MartinDavey87's Reviews
Following on from their previous album, with a similar style though possibly a slightly more melodic edge, the band sound tighter and even more refined than ever, and while the quality in songwriting dips here and there, these are, for the most part, some of the bands most impressive compositions.
With epic pieces of work, such as 'Periscope', 'Going Under' and the mind-blowing 'Inner Circle', it's clear that this is a band with a very strong chemistry between themselves, and tracks like 'The Cage of Me' and 'No Guidelines' will please even the most hardcore of metal fans. But, honestly, just check out 'Inner Circle'. Everything about this song is just so refreshing and exciting. It really is a unique little gem.
Another worthy album in the groups discography, this is a band that continue to push themselves and develop new styles and ideas. As much as I'd like to consider them the "next Dream Theater", instead, I prefer to look ahead, as the day will come when we will refer to future prog icons as the "next Andromeda".
Genres: Progressive Metal
Format: Album
Year: 2006
There was a time in my early teens when I was really into Slayer. I'd just gotten into rock and metal via Kiss, Metallica and Megadeth, and was craving anything heavy, and nothing was heavier to 15 year-old me than Slayer!
But that was in 2002, and while I quickly outgrew my foray into thrash metal, I remained loyal to a lot of the bands. Of what is known as the "big four", Metallica, Megadeth and Anthrax stayed with me as my musical tastes evolved and ventured to pastures new. But there was one band that got left behind very easily, and it's time to become reacquainted with them; Slayer,
Released in 1983, 'Show No Mercy' is Slayer's debut album, and much like all the other early thrash releases, it's raw and aggressive, but very unpolished and lacking anything truly memorable other than it's penchant for playing fast. There's not really much going on save for a song or two, with the riffs being fairly bland, typical 80's thrash riffs and Tom Araya's vocals not really suiting the music either. A weird combination of shouting and talking that just sits there but doesn't really do anything for me.
The musicianship is fine. Nothing to celebrate or shout about, but the early makings of one of metal's most beloved bands is certainly there. Guitarists Kerry King and Jeff Hanneman are certainly competent at keeping up with each other and all the other thrash metal bands of the day, and drummer Dave Lombardo is able to keep the tempo up throughout.
Admittedly, there is one song I like, and that's 'Tormentor'. It has a cool NWOBHM vibe to it, with some very nice riffs that are hindered by Araya's lacklustre vocal delivery. There's worse debuts out there, but I'm not a fan of 'Show No Mercy', and hearing it now, it makes me wonder how Slayer were ever considered a part of the big four to begin with.
Genres: Speed Metal Thrash Metal
Format: Album
Year: 1983
Let's be honest here, the only reason anyone actively seeks this band out post-1998 is mostly due to vocalist Roy Khan, who would achieve worldwide success with the band Kamelot after Conception disbanded. And I shamelessly joined those ranks when I tracked down this little nugget of joy; 'The Last Sunset'.
It's an alright album, though to be honest, there isn't really a lot to comment on. The music is decent enough, the playing is of a high standard and Khan's singing is good, but a lot of the vocal melodies aren't very inspiring or interesting. There's some nice exotic-sounding guitar licks which give the band a hint of their own identity, but overall, a lot of the songs seem formulaic.
'War of Hate', 'Fairy's Dance' (admittedly I really like this song), 'Another World' and 'Among the Gods' are all good tracks that make Conception's debut worth checking out, but there's just too much unmet potential here for this to be anything more than a decent outing.
Genres: Progressive Metal
Format: Album
Year: 1991
Liquid Tension Experiment was formed in 1997 by Mike Portnoy and John Petrucci of Dream Theater, Tony Levin, best known for his work with King Crimson, and keyboard virtuoso Jordan Rudess (who would go on to join Dream Theater after the evident chemistry displayed throughout this project). They play instrumental progressive metal, with musicianship of the very highest standard.
While there are some people out there who aren't fans of constant shredding and noodling away and who might be discouraged from getting this album, there is a lot more on offer here than merely a competition to see who can play the fastest. Some of the music is as experimental and as obscure as the band's name. Namely, 'Chris and Kevin's Excellent Adventure', 'Osmosis' and 'The Stretch' are all rather demanding tracks which serve to see just how "out of the box" the listener can go.
But of course, this is an album featuring some of prog metals most prominent figures, and there's no way we can leave out the breath-taking acrobatics, for which we have the two best songs on the album; 'Paradigm Shift' and 'Universal Mind'. Fans of Dream Theater will definitely enjoy these tracks!
As a whole though, this album is just a bit too disjointed for my tastes. There's some incredible playing and chemistry between the members, but I usually find myself only listening to the two songs I mentioned above. On top of that, there's that blasted 'Three Minute Warning'. A 28-minute improvised jam, which, while brimming with amazing technical ability, is otherwise considerably boring. It's fine though, the band themselves acknowledge it on the back of the CD cover, stating that this song is not for the musically faint-hearted, or critics of self-indulgence.
Overall this isn't a terrible album, in fact, it is pretty good in small doses, I find. Fans of Dream Theater will definitely want this in their collections, and most fans of progressive music in general will find something here to sink their teeth into.
Genres: Progressive Metal
Format: Album
Year: 1998
Short hair? Make-up? Cigars? What's going on?! What happened to Metallica? Did they... sell out?! OH NOOOOO!!!!!
These are just some of the things the metal community were complaining about back in 1995, when Metallica changed their image and their sound and released 'Load'. Anyone with an open mind will see that there are some really good compositions on this album, but sadly the metal community, as reliable as ever, couldn't get past the fact that Metallica changed their look and "sold out". In fact, most of 'em were still complaining about Metallica releasing a music video in 1988 when they said they never would. Metal elitists... at least they're consistent.
This may not be Metallica's best release, but there are songs on here that definitely stand side-by-side with anything Metallica had done before. 'Ain't My Bitch', 'Until It Sleeps', 'King Nothing' and 'Bleeding Me' are all classics. Even the country-influenced 'Mama Said' is a great tune (unless you're an 80's thrash metal fan who's still trying to get over the ‘Black Album’). But for all its strengths, there is one major problem that bugs me about this album; the duration. Alone, any song on 'Load' is a great track (yes, that includes 'Ronnie'), but when you listen to it all in one sitting, it really feels like you've heard the same song multiple times. It's tough.
I can admit, this may not be Metallica's finest hour, but don't be swayed by any "metal" reviews, because it's not a metal album. It's a rock album, and a bloody good one, at that!
Genres: Heavy Metal
Format: Album
Year: 1996
Having outlived the thrash era of the 80's and survived the grunge period of the 90's, it was evident that Megadeth were gradually going for a more radio-friendly sound with each album. While 1994's 'Youthanasia' still maintained a lot of the bands metal elements, 1997's 'Cryptic Writings' is where they really started to delve deep into "hard rock" territory.
Most fans probably scoffed at the thought, notoriously frowning upon any of their heroes for "selling out" to reach a wider audience and make more money. However, while this may not be the same thrash metal band that released such classics as 'Holy Wars', 'Hanger 18' and 'Peace Sells', the material here is still of a high quality, and the top-notch production really gives the band a very clear, vibrant, and contemporary sound. And it still holds up today.
'Cryptic Writings' is notable for being the final release featuring what many consider the "classic" Megadeth line-up, with drummer Nick Menza leaving the band after this album, and guitarist Marty Friedman leaving after the release of its successor, 'Risk'. Still, the members are as cohesive as ever here, and the lack of thrashy, speed metal riffs has given them more space to breathe, with a wider palette of ideas making for more colourful and varied compositions.
I was 12 years-old when I bought this on CD, and at the time it was heaviest thing I'd ever heard. In fact, this was my second Megadeth purchase after 1999's 'Risk', and so both albums have an endearing place in my heart. Hits such as 'Trust', 'Almost Honest', 'Mastermind' and 'A Secret Place' have stayed with me well into adulthood, and for the metal fans who crave for the Megadeth of old, there's songs like 'The Disintegrators', 'She-Wolf', 'Vortex' and 'FFF'.
Overall, 'Cryptic Writings' is a largely underrated album. It has an excellent sound, and consistently strong songs from start to finish, and if you can accept that the days of 80's thrash metal are dead and gone (and metal in general wasn't a hot prospect in 1997 either), then you'll find this to be one of the standout releases in Megadeth's discography.
Genres: Heavy Metal
Format: Album
Year: 1997
It's 1994 and "the 90's" are in full swing. Metal is all but dead, with most of the genres big arena bands being relegated to smaller venues, grunge reigns supreme. But throughout all of this, many groups stuck to their metal guns, and in the case of Megadeth, released some of their most polished and confident albums.
1992's 'Countdown to Extinction' saw the band steer away from the thrash metal sound they helped pioneer to much mainstream success (as much as any metal band could have in the early 90's, anyway), and so 'Youthanasia' sees Dave Mustaine and his merry men delve deeper into a more stripped-down approach, and it sounds like they're settling quite comfortably with the idea of slowing down and focusing more on musical content than cramming as many intricate riffs as possible into each song. As a result, 'Youthanasia' has a lot more gusto and finesse than its predecessor.
Mustaine's vocals are also really starting to come into their own as well. While they've always been a bit of an acquired taste, he's certainly made the most of his somewhat unique voice, emphasizing his high range and renowned snarl to great effect.
With songs like 'Reckoning Day', 'Train of Consequences', 'Family Tree', 'Blood of Heroes', 'Addicted to Chaos', the hugely underrated 'Victory' and one of the bands strongest compositions, 'A Tout le Monde', 'Youthanasia' sees the foursome continue to evolve and grow. With a strong line up of musicians and a beefy production, this is easily some of Megadeth's finest and most often overlooked work.
Genres: Heavy Metal
Format: Album
Year: 1994
When it comes to an albums success or failure, timing can be everything.
Such is the case with Rammstein's 'Mutter'. With their previous two albums helping to build an ever-growing fan base, it was the German industrial band's 2001 release that really saw them take the world by storm. And much of that success (from a UK perspective anyway), must have been due to the newly launched Kerrang TV.
Kerrang TV, which specializes in rock and metal music videos, was launched in April 2001, long before the days when music videos were merely a click away on the internet. With 'Mutter' bolstering five hit singles, each of which was a massive hit for the band, Rammstein absolutely dominated the charts for the early years of the rock channel.
And so it was, that Rammstein would go on to become megastars of the industrial metal genre. 'Links 2,3,4', 'Ich Will', 'Feuer Frei' and 'Mein Herz Brennt' were all big hits for the band, and then there was 'Sonne'... the song which would go on to become the group's biggest song, dominating the rock charts that year and firmly placing the band at the top of the rock world.
Full of incredibly heavy, crushing riffs, yet atmospheric, emotional and anthemic, everything about this record sounds "big". Even the few, quieter moments sound monumental, and the deep, German vocals adds so much depth to the darker tone of the album. The music itself is fairly simplistic, but therein lies the beauty of what the band have achieved here. "Less is more".
One of the biggest success stories of 2001, Rammstein's 'Mutter' launched the band into the stratosphere and made them one of the biggest rock acts on the planet, making this monstrous album one that belongs in the collection of every rock and metal fan.
Genres: Industrial Metal
Format: Album
Year: 2001
Hot off the heels of one of thrash metals most revered albums, 1990's 'Rust in Peace', Megadeth slowly started to inch away from the subgenre that they helped to establish, and adapted a more stripped-down radio-friendly approach to their sound. Whether it was a step to ensure their survival amidst shifting musical trends, the next logical progression in the bands own evolution, or a shameless parallel to Dave Mustaine's former bandmates in Metallica, it was a change that ensured that Megadeth would remain one of the prominent names in heavy metal.
Changes aside, this is still instantly recognisable Megadeth, with Dave Mustaine's familiarly distinctive vocals, Marty Friedman's sleek and exotic guitar solos and the solid rhythm work of bassist David Ellefson and drummer Nick Menza. The compositions may have slowed down a notch in favour of more coherent songwriting and more traditional arrangements, but it still sounds like Megadeth through and through.
The only problem is that the songs themselves are not overly memorable.
Sure, there's some absolute Megadeth classics here, such as 'Skin o' My Teeth', 'Symphony of Destruction', 'Sweating Bullets' and 'Foreclosure of a Dream', and there's some underrated hidden gems such as 'Psychotron' and the title track, but there's also some fairly blatant filler material. Songs like 'High Speed Dirt', 'This Was My Life' and a few others do absolutely nothing for me.
'Countdown to Extinction' is regarded as a classic, and in fairness, despite my opinion of it, I won't argue the case. But for me, it's nothing more than a good album. It's got some Megadeth highlights, but its abundance of lacklustre material makes it tough for me to choose this over some of the bands other releases.
Genres: Heavy Metal
Format: Album
Year: 1992
Ushering in what would become Megadeth's "golden era", 1990's 'Rust in Peace' was the album where all the pieces fit together perfectly. Dave Mustaine was sober (again... for now...), a new line-up was in place that was superior to any that had come before (and probably after...), and the music was a perfect bookend to the thrash metal scene that was on its last legs (for the time being...).
1988's 'So Far, So Good... So What!', with only a couple of notable songs and pretty rough production, was a bit of a disappointment, and with mainstream success on the horizon, it was time for the band to get their act together. With another new line-up change (their third over four albums), main man Mustaine and bassist David Ellefson were joined by drummer Nick Menza and guitar virtuoso Marty Friedman. And the difference is noticeable immediately.
'Rust in Peace' sees the band really step up the intensity and precision in their playing, with some of their most technical and relentless compositions. The chemistry between Mustaine and Friedman is incredible, with both men given ample time to shine, though it's Friedman's exotic guitar licks and ripping solos that truly raise the game for Megadeth. A much-improved production means that every note is crisp and clear, and with the 80's thrash boom coming to an end, this would at least ensure the subgenre would go out with a bang!
However, transcending the thrash genre and often cited as one of the best metal albums of all time, period, this is where I feel 'Rust...' tends to become slightly mired by hyperbole. Don't get me wrong, 'Holy Wars... The Punishment Due', 'Hanger 18', 'Tornado of Souls' and 'Rust in Peace... Polaris' are all absolute classics. And that's an understatement. These are truly some of metals finest and most endearing pieces, having stood the test of time and still being as impactful today as they were in 1990. But let's be honest with ourselves here... 'Five Magics'... 'Poison Was the Cure', even 'Dawn Patrol', which serves as a breather from the barrage of headbanging mayhem, are all fairly average tracks, and while they're not awful, they're not all that memorable, either.
This doesn't take much away from 'Rust in Peace', though. It's status as a classic metal album is fully warranted, and while I may not rate it as highly as most others, there's no denying that this is Megadeth's best, most beloved and most innovative work.
Genres: Thrash Metal
Format: Album
Year: 1990
Now, I love Dreamscape, and over the years have come to consider them one of my favourite bands. Being cursed with a collectors OCD of having to own everything an artist puts out, their first album was a tough one to track down on disc, and when I finally did... I kind of wish I hadn't.
Damn OCD!
Considering that the good songs on this album would be re-recorded for the bands 'Revoiced' record, most of what we get here just feel like leftovers. And of the supposed "good ones", they just seem lifeless without later vocalist Roland Stoll. Perhaps it's just reflective of that mid-90's lull for metal bands, and in particular, other than a few notable big bands, progressive metal was still mostly an unknown subgenre that was relegated to the underground scene. Either way, 'Trance-Like State' just isn't an interesting release.
The musicianship is brilliant, as you'd expect from a band playing this style of music, and the production is alright, though nothing quite jumps out at you. There's a few good songs, such as 'Spirits', 'Face Your Fears' and 'Decisions', but in all honesty, there's not really anything here that makes me want to come back to this album.
With a staggering duration of 65 minutes, and a singer that sounds like he's taking it all way too seriously, 'Trance-Like State' just fails to deliver. Dreamscape are an awesome band however, and if you're new to them then you're better off starting with 'Revoiced' and discarding their first two albums.
Unless you're a collector like me! Damn OCD!
Genres: Progressive Metal
Format: Album
Year: 1997
Any claim that this is 'the best heavy metal record of all time' might seem a bit far-fetched, but any accusations that Metallica 'sold out' on this mainstream pop album are truly mistaken. A bunch of whiny, underground thrash metal fans can't get over the fact that their heroes 'went mainstream' (trying to actually earn any money is a big heavy metal no-no), but realistically, with the rising grunge scene placing heavy metal in the early 90's on its deathbed, 'Metallica', commonly referred to as 'The Black Album' made sure the genre went down swinging.
Regardless of people's opinions about the direction the band was taking here, I don't think there is any denying that what we have on offer are great heavy metal songs. So they aren’t as complex and progressive as previous albums, and the lyrics don't seem as dark, deep or super-serious as on 'Master of Puppets' or 'Ride the Lightning'. But what Metallica's self-titled record has in abundance that previous releases were missing is "anthems". Straight-to-the-point, bang-your-head kick-ass metal anthems. All souped-up with Bob Rock's beefy production, these songs introduced fans to a whole new Metallica.
A few filler tracks got thrown into this record, but then, when you look at the songs they're being mixed amongst, it's pretty easy not to really notice, or care. ‘Enter Sandman’, ‘Sad But True’, ‘Nothing Else Matters’, ‘The Unforgiven’ and 'Wherever I May Roam' all justify why this album sold millions upon millions of copies.
It's the album that split the fans, which for me, means it distinguishes the true music fans from the whiny elitists, but either way, this is a great record that capped off Metallica's rise to the top and firmly placed them on the throne of heavy metal.
Genres: Heavy Metal
Format: Album
Year: 1991
2001 was the year that nu metal had truly peaked, and as quickly as the subgenre took over the world, it faded away to become nothing more than a footnote in music history. During that brief time period, countless bands appeared out of nowhere to minimal fanfare, and after one or two minor hits they'd disappear back into obscurity, only to one day be looked back upon as nostalgia acts.
And no band better represents this than Adema.
Formed in 2000, and releasing their debut album in 2001, Adema were more of a record-label attempt to jump on the nu metal bandwagon than an actual, polished and seasoned band of musicians. Their major selling point at the time, of which the labels were no doubt trying to capitalize on, was the fact that vocalist Mark Chavez was half-brother of Korn's Jonathan Davis, one of metals most prominent figures around the turn of the century.
I remember buying Adema's self-titled debut when it was released, and other than the singles 'Giving In' and 'The Way You Like It', the album didn't really seem to have much to offer. So, looking back on it now, it's a pleasant surprise to see that, while a good portion of the record is definitely filler material, the band do still have a penchant for catchy hooks and a few memorable tracks.
The music itself is quintessential nu metal. Heavy, detuned guitar riffs with plenty of overlapping effects, short songs with simple structures, a lack of guitar solos and lyrics focussing on depression, angst, suicide, alienation and all the usual things we listened to in our youths when we sulked around wearing our baggy trousers and band hoodies. (I was never actually cool enough to wear baggy trousers, although in retrospect that probably wasn't a bad thing).
Other than the aforementioned singles, songs like 'Close Friends', 'Do What You Want to Do' and 'Everyone' are all fairly decent pieces. None of them are going to alter the musical landscape by any means, but they're certainly not as bad as most people would say they are. And then there's 'Freaking Out', which is admittedly, absolutely amazing, and is truly an underrated gem of the genre. It's upbeat riffs and rap-style vocals work really well, and anyone willing to give this band a chance today might be in for a surprise.
Adema were never fully established or polished enough to become heavyweights of nu metal, and like so many bands of the day, they were easy to dismiss. But listening to 'Adema' today serves as more than just a trip down memory lane, as it's actually a well-produced album with some competent songwriting, and shows a band who could, given time, go on to better things. It's just a shame that by the time the bands second album came along, the subgenre and most of its artists were already irrelevant.
Genres: Alternative Metal
Format: Album
Year: 2001
Most fans of Dream Theater will know what was going on behind the scenes during the making of this album. If you don't, I'll give you a moment to quickly research it.
Done?
Never mind, I'll explain it to you.
The bands label, Atco Records, had been bought out by the Warner Music Group. The fine people at Warner didn't know anything about Dream Theater, their music or their market, but had only one thing in mind, and that was hit singles. Musical integrity aside, Dream Theater were being forced to write "hits", and it was putting the band in a situation that almost tore them apart.
With all the industry nonsense getting in the way of this album, and with the change of sound giving it a stale taste of a band "selling out" to make a quick buck, 'Falling Into Infinity' often finds itself being overlooked. It may not be as musically technical as 'Images & Words', or as heavy as 'Awake', but this album still maintains a lot of Dream Theater's trademark sounds, but with a lighter tone that might appeal to fans of old progressive rock, or even hard rock fans in general. In this regard, it's actually a pretty unique release in the groups discography.
As always with this band, the musicianship is unmatched. Petrucci, Portnoy, LaBrie (who damaged his vocal chords prior to recording this album) and Myung are all masters of their respective instruments. Keyboardist Derek Sherinian, making his only studio album appearance, may have seemed like an odd choice to replace Kevin Moore, but his style, mixing elements of hard rock and jazz fusion, makes him a perfect fit. And his flamboyance and showmanship really shines through on some of the more upbeat songs.
There's hard rock tracks such as 'You Not Me' and 'Burning My Soul', pop singles like 'Take Away the Pain' and 'Hollow Years', and all-out prog gems like 'Peruvian Skies', 'New Millennium' and 'Lines in the Sand'. With such an eclectic mixture of songs, this really is an exceptional album, which shows a band that can adapt to any circumstance, and overcome any challenge.
Genres: Progressive Metal
Format: Album
Year: 1997
Rapper Ice-T and his merry men are back with Body Count’s third studio album, ‘Violent Demise: The Last Days’. Released in 1997, it follows the disappointing ‘Born Dead’, which failed to capitalize on the unexpected and surprising success of the bands self-titled debut. However, with ‘Violent Demise’, the Californian gangsters return to the more brutal, cynical, yet tongue-in-cheek approach that made their first outing so unique for its time.
Starting off with a radio interview skit which sees the host attacking Ice-T over the poor reception of ‘Born Dead’, it’s evident that the group recognizes this and are setting out to rectify any issues. And they do it with a vengeance. With opening track, ‘My Way’, the band are instantly back to their aggressive and violent roots, with guitar riffs heavier than a tonne of concrete slabs and profanity-laden lyrics that will make your mother blush. Covering a host of traditional gangster rap subjects such as gang violence, racism and sex, the band are lashing out at society with both humour and pure hatred.
The musicianship itself is pretty good, and while this style of music isn’t typically known for virtuoso performances, the band members are tight, and the production gives the album a thick, punching sound that really re-establishes Body Count as a solid metal outfit. Ice-T’s vocals are a blend of rapping and generally shouting, but overall it works fantastically with the hardcore-inspired guitar riffs.
With the likes of ‘My Way’, ‘Violent Demise’, ‘Strippers’, ‘You’re Fuckin’ With BC’, ‘I Used to Love Her’ and ‘Dead Man Walking’, Body Count may not be able to recapture the mainstream success they had with their debut album, but it’s clear with ‘Violent Demise: The Last Days’ that this is a band who are more than just a side project, with well-written music of a high standard, this is a solid release that more than makes up for its predecessor.
Genres: Alternative Metal
Format: Album
Year: 1997
Symphony X's upward spiral continues as their third album, 'The Divine Wings of Tragedy', builds upon every improvement made over their previous two albums, to make this one of their finest and most ambitious releases to date.
The music and sound is pretty much similar to its predecessor, yet, everything just seems more accomplished. The band have really hit their stride in regards to songwriting, especially guitarist Michael Romeo and keyboardist Michael Pinnella, who's neoclassical dueling perfectly encapsulates the essence of the band. And vocalist Russell Allen's incredible voice fits the music perfectly, able to shift from melodic to aggressive singing with ease.
After 'The Damnation Game' set the blueprint for a Symphony X album, this is where the New Jersey quintet really started to refine their sound and become the band we all know and love. And with some of their strongest material in songs such as 'Of Sins and Shadows', 'Out of the Ashes', 'The Accolade', 'The Eyes of Medusa' and the 21-minute title track, it's easy to see why this album is held in such high regard by fans.
Genres: Neoclassical Metal Progressive Metal
Format: Album
Year: 1997
I like Anthrax. I really do. In fact, I feel somewhat bad for them, as they've always seemed like the ginger stepchild of what's known as the Big Four of thrash metal (including Metallica, Megadeth and Slayer), but like so many early thrash bands, their debut album is fairly unremarkable, with a lack of finesse being evident in their naive and unpolished song writing.
And I know, this is thrash metal, right? What am I expecting? But like all their contemporaries, their later material shows a huge maturity and growth which their earliest releases lack. Such is the case with Anthrax's debut, 'Fistful of Metal'. Although the album starts off well, it quickly loses whatever charm is has as repetition and a lack of any real creativity sinks in.
While guitarists Scott Ian and Dan Spitz have an immediate chemistry, and drummer Charlie Benante proves himself as one of metals most underrated stickmen, it's vocalist Neil Turbin who's performance fails the band. I find his vocals grating, mostly resorting to high pitched wailing that shows a good range, but something about it just annoys the hell out of me.
Still, songs like 'Deathrider', 'Metal Thrashing Mad' and a cover of Alice Cooper's 'I'm Eighteen' salvage this record, and makes it my second favourite of the Big Four's debut albums (Metallica's 'Kill 'Em All' being the best of the bunch). But like so many bands from that era, their best material is yet to come, and earlier releases such as this will soon be left in the shadows.
Genres: Speed Metal Thrash Metal
Format: Album
Year: 1984
My introduction to Rammstein originally came when I heard their song 'Engel' on the 'Mortal Kombat: Annihilation' soundtrack sometime around the year 2000. I was 13 years-old, I shamefully loved that film at the time, though I realize now how terrible it is (but the soundtrack sure does kick ass!). With that said, I initially mocked the band. I thought 'Engel', with its German lyrics, sung in a ridiculously deep, baritone voice, was bloody hilarious.
I was wrong.
1997's 'Sehnsucht', Rammstein's second album, is a huge improvement upon it predecessor. The compositions are much more polished and the overall performances are more confident than before. Here is a band who have their sound, they know who they are and what they're doing, and they fully embrace every aspect of their music. The guitar riffs are much weightier than before, and the keyboards play a much more integral role. Vocalist Till Lindemann's deep, raspy vocals, despite sometimes seeming fairly repetitive, fit the music perfectly.
There's plenty of elements here that gives the album a more "industrial" feel, and with its improved production, darker lyrics and continuing Rammstein's trend of shocking and sexual imagery, 'Sehnsucht' gives the band the "bigness" their music needed.
With hits such as 'Tier', 'Engel', 'Bestrafe Mich', 'Eifersucht' and one of the groups most famous songs, 'Du Hast', 'Sehnsucht' isn't just a landmark album in industrial metal, but in heavy metal in general.
Genres: Industrial Metal
Format: Album
Year: 1997
The early 90's was an odd time for metal. With most of the previous decades heroes being driven underground, going through a phase of substandard releases, or shamelessly trying (and failing) to latch onto the grunge scene that was taking the world by storm, heavy metal needed some fresh new faces to take the reins and steer the genre to pastures new.
With groove metal bands like Pantera standing tall, hardcore heroes like Biohazard bludgeoning their way into the action, and later bands such as Korn and Limp Bizkit taking the music in totally different directions, there was one band that fused elements of all these subgenres together, and so with the immortal lyric of "let freedom ring with a shotgun blast" did Machine Head burst onto the scene.
With some very fat, grooving riffs, plenty of middle-finger attitude and hard-hitting lyrics, Machine Head exemplified metal in the early 90's, when fans were care-free and passionate, ravenous for the next headbanging anthem. And there's plenty of 'em here! 'Old', 'The Rage to Overcome' and 'Davidian' (one on the bands best songs), are all reasons why Machine Head would be one of the bands to usher heavy metal into the post-grunge era of modern music.
The album does plod along at times and comes across as repetitive, which is why it only gets a three-star rating from me. Robert Flynn's vocals suit the music perfectly, although the overuse of harmonics (and in particular, stabs in the music with harmonics filling the gap) does become a tired trick after hearing it in the third or fourth song. But overall this is a solid debut, and 'Davidian' is easily one of the finest metal songs to come out of the 90's, so it's a damn good album just for that.
Genres: Groove Metal
Format: Album
Year: 1994
You know a band has its work cut out for them when their first album is considered a masterpiece (in my eyes, anyway). With their debut, 'Extension of the Wish' being one of my all-time favourite records, Andromeda sure have their backs against the wall. And while 'II = I' (that's, "two is one"), doesn't quite match the quality of its predecessor, it more than stands on its own two feet as a worthy follow-up.
One of the main differences between the two albums is that with 'II = I' everyone collaborated together and shared writing credits, as opposed to the previous record which was written entirely by guitarist Johan Reinholdz. It shows a band that has bonded and formed a great chemistry amongst themselves, with the results being a more polished and well-rounded release.
As is always the case with progressive metal groups, the musicianship is impeccable, with each member being a true master of their respective instrument. How these guys are not the successor to Dream Theater's throne will baffle me until my dying days.
Unfortunately, there are a few fairly dull and lackluster moments, which prevent this release from achieving the same five-star rating as 'Extension...'. Songs like 'Mirages', 'Reaching Deep Within' and the title track are some of Andromeda's finest, and a great representation of what this genre has to offer. Sadly, the last few tracks seem to fall flat at times. They're not terrible, but it definitely sounds like all the best ideas were used up earlier.
Don't be deterred, however, as this is still a great album, and while it may not be as good as its predecessor, this certainly should not be seen as a step back for a band that are still evolving and developing.
Genres: Progressive Metal
Format: Album
Year: 2003
Linkin Park's second studio album, released in 2003, comes at a time when nu metal, which the band helped popularize at the turn of the century, was in full decline. Fed up with the repetitive song structures, whiny lyrics and image-pandering "pop bands", fans were either drifting away from the fad, or moving on to pastures heavier. But 'Meteora' ensures that the genre would go out with a huge bang.
The band were all in their early twenties when their 2000 debut album, 'Hybrid Theory', made them one of the biggest acts on the planet. And three years later, you can see how they've matured as songwriters. While the music and lyrical themes are similar as before, there's just something in the songs that sound more polished and refined.
Taking the "less is more" mentality to the limit, the band have really hit their stride with their sound. Most of the songs barely hit the three minute mark, and the arrangements are almost identical in each track. But the Californian six-piece do it with such gusto that it's hard not to be impressed. In particular, vocalists Chester Bennington and Mike Shinoda have formed a duo that has become instantly recognizable, with both men's respective styles complimenting each other perfectly.
Highlights include 'Somewhere I Belong', 'From the Inside', 'Faint', 'Breaking the Habit', 'Don't Stay' and 'Easier to Run'. And of course, there's the absolute monster hit 'Numb', that has remained one of the bands most popular tracks. Even the unusual hip hop-inspired 'Nobody's Listening' is catchy, and really highlights the chemistry between the two singers.
While 'Hybrid Theory' had some absolute bangers, it also had its fair share of fillers. Which is where 'Meteora' is an improvement, in that it's a lot more consistent with a lot of really strong tracks. In fact, my only real complaint is that some of the songs could have been a bit longer. Regardless, 'Meteora' is a fantastic album that gave nu metal one last shot at showing the world what it was capable of, and sales in excess of 25 million copies says that they did the genre proud.
Genres: Alternative Metal
Format: Album
Year: 2003
Having barely mourned the loss of bassist Cliff Burton after his sudden and tragic death, Metallica were back in the studio, breaking in newcomer Jason Newsted with this short collection of covers.
'The $5.98 EP: Garage Days Re-Revisited' (bit of a mouthful, that) is a nice little E.P. that shows that even at a young age, Metallica were always good at doing cover versions, although the song choices themselves are quite obscure and certainly not the most exciting. I mean, let's be honest, how many people can honestly say they were Diamond Head fans or Holocaust fans before Metallica covered them?
With that said, the band are on point here, and although this release was mostly meant for fun, it still shows a band full of ambition and enthusiasm. With production that, whilst sounding rough in places, fits the music perfectly and gives just the right amount of punch and grittiness.
Any praise or criticisms aside, there's really no point in tracking this down these days. I say this because all five songs offered here appear on the 'Garage Inc.' album, a compilation of newly recorded and every previously released cover Metallica have done. And unless you're a collector looking to own everything, you're better off just getting that.
Genres: Thrash Metal
Format: EP
Year: 1987
You know what? I've sat here for ages trying to think of how to open this review, and keep coming up blank. So I'm just going to waffle, and whatever I type will do. I wasn't expecting much from Axel Rudi Pell's 'Wild Obsession'. I got into the band (band?) with their 'Oceans of Time' and 'Shadow Zone' albums, and this, their (or his?) debut, didn't really do anything for me when I first heard it, years and years ago.
Note: do I refer to "Axel Rudi Pell" as a band, or as a person? So confusing! Onwards...
Listening to 'Wild Obsession' now, it's not actually that bad. Sure, it's nothing amazing or fancy, and it certainly has 80's rock stamped all over it, but a lot of the songs do have some fairly catchy moments. In fact, for all the 80's cheese and macho fist-pumping anthems, the biggest detriment is probably the guitar playing itself. All of Pell's solos sound the bloody same. Every single one of them. Just a fast flurry of mindless notes that add absolutely nothing to the song.
Still, if you can get past that, there's some alright songs here. 'Cold As Ice', 'Slave of Love', 'Call of the Wild Dogs' and 'Call Her Princess' are all cheese-riddled 80's anthems that are about as cliché as you'd expect. But they're catchy enough that I don't mind listening to them.
Overall, Axel Rudi Pell (the man, the band, whichever), will go on to release some stellar albums in the future, but for the most part, 'Wild Obsession' is a decent enough, though not overly essential, debut.
Genres: Heavy Metal
Format: Album
Year: 1989
Young, brash, and pumped full of drugs, 1988's 'So Far, So Good... So What!' saw Megadeth continue along the path they'd started upon with 1986's 'Peace Sells... But Who's Buying?". While it originally seemed like the band had cleaned up their act and become more driven and focused, the reality was that a bigger album budget just meant more money to spend on drugs and alcohol.
Unfortunately, 'So Far, So Good...' doesn't quite live up to the standards set by its predecessor. The production is arguably weaker and the writing has clearly taken a backseat to drug-taking, as, while there's a few hits here that belong on any Megadeth compilation release, the overall quality of the songs is definitely a step down than previously.
As before, the music is fast and intense, accompanying lyrics riddled with hatred and spite. Thrash metal was in full swing in 1988 and this album goes to show why Megadeth were one of the top bands of their time. Dave Mustaine's vocals are seething with bitterness and sincerity, though lack the polish that they had on 'Peace Sells'. But his signature "snarl" is in full effect, and gives the music the rawness it needs.
One notable significance of this release is that we see the first of many (and I mean many) major line-up changes. With guitarist Jeff Young and drummer Chuck Behler replacing Chris Poland and Gar Samuelson respectively. Both would be ejected from the band soon enough, with neither man having any particular impact.
While songs like 'In My Darkest Hour', 'Hook in Mouth', 'Set the World Afire' and a cover of the Sex Pistols classic 'Anarchy in the U.K.' prevent this album from being a complete loss, as a whole it just seems like a pretty passable release, especially when compared to the bulk of the bands later releases.
Genres: Thrash Metal
Format: Album
Year: 1988
Surely I'm not the only one who disliked Megadeth's debut 'Killing is My Business', right? I mean, I didn't just dislike it, I hated it. I thought it was awful. It was boring, uninspiring, repetitive, grating, and just all-out rubbish.
That's why I'm happy that with 'Peace Sells... But Who's Buying?', Dave Mustaine and his band of merry musicians become the Megadeth we all truly know and love today. And that includes me!
Everything I hated about 'Killing...' has been rectified here. The songs are catchier and the guitar work has matured a great deal, the vocals have improved massively, in both lyrics and melodies, and the production finally gives the music some clarity, as opposed to their debut album where I felt the shoddy production made it hard to truly distinguish any of the guitar riffs.
Now, let's not get ahead of ourselves. This album is far from perfect, and for all the improvements it's made over its predecessor, there are still some fairly average songs that I don't find myself ever coming back to. However, there are also some early Megadeth classics in there that still hold up well today, such as 'Wake Up Dead' and 'Peace Sells'. And tracks like 'Devil's Island', 'Good Morning/Black Friday' and 'My Last Words' show a band who, despite the vast amounts of drugs and alcohol they were consuming, still had the wherewithal to produce something that would be considered one of thrash metals finest works.
Oh, and it happens to have one of the most recognizable album covers in metal! Not bad. Not bad at all.
Genres: Thrash Metal
Format: Album
Year: 1986
Released in 1995, 'Herzeleid' is Rammstein's debut album, which mixes industrial metal with various electronic and dance influences, a heavy emphasis on shock value, sexual imagery and lyrical themes. The German vocals are an interesting touch, which makes it all the more surprising that they'd go on to have the success that they would.
Full of tasty guitar riffs, infectious keyboard melodies and groovy dance beats, 'Herzeleid' is a cohesive effort full of catchy songs that firmly establishes who this band are and where they're going, spearheading the Neue Deutsche Härte ("New German Hardness") movement that was sweeping across the nation.
Unfortunately, some of the tracks are a little repetitive and mundane. While tracks like 'Du Riechst So Gut', 'Heirate Mich', 'Laichzeit' and 'Wollt Ihr das Bett in Flammen Sehen' belong on any Rammstein compilation, others, such as 'Asche zu Asche', 'Seemann' and 'Rammstein' are all fairly passable.
I've struggled to write this review, with no witty one-liners or closing statements, this is just simply a good album. It's not the groups best release, but it's definitely worth picking up.
Genres: Industrial Metal
Format: Album
Year: 1995
Body Count’s 1992 self-titled debut album was a pretty big success for the band. Granted, that success came about due to the infamy and controversy surrounding the song ‘Cop Killer’, but the record itself was a solid effort. When renowned rapper and actor Ice-T put together a metal band, not many people thought it’d last, seeing it as a one-off endeavour. So it was no-doubt intriguing to see a follow-up released, and how did they capitalize on the success of ‘Body Count’?
They didn’t.
Released in 1994, ‘Born Dead’ takes everything that made its predecessor so good, and does away with it completely. The rapping has mostly been replaced by Ice-T constantly repeating the same phrase over and over, with very, very occasional bits of talking. The Lyrics, which once had meaning and were incredibly angry, satirical and lashing out at everything, are now dull, juvenile and pointless. The music seems pretty bland, and hell, even the skits between the tracks are gone. What previously gave the album a loose narrative and plot, is now just one uninspired song after another.
There are a couple of brief instances where the production and sound of the album suffers from dips in quality. I’d guess that this was thrown together in between Ice-T’s rapping and acting careers, as some parts sound rushed and disjointed. And a cover of the Jimi Hendrix classic ‘Hey Joe’ seems so out of place here.
However, it’s not all gloom and doom. There’s a couple of moments which take me back to Body Count’s first outing, and reminds me why this band are so good. ‘Necessary Evil’ and ‘Born Dead’ are both decent enough tracks that prevent this album from getting a one-star rating, but overall, considering all the publicity the group had garnered with their debut, this is a disappointing follow-up.
Genres: Thrash Metal
Format: Album
Year: 1994
'Iced Earth' was a solid debut album that set the bar pretty high for this band very early in their career, but they've managed to take what worked before and build upon it, with this, 'Night of the Stormrider', an equally solid follow-up.
Most of what we have on this album is identical to its predecessor with just a few tweaks. Most notably is the acquisition of a new vocalist (a position that will change many times in this bands history) in John Greely, who replaces Gene Adams. While Adams did a great job with his fairly limited ability, Greely has a much more powerful voice which suits the more symphonic and operatic elements which have been implemented into the groups sound with this record.
Guitarist, songwriter and all-round band leader Jon Schaffer takes charge once more with lightning-fast riffs that puts most thrash metal bands to shame. With song-writing so polished and precise, this sounds like a band that has been around for a long time. If their debut album didn't convert any fans, then tracks like 'Stormrider', 'Desert Rain', 'Travel in Stygian' and the true gem of this release 'Angel's Holocaust' will surely win you over.
Whilst I personally prefer ‘Iced Earth’ to ‘Night of the Stormrider’ (personal preference), strong songwriting and beefed up production make this a worthy successor to a strong debut. It no doubt helped establish Iced Earth as one of power metals heavyweights, and deserves its place in the genres history.
Genres: Power Metal
Format: Album
Year: 1991
Music fads come and go so quickly that it's hard to keep up with a lot of them. That's why when Black Sabbath firmly established the genre of heavy metal (whether they solely created it or not is a different debate for another time) back in 1970, it's amazing that's it's stood the test of time and is still going strong today as one of the most popular genres of music in the world.
With that said, I'm not a massive Black Sabbath fan. I respect their achievements, and rightfully so, as the genre I hold so dear wouldn't exist without them, but that doesn't change the fact that their music just doesn't quite "do it" for me.
I can appreciate how revolutionary this was back in the day, nothing as heavy, dark or doom-laden had come before. However, by the time I came around to owning this CD, it sounded rather dated and didn't quite measure up to a lot of the stuff I was listening to at the time (I was born in 1987 to put that into context). Ozzy Osbourne's vocals are very primitive and somewhat annoying to listen to (story goes that he was only invited to join the band as he owned a PA), and Tony Iommi's guitars were never quite heavy or interesting enough for me.
That being said, there are one or two decent tracks, most notably 'N.I.B.' and the title track, but in all honesty I could think of thousands of other songs I'd rather listen to.
When it all comes down to it, it's just a matter of taste. While this is arguably one of the most influential albums of all time, I respect it for that, it's just not something I enjoy listening to. The record's status as a classic is certainly not in any danger due to my opinion, and hell, if you think this is blasphemous, you should check out my review for 'Paranoid'...
Genres: Heavy Metal
Format: Album
Year: 1970
They weren't the first band to do it, but with the album ‘Hybrid Theory’, Linkin Park kicked off the huge rise of the genre known as nu metal that dominated the early years of the new millennium.
Whilst bands like Limp Bizkit and Korn had already garnered a huge following for this particular style of metal, featuring simple song arrangements, detuned guitars, DJ’s and rapping vocals, it was Linkin Park in the year 2000 that really pushed the genre into the mainstream, and with five hit singles and millions of sales, the album would go on to become one of the finest representations for what nu metal was all about.
Not bad for a debut album.
While Linkin Park’s debut record certainly has some excellent tunes, it’s the singles which are easily the best, and most recognizable, songs. Tracks like ‘Papercut’, ‘One Step Closer’, ‘In the End’ and ‘Points of Authority’ may all have been played billions of times on the radio or had their videos played on metal television channels, but there’s just some magic in the songs that make them great to listen to through loud speakers, no matter how often you've heard them.
Unfortunately, with the exception of ‘Runaway’, probably my favourite track from the album, the rest of the songs are pretty pointless, filler material. And towards the end the constant lyrical themes of depression, regret, rebellion, anxiety etc, start to wear a bit thin (a problem that would ensure this genre’s stay at the top would last no more than a couple of years).
Linkin Park is far from being one of my favourite bands, but coming from a time when metal music in the mainstream was near non-existent, ‘Hybrid Theory’ gives the music world a good kick in the arse, and helped to revitalize a dying genre.
Genres: Alternative Metal
Format: Album
Year: 2000
Surely every heavy metal fan knows the story of Dave Mustaine being kicked out of Metallica and forming Megadeth? Right? No? Ok, I'll wait here while you quickly look it up.
Done? Good.
With Megadeth, Mustaine had one goal, and that was to create something faster, heavier and more extreme than his former band. It's arguable, but I'd say he succeeded. 'Killing is My Business' certainly has a raw, ruthless energy to it, and whilst it oozes bloodthirsty hatred towards Hetfield and Ulrich, it sadly comes at the expense of the actual compositions.
Sure, the riffs are fast, the vocals are full of spite and bitterness, and the songs rage with angst and rebellion, but to be honest, it quickly becomes very repetitive. The horribly tacky and rushed production makes most of the riffs indistinguishable, and the guitar solos sound like nothing more than an annoying, high-pitched flail of notes. And I'm fairly sure a five-year-old could come up with more interesting vocal melodies than this.
There's only really one or two memorable moments on this album. 'Last Rites – Loved To Deth' is probably the only song I'd consider passable, whilst all the others have the odd riff here or there, but there really is nothing that can truly save this debut. Then there’s ‘Mechanix’, the infamous song that Mustaine introduces as; “There’s their version, and there’s OUR version”. Sentimentality aside, Metallica's version (titled 'The Four Horsemen') is simply better in every way.
Megadeth are a fantastic band, and this is really the only record of theirs I don’t like. I've got to believe that if this was the debut from any generic thrash metal band in the 80's, they probably never would have made it to the 90's. Thankfully for Mustaine, he was a member of the genres biggest band and had garnered himself a cult following that gave him the opportunity to progress past this album. And to be fair, most metalheads in the 80's loved it regardless. 'Cause they'd buy anything anyway.
God-awful debut, but better things are coming.
Genres: Speed Metal Thrash Metal
Format: Album
Year: 1985
It's the early years of progressive metal, Fates Warning and Queensryche have been going from strength to strength over the years and Dream Theater have released their debut album, but are yet to unleash its follow-up 'Images and Words' upon the world, which would pretty much lay out the blueprint for every prog metal album to follow. So with that, Shadow Gallery's self-titled debut release came at a time when the genre was still establishing itself.
All the enduring qualities of the genre are here in their infancy, and they work well. Lengthy songs with complex structures and vast musical passages, Mike Baker's incredible vocals, which add so much depth and credibility to the band, their trademark vocal harmonies (which would be expanded upon and perfected on later releases) and some of the finest musicianship around. It's no wonder they would go on to become one of prog metals most beloved cult bands.
In fact, the biggest detriment is the "epic" of the album, 'The Queen of the City of Ice'. Perhaps the metal world just wasn't quite ready for these 20-minute odyssey's just yet, or perhaps it was a trait best left to the old-school Yes's and Genesis's of the music world, but either way, this song is BORING!!! It's slow, uninteresting, and features a spoken dialogue section which goes on for way too long. It's a massive blow to what would be an otherwise stellar debut, as 'Darktown', 'Mystified', 'Say Goodbye to the Morning', 'Questions at Hand' and 'The Dance of Fools', in fact, all the songs on this album are early classics that really makes this a solid release, but it's all hindered by that 17-minute track that completely brings everything to a standstill.
Still, don't be deterred by that, as otherwise this is a great album that helped lay the foundations for progressive metal by firmly distinguishing all the early traits the genre would adhere to.
Genres: Progressive Metal
Format: Album
Year: 1991
The early 90's saw an influx of bands that were blending rock and metal with hardcore and hip-hop influences. Rage Against the Machine were probably the most commercially successful, but there were a number of bands around the world that were also making contributions, such as Stuck Mojo and Body Count from the United States, H-Blockx from Germany, and one of the lesser known pioneers of what would come to be known as "rap metal", Sweden's Clawfinger.
While Clawfinger's music is fairly straightforward, it's the uncompromising attitude of the band, and in particular, the unsparing lyrics of vocalist Zak Tell, that makes them so endearing. The songs are energetic, with some simple yet infectious guitar riffs that aren't overly flashy but are enough to get heads banging. And Tell may not be a legit "rapper" by any stretch, but his hardcore-inspired style gives the music the exact grittiness and rawness it needs.
The lyrics are fairly cheesy at times, spouting out the usual anti-governmental hip-hop clichés that lambast war, racism, corruption, and society in general, but they're also sincere and catchy, and at times show a group that aren't afraid to be a little tongue-in-cheek. And in all fairness, the rapid-fire rhymes are actually fairly impressive when you consider that English isn't the groups first language.
'Deaf Dumb Blind' is a solid debut by Clawfinger, and while this type of music may not appeal to everyone, standout songs such as 'The Truth', 'Don't Get Me Wrong', 'Warfair', 'Rosegrave', 'I Need You' and the awkwardly titled 'Nigger' are all perfect examples of why rap metal shouldn't be so casually ignored.
Genres: Alternative Metal
Format: Album
Year: 1993
Timing in everything when it comes to music. Heavy metal, the genre created by bands like Black Sabbath and Led Zeppelin, was already starting to stagnate by the end of the 70's, with a lot of the genres leaders already burning themselves out. Thankfully, in 1980, Iron Maiden unleashed their debut album, taking the flag and running with a new subgenre known as the 'new wave of British heavy metal', or NWOBHM for short, and giving the metal world a kick up its own ass, as it prepared for a whole new level of global domination.
Combining elements of heavy metal with 70's punk, Iron Maiden's self-titled debut is a ball of raw energy, with its gritty production and its unpolished songwriting, this is an album where no punches are pulled. It's rough, it's dirty and there's certainly room for the band to mature, but there's just a charm and importance about the album that makes it stand out. I mean, it's Iron bloody Maiden for Christ's sake!
However, all praise aside, let's get to the nitty gritty of the review. The music is fun, catchy and full of life, but there's nothing truly outstanding jumping out at me. Each track is good, but lacks that extra something that leaves me feeling like I've just listened to a masterpiece.
Musically the band are pretty tight. Guitarists Dave Murray and Dennis Stratton display a chemistry other bands at the time were lacking, and Steve Harris' fast-paced, galloping bass playing instantly sets him apart from other bassists from that era. Vocalist Paul Di'Anno, who would only appear on one other Maiden record before being replaced with the beast that is Bruce Dickinson, may not have the widest vocal range or the most powerful voice, but he makes use of what he has, and it fits the stripped down, almost punk-esque feel of the album.
While the London five-piece would certainly go on to release more ambitious albums (and take over the world, pretty much), 'Iron Maiden' itself can only really be considered a "good" album. 'Prowler', 'Running Free', 'Transylvania' and 'Phantom of the Opera' are all reasons to get this album. But the truth is, realistically, Iron Maiden will go on to release some of the greatest metal albums of all time, and pretty much all the later material makes this album seem a bit dated and obsolete now.
It's good, and it has stood the test of time well, but I'd still only class it as "good". A worthy addition to the collection.
Genres: Heavy Metal
Format: Album
Year: 1980
Stuck Mojo's brief flirtation with rock stardom came in 1998 with the release of their third album, 'Rising'. Having garnered a loyal following due to their relentless touring and insanely energetic performances, the rap rockers scored big when they filmed a music video featuring superstars of World Championship Wrestling, at the time one of the hottest shows on television. This gave the band an unprecedented amount of promotion that they'd never had before, as the video received heavy rotation on WCW's flagship show; 'Nitro'.
(It was also how guitarist Rich Ward met wrestling legend Chris Jericho... his future Fozzy bandmate).
Brimming with groove metal riffs and rapping vocals, Stuck Mojo's sound is simple and effective; heavy, energetic, and full of attitude. Ward's instantly recognizable guitar tone and style makes for some truly memorable headbanging anthems, and rapper Bonz is on fire lyrically, lashing out at governments, society, and celebrating all things America! What 'Rising' lacks in intricacy it more than compensates for in enthusiasm and machismo.
'Crooked Figurehead', 'Rising', 'Southern Pride', 'Enemy Territory', 'Dry', 'Pipe Bomb'... the whole bloody album is just one great song after another. Even goofy hip hop bonus track 'Suburban Ranger' has a nice charm to it.
Sadly, rap metal is usually considered the black sheep of metal subgenres. Which is a huge shame, as 'Rising' is such a great album that blended old-school metal with a legit rapper, as opposed to a singer who can rap. Stuck Mojo have toured with some heavy hitters such as Pantera and Machine Head, and it's evident in their music, that if metal fans can open their minds just a little bit, there's a true gem of a record waiting for them.
Genres: Alternative Metal
Format: Album
Year: 1998
When renowned gangster rapper Ice-T wanted to form a metal band, he hooked up with guitarist Ernie C, and thus, Body Count was born. Blending metal guitar riffs with rapping vocals, the band's music takes a huge inspiration from hardcore, thrash and punk music.
Spewing hatred and anger with lyrics touching upon subjects such as racism, corrupt politicians and gang warfare, Body Count made an immediate splash with the song 'Cop Killer' (sadly not included on my copy of the album), which was highly controversial upon its release. However, all it really did was serve to give the band even more publicity.
Foul-mouthed, and brimming with hardcore metal riffs, 'Body Count' is not for the weak hearted. It's dark and menacing, a huge contrast to the whiny, angst-ridden grunge bands of the early 90's, with Ice-T and company making no effort to hide their displeasure at the mistreatment of coloured people in America. And the music itself packs one hell of a punch. It's heavy and it's ballsy, oozing with attitude but never taking itself too seriously that the band can't afford to be slightly tongue-in-cheek from time to time.
With anthems such as 'Evil Dick', 'Body Count's in the House', 'KKK Bitch', 'There Goes the Neighbourhood', 'Momma's Gotta Die Tonight' and 'The Winner Loses', it's apparent that Ice-T is onto something special here. And his solo track, 'Freedom of Speech', which takes the place of 'Cop Killer' on censored versions of the album, fits in perfectly, both stylistically and lyrically. And there's plenty of skits thrown in between songs to keep the record flowing effortlessly.
This could easily be dismissed as rap metal, and in fairness that's an easy assumption to make, but coming out at the right place and at the right time, Ice-T and Body Count struck gold with this release, and if you're willing to look past the gangster rap stigma of the group, you'll find a pivotal album of early 90's metal.
Genres: Thrash Metal
Format: Album
Year: 1992
Before they became comfortable releasing rock operas full of theatrics and orchestrations, Savatage were a straightforward heavy metal band, who's debut album 'Sirens' caused a small buzz when it was released in 1983, but has since been lost in time, swept under the rug of the then-rising thrash metal scene.
'Sirens' may not be as epic, complex or majestic as the bands later material, but it's raw and gritty sound perfectly encapsulates the energy of the bands performances. Song's like 'Scream Murder', 'Holocaust', 'I Believe' and the title track are all fantastic examples of early 80's metal, and it's an absolute tragedy that this album has become not much more than a hidden gem in the metal landscape.
The music, sound, and overall vibe of this album is very reminiscent of Randy Rhodes-era Ozzy Osbourne, with the production and songwriting just oozing everything 80's. Jon Oliva's shrill vocals along with brother Criss Oliva's guitar virtuosity puts them both miles ahead of all the young players coming out of the thrash scene of the time. What this albums lacks in aggressiveness and attitude, it more than compensates for with melody and enthusiasm.
'Sirens' is nothing groundbreaking or unique, it's just a straight-up metal album which spawned the careers of one of the genres most beloved cult bands, and should be in the collection of every metal fan.
Genres: Heavy Metal
Format: Album
Year: 1983
"My gun control is a steady hand".
With lyrics like that, you know this album will pull no punches while hitting harder than a steel toe-capped kick to the testicles. Mental meltdown indeed. Rich Ward, Bonz, and the crew are back with this follow-up to the 1995 cult classic 'Snappin' Necks', and every aspect of this record improves upon its predecessor.
The guitars sound heavier, the riffs are groovier, the drums pound harder and the rapping cuts deeper than before. Everything here is a step up. This album just sounds so complete and so confident. It's a young band with a lot of anger, set to explode, lashing out at celebrity culture, a stagnant music scene and politics. All the makings of a great metal album.
Produced by the legendary (?) Devin Townsend, it's certainly no surprise this album has an almost "industrial" feel to it, musically similar to bands like White Zombie or Ministry. Townsend himself lends some backing vocals to the record, with his trademark high-pitched screams being heard on a number of tracks. And with bassist Corey Lowery and drummer Frank Fontsere (the beginnings of a life-long musical partnership with Ward), this album ushered in what many consider Mojo's "golden era".
'Pigwalk', 'Mental Meltdown', '(Here Comes the) Monster', 'Only the Strong Survive' and 'Violated' are all some of the finest examples of why hip hop and metal go so well together, and this album is a testament to why Stuck Mojo are one of the most underrated metal bands ever.
Only the strong survive.
Genres: Alternative Metal
Format: Album
Year: 1996
It's hard to believe how much Metallica's music had matured within a year of their debut album ‘Kill 'Em All’. With plenty of clean guitars and intricate harmonies, this is a band that has grown tighter and stronger as time went by. James Hetfield seems to be more confident as a singer here, and the band all-round seem a lot more comfortable with where they are headed musically. The lyrics are better thought out and the songwriting as a whole is a lot more complex and established than what we heard on their previous record.
Though some of these songs are instant classics, such as 'For Whom the Bell Tolls', 'Fade to Black', ‘Creeping Death’ and ‘The Call of Ktulu’, there are still a couple of tracks lingering around to fill up space, in particular, 'Trapped Under Ice' and 'Escape'. A fact shown true by the band themselves, who never play these songs live. And let's be honest here, is there anyone who can actually claim that their favourite Metallica song is ‘Trapped Under Ice’? Didn't think so.
With that said, the odd filler or two do not take away any momentum from the album, which flows smoothly all the way to the end. One of the biggest heavy metal albums of all time, there’s enough diversity here that non-metal fans may even like what they hear.
Genres: Thrash Metal
Format: Album
Year: 1984
We all have those bands that we're huge fans of, yet no one else has ever heard of them. Or perhaps they have, but they're just not as passionate about them as you are. Maybe they like the odd song, or mildly enjoy their discography, but wouldn't go as far as to consider them a favourite of theirs.
Allow me to introduce you to "that band" of mine.
Stumbling across Andromeda online, I purchased this almost immediately after hearing and falling in love with the title track, 'Extension of the Wish'. I couldn't believe how stellar this, their debut album, was. Being a huge fan of progressive metal, theirs was the perfect sound. Atmospheric with a spacey vibe, and full of the usual over-the-top virtuoso performances that you'd expect of the genre. How are this band not more well-known?!
Written by guitarist Johann Reinholdz (who was only 21 at the time... jeez...), 'Extension of the Wish' is full of guitar and keyboard acrobatics that put most other bands to shame. The drumming is absolutely insane, yet Thomas Lejon never misses a beat, and singer David Fremberg's powerful voice is full of passion and raw energy.
Opening track 'The Words Unspoken' is one of the best prog metal songs I've ever heard, and instrumental 'Chameleon Carnival' is an absolute joy to listen to, showing off Reinholdz's vast knowledge of guitar scales and fret-board mastery. Then there's songs like 'Crescendo of Thoughts', 'Star Shooter Supreme', 'Arch Angel', bonus track 'Journey of Polyspheric Experience' and of course, the title piece itself, 'Extension of the Wish'. There is not a dull moment on this incredible album and it's an absolute travesty that not many people know this band exists.
Without a doubt Andromeda are one of my all-time favourite bands, and this, their debut release, is exactly why. It may seem ludicrous to think a band can get a five-star rating with their first outing, but damn, 'Extension of the Wish' really is that good! If you're into prog metal, do yourself a favour and get this album now.
Genres: Progressive Metal
Format: Album
Year: 2001