the other power metal bands.
Unfortunately, these changes didn't instantly bring huge success upon the band, and while this is a good effort, it tends to feel more like a transitional period for the band as they begin to truly develop their own style.
Of course, that doesn't make this a bad album. Although there are a few rather forgettable tracks here, there are others that ooze of Kamelot's medieval-inspired charm. Songs like 'Providence', 'Parting Visions' and 'Irea' are all up there as some of the bands most memorable moments.
The addition of Khan and more prominent keyboards have laid down a path for where the band are headed in the future, but this still remains as nothing more than a good album. The symphonic elements are starting to materialize, though they're simplistic compared to future releases. Still, 'Siege Perilous' is a step in the right direction for Kamelot.
Released in 2002, 'Edward the Great' is a compilation album by Iron Maiden that focuses mainly on the bands singles and "hits", as opposed to songs that are generally favored by fans. As a result, while it's a decent enough selection, it's also very predictable.
Of course, the music itself is still great! I mean, come on, it's Iron freaking Maiden! 'Run to the Hills', 'The Trooper', 'Can I Play With Madness', '2 Minutes to Midnight' and 'The Number of the Beast'... these are all iconic metal classics! However, there's a lot of songs missing, even by 2002, there was an absolute wealth of material that should have been included on a release such as this, but wasn't due to time limitations.
Overall, you're better off going for 'Best of the Beast', especially if you're new to the band. Despite being released six years earlier, it has a more well-rounded track listing, and the packaging as a whole is a lot nicer, with more pictures and detailed information on the band. Leave 'Edward the Great' to collectors like me.
25 years after their inception, 2010's aptly titled 'A Dramatic Turn of Events' ushers in an era Dream Theater fans thought they'd never see, for this was the first release after the departure of drummer and founding member Mike Portnoy.
With the prog world eagerly anticipating who would have the impossible task of replacing one of the greatest drummers in the world, the band announced a new album and, via an online documentary, unveiled that man to be none other than Mike Mangini, who's résumé includes the likes of Steve Vai, Annihilator and Dream Theater frontman Jame LaBrie's solo project, proving him to be a more than competent successor.
However, other than the inclusion of a new drummer, this is pretty much a by-the-numbers release. Big, epic songs, which display a vast array of heavy, crushing riffs, beautiful and haunting keyboard melodies, an unlimited supply of instrumental mastery and James LaBrie's powerful vocals. It's clear that the drama of the past year hasn't prevented the prog legends from doing what they do best.
I was saddened though, as I'm sure many others were, to hear that Mike Mangini didn't have any creative input in the compositions for 'Dramatic...', as they were written before he joined the group, leaving him to play session musician. It's not really a detriment to the album, but I was more than a little excited to see what musical differences Mangini would bring to the table.
Some of the highlights from 'A Dramatic Turn of Events' includes the single 'On the Backs of Angels', and the longer, more epic tracks 'Bridges in the Sky' and 'Outcry'. The shorter, "metal" tracks such as 'Lost Not Forgotten' and 'Build Me Up, Break Me Down' show that guitarist John Petrucci can always be relied upon to produce riffs that put most metal bands to shame, and ballads like 'This is the Life' and 'Far from Heaven' soften the mood to enable listeners to catch their breath.
With their eleventh studio outing comes a landmark release in Dream Theater's discography, which, while it's a remarkable piece of work in itself, will always be known as the first of the post-Portnoy era. It's a good sign that the band are ready to continue on, and can only leave one excited to see where they will go from here.
Blind Guardian’s fourth studio album, ‘Somewhere Far Beyond’, was released in 1992, and follows on from the bands previous three albums, in which this is mostly generic power/speed metal, but with outside influences creeping in. Prior to this the band had dabbled with folk and Gaelic influences, and here the band incorporates subtle medieval and pop influences.
Overall however, this is still very much a power metal album, and much like the bands prior efforts, I struggle to really pick out many highlights. The production has been improved, making the music heavier and giving it more clarity and depth, but the writing overall is still pretty lacking, with most songs having uninspired guitar riffs and bland melodies throughout.
Now, I know this is sacrilegious, but hear me out! I swear, I do love Blind Guardian! But this is a simple matter of taste. I love the bands later material, the epic, orchestral and progressive stuff. So perhaps this is what these earlier albums are missing? Because all I’m hearing here is one speed riff after another.
If I had to pick out any highlights, opening track ‘Time What is Time?’ is decent enough, and ‘Theatre of Pain’ introduces some of the more orchestral elements that the band would really excel at, but ultimately, probably the most memorable track from this album is a cover of Queen’s ‘Spread Your Wings’, which, while Blind Guardian do a great job of this, truly making it sound like one of their own songs, it also speaks volumes about the quality of their own material, at this point, anyway.
To any fans that are furious at my blasphemy, I swear, I love this band, I really do! But it would just seem that these earlier, straight-up power metal albums just aren’t for me. Bring on the concept albums and orchestras!
Eight albums into their career, and Iced Earth’s output was proving to be very hit-or-miss with me. Sure, they’d released some absolute masterpieces, such as their self-titled debut, its follow-up ‘Night of the Stormrider’ and 1998’s ‘Something Wicked This Way Comes’, but they’d also put out some very sub-par stinkers, such as ‘The Dark Saga’ and ‘Horror Show’. And so, with their ninth studio album, 2003’s ‘The Glorious Burden’, the rollercoaster ride continues, as the American power metal quintet once again are on top form.
Most notable here is the addition of new vocalist ‘The Ripper’ Tim Owens. Recently ousted from Judas Priest, this was a huge score for Iced Earth after the departure of long-time singer Matt Barlow. Owens’ powerful voice is not only a great fit for the group without copying his predecessor, but it sounds like it sparked a few creative juices for band leader Jon Schaffer, who was probably as motivated by the new recruit as he was by his passion of the albums theme; military history.
Musically, this is classic Iced Earth and very typical power metal; lots of fast guitars and harmonies, galloping bass lines and rich orchestrations. But the song-writing is solid and very inspired, and Tim Owens’ vocals are absolutely perfect for this band, replacing Barlow with ease and really giving this album an identity of its own.
With highlights including ‘Declaration Day’, ‘The Reckoning (Don’t Tread On Me)’, ‘Greenface’, ‘Attila’ and the epic three-part ‘Gettysburg (1863)’, this is a banger of an album that furthers Iced Earth’s erratic discography, but shows that when the right pieces fall into place, this band rocks seriously hard.
I never considered myself much of a fan of this whole "experimental/post metal/tech metal" thing (I don't really understand what any genre of music with the word "post" in it means). I bought this album because it was cheap. I knew of Devin Townsend by reputation, but have never thought of myself as a fan. He did produce Stuck Mojo's 'Pigwalk' though, and that album is bloody brilliant!
But 'Terria'... one great big ball of "meh" from me. I find most of the songs too slow paced for my liking. Not that I mind slower songs, but these ones just plod along uninterestingly. Other than two songs, 'Earth Day' and 'Nobody's Here' (admittedly, two very good songs), I find most of the album boring. There's nothing catchy or memorable that incites anything from me other than dreariness.
The record does have a very "big" sound, and the vocals blend in with the music very well to create an almost dreamlike ambience. Sadly it just doesn't do anything to make the album any more appealing to me.
Devin Townsend's 'Terria' is not awful by any stretch, but it's just really not my thing. Simple as that.
I'd rather listen to Stuck Mojo!
Dream Theater’s Official Bootlegs series has always been a nice touch for collectors, whether it’s demos, live recordings, compilations, or reissues of previous fan club CD’s (which is actually what this one is), they’re usually pretty cool little nuggets of joy for die-hard fans of the band.
And occasionally, there’s utter nonsense like this.
‘The Making of Falling Into Infinity’ is completely and utterly pointless. Not containing any full tracks, the entire album is nothing more than snippets of songs. Guitar riffs, the odd vocal harmony, someone working out a part or someone saying something. It might be interesting for some tech nerd who wants to look into the process of writing and recording an album, but without any commentary or narrative, this CD really is unlistenable.
I can understand with demos that at least it’s interesting to listen to how songs were originally intended to sound and how they’ve evolved to become the finished product, but this is completely useless and doesn’t even show us that. Die-hard fans who must own everything will probably resent having to purchase this, and I’d know, because I’m one of them.
What we have here is the perfect example of why the official bootlegs line was created in the first place. Average demos of an amazing album. Mike Portnoy's OCD of recording and documenting everything and hey, people will pay money for it, why not release it?!
It's easy to tell that drummer Mike Portnoy and guitarist John Petrucci were producing this, as they're most certainly louder than everything else. In particular, poor Jordan Rudess' keyboards are barely audible. Still, I guess I'd be clutching at straws if I said it's an interesting look at the development of a Dream Theater album.
Different arrangements, sloppy guitar solos (blasphemy!), a few mistakes from Jordan Rudess (impossible!)... It's not that this is a bad release, it's just that you really shouldn't own something like this unless you're a die-hard Dream Theater fan. Otherwise, just get the actual 'Train of Thought' release... duh!
And 'Train of Thought' is a damn brilliant album! So yeah... get that instead!
Well, it’s official. If 2001’s ‘Rude Awakening’ didn’t prove it, then ‘That One Night: Live in Buenos Aires’, released in 2007, does. Megadeth are a pretty naff live band.
Don’t get me wrong, this isn’t a terrible release, and more than makes up for the aforementioned ‘Rude Awakening’, but Megadeth have just never really been able to get a decent live sound. Dave Mustaines vocals are pretty hard to listen to here, and the songs don’t have the same grit and punch of their studio counterparts. There’s nothing overly noteworthy or special about the production here, either. It’s literally one song after another. No hassle. No fuss. Damn it, no fun!
With that said, props to the band for the killer set list. Every album is represented here by at least one track, including 1999’s ‘Risk’, which is an album I consider highly underrated and I’m glad it got some love here, even if it is with ‘I’ll Be There’, quite possibly the most un-Megadeth song the band ever put out (and it’s cool to hear the audience give it a warm reception).
Still, overall, despite an abundance of hits that span their entire career, including ‘Hanger 18’, ‘Holy Wars’, ‘Trust’, ‘Symphony of Destruction’, ‘Wake Up Dead’ and ‘Kick the Chair’, ‘That One Night’ is a pretty average live release. If you’re a fan of the band it won’t cause any harm by owning, but otherwise I’d be more than happy to listen to any studio album over this.
With an all-star lineup featuring some stellar musicians, this album almost feels like a bit of a letdown. Main man Derek Sherinian takes a backseat to endless guitar acrobatics by some of the world's most renowned players, yet it all seems rather dull and uninspired.
Now, I love heavy music, I have a bit of a taste for what's called "fusion", though I could never totally come to grasps with what that really means, and enjoy a bit of guitar shredding. But none of it seems coherent on this album. You have guys like Yngwie Malmsteen, Steve Lukather, Al Di Meola and Zakk Wylde all on one record, and yet, with the exception of a few passages, it feels like they're all just going through the motions.
There's an abundance of great riffs though, which is evident in massive headbangers like 'The Sons of Anu' and the title track, 'Black Utopia', while songs like 'Starcycle' and 'Gypsy Moth' have some nice, exotic flavours to them. But overall, while none of the tracks are bad, I struggle to really listen to any of them all the way through without becoming bored.
And then of course, there's Mr. Sherinian himself. The fact I've discussed the guitar playing more than the keyboards pretty much goes to show how low-key Sherinian's performance seems to be. Or perhaps I'm just struggling to pay attention. As a whole, I do feel kind of bad giving this album such a low score, but I struggle to justify to myself rating it any higher.