Somewhere in Time Review

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Somewhere in Time ReviewIron Maiden's golden age started with "Killers" and pretty much ended with "Somewhere in Time". All of the songs on "Somewhere" are ambitious, adding new elements to Maiden's sound. The guitar synth's found on "Somewhere" are present, but not as overpowering as on the follow-up cd "Seventh Son". Everything Maiden fans enjoy about the band are present on "Somewhere". Steve Harris' bass lines crackle, and Dickinson's urgent vocals really carry the album along. The guitar riffs are catchy, and hook you right away. The thing that always impressed me with Iron Maiden, was that, during the 80's most metal bands like Ratt, Posion, Motley Crue etc, were busy playing and singing about rock n' roll, girls and partying. Maiden often based their music on literature; "Murders in the Rue Morgue", poetry: "Rime of the Ancient Mariner", history; "Aces High", "The Trooper" and "Run to the Hills"; religion; "Heaven Can Wait", "Number of the Beast" and mythology "Icarus" and "Poweslave". The great epic metal tunes on Iron Maiden disks defied the conventions of the time, where most bands stuck to radio-friendly, 5 minutes or less rock anthems. Iron Maiden was, and is more than just a standard metal band, and if you are a music fan, you are doing yourself a great dis-service if you don't pick up the disks from the heyday. "Somewhere in Time" features 8 great track, each better than the one before it. Listen to "Alexander the Great" and ask yourself if any other band at the height of their popularity would have been able to put that song on a cd. The guitar riff on "Wasted Years" will be running through your head all day, and you will be humming the chorus of "Heaven Can Wait" for a long time. This is a great album, from a band that always brought a little more to the table than just catchy rock anthems.Somewhere in Time Overview

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Pyromania Review

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Pyromania ReviewReleased in 1983 "Pyromania" was the album that broke Def Leppard in America but primarily due to MTV's playing the videos of "Photograph", "Foolin'" and "Rock Of Ages". Again, with Robert John "Mutt" Lange doing the producing as well as co-writing most of the songs "Pyromania" had it's share of great songs starting with the hits "Photograph", "Foolin'", "Rock Of Ages", and "Rock Rock (Till You Drop)", etc. More polished than the band's 1981 album "High N' Dry" (but in my opinion not necessarily better) it was ex-Girl guitarist Phil Collen's debut replacing original guitarist and founder Pete Willis. "Pyromania" seems to have a more commercial sound than the previous albums and the band seems to be getting away from their NWOBHM (New Wave Of British Heavy Metal) roots. The remastering on this Deluxe Edition is far superior when compared to the older non-remastered single disc. I hear a crispness and more midrange in this newly remastered version that the older version lacked. The bonus disc (running just over seventy minutes long) from a concert in 1983 at the L.A. Forum is extremely well recorded and is a treat for Def Leppard fans as it includes not only material from "Pyromania" but from "High N' Dry" and "All Through The Night". Songs such as "Rock Brigade", "Wasted", "High N' Dry (Saturday Night)", "Another Hit And Run" and "Let It Go" have never been recorded "live" on cd or dvd for commercial release as far as this reviewer remembers so this is a first. Queen's Brian May even makes an appearance joining the band in playing the Creedence Clearwater classic "Travelin' Band" (the ending mixed with Led Zeppelin's "Rock And Roll"). The packaging of this Deluxe Edition of "Pyromania" is excellent with both discs securely mounted and there's also a fairly lengthy booklet with colorful photos of the band. Highly recommended!Pyromania Overview

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Number of the Beast Review

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Number of the Beast ReviewI love this album so much. This to me is a true five star album. This is the album that drew me into heavy metal music and made me a life long Iron Maiden fan.
"Run to the Hills" is what initially drew me in. I hadn't heard anything else by the band, but this was 1982, and radio was still in top 40 mode. But I knew I loved "Run to the Hills," so I thought I'd buy a whole album rather than just the single. And am I glad I did. I remember putting the lp on the turntable and being spellbound for the better part of an hour while I played the album twice, back to back. To my twelve year old ears, this was heaven.
After a thorough listen, I found most of the songs to be even better than "Run to the Hills" -- especially side two's "Number of the Beast." That song to me was pure high octane power, the perfect combination of bass, guitar, drums, and vocals. And the album closed perfectly with "Hallowed Be Thy Name."
After this, I became a true Iron Maiden maniac. I knew that "Up the Irons" meant, I knew all about "Eddie," I learned this was Bruce Dickinson's first album... stuff that wouldn't help me academically, but essential in heavy metal discussion during class time.
While my mom wasn't initially pleased with the album art (I explained it was all a dream sequence), she was pleased I was increasing my workload around the house in order to buy the band's other albums -- "Iron Maiden," "Killers," and "Maiden Japan." And with each album, I fell deeper under the band's spell. I've picked up every album since then. Some great, some not so great, but you take the good with the bad.
Are you convinced that music is dull, drap, unappealing, and commercial? Never heard this album? Now's your chance to listen to one of the cornerstone bands of the 80's and 90's. Creativity, personality, and originality all describe this great band -- a band still on the road touring and making albums. And as for this album, it sounds as good today as it did over twenty years ago.Number of the Beast OverviewEnhanced CD-Rom version of the original. Includes full-length videos, band biographies, photo galleries, and internet links, all encased in a slip-sleeve. -1998

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Painkiller Review

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Painkiller ReviewFollowing the poor record sales of 1988's attempted but largely unsuccessful comeback, "Ram It Down," Judas Priest tried to win their fans back with their twelfth studio effort, 1990's "Painkiller." Frontman Rob Halford, axemen K.K. Downing and Glenn Tipton, bassist Ian Hill, and drummer Scott Travis went about this task by returning to their classic, 1970's style of metal while simultaneously intermixing some techniques from modern, contemporary speed metal bands. The result was a masterful new disc, the heaviest and most musically complex of Judas Priest's career, which successfully won all of the band's fans back, and even gained them many new fans. "Painkiller" is not only the definition of a Nineties' classic; it's a truly wonderful comeback, and easily the best release of Priest's long and storied career. Plus--since it's saturated with fast riffs, scorching leads, extended, technical solos, quick drumming, and Rob's shrieking vocals--many music fans think (justifably so) that "Painkiller" is the epitome of speed metal. It's also one of the most famous and important albums on heavy metal's timeline. Motorhead may have given birth to speed metal, but "Painkiller" has spawned a generation of imitators, so it's equally as influential as anything by, well, any other band. The opening title track sets the mood well for the rest of the songs. It has a fast drum beat and fast churning riffs, as well as Rob's standard, very high pitched vocals, and two sweet guitar solos (the first of which is well over a minute long!) The appropriately titled "All Guns Blazing," has a spectacular, wailing solo which has several different parts to it. The next song, "Leather Rebel," is a very speedy track with an almost buzzsaw rhythm, and track five ("Metal Meltdown") features three back-to-back guitar solos. Other highlights include the memorable chug and churn guitars and thumping drums of "Night Crawler," "Between The Hammer & The Anvil," which is highlighted by yet another lengthy, winding, mazey, three part solo, and, the catchy, mid-paced, stop-start rhythm behind "A Touch Of Evil." Finally, if you buy the remastered version of this album, you get two bonus tracks--"Living Bad Dreams," and a rare, live version of "Leather Rebel"--which are both excellent inclusions in your collection. "Painkiller" is, from front to back, an eargasm. If you're a speed/thrash/classical metal fan, there's almost no record you need more than this one, and if you weren't a Judas Priest fan before, you'll definitely be one now! This has got to be one of the finest metal albums ever recorded, and it is nothing short of being a flawless, genre defining, standard bearing classic.Painkiller Overview

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Defenders of the Faith (Exp) Review

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Defenders of the Faith (Exp) ReviewNot wanting to give up on their new-found momentum after the superb, fast and hard-hitting SCREAMING FOR VENGEANCE, Judas Priest released DEFENDERS OF THE FAITH in March of 1984. Sporting a darker, more violent side than SCREAMING, it nevertheless continued the same tradition of fast, rat-a-tat-tat drumming from Dave Holland, K.K. Downing/Glenn Tipton twin-Stratocaster guitar solos that intertwined with each other at blistering speeds, and high-pitched screeching courtesy of Rob Halford, the greatest heavy metal singer alive both then and now. I became a die-hard fan when I first saw their video for the speed-metal opener "Freewheel Burning". The song is fast, furious, yet still very melodic. It's also my favorite on this CD. Even at their fastest, Priest always retained their melodic sensibilites; they were never just noise. "Jawbreaker" continues this dark speed-metal sound nicely; although not great like "Freewheel Burning", it keeps the momentum going. "Rock Hard, Ride Free" is a great racing-as-metaphor-for-life song like "Heading Out To The Highway" and "Freewheel Burning", but is mid-tempo in rhythm with a high-pitched tandem guitar tune that sounds like the perfect theme of a teenage life-story. "The Sentinel" burns up the air; it's a fast, burning, and violent song which could have been made into a movie. It's about a supernatural (and apparently immortal) sentinel who takes out an entire army with his scabbard of 200 daggers, which "fly out like bullets, upon their deadly course." Quite gory, but nonetheless an excellent Priest song with a memorable bridge.
The second half of DEFENDERS also rocks, although not quite as hard. "Love Bites" is Priest's metallic take on vampirism; it begins memorably with some slow, forboding bass guitar chords from Ian Hill before kicking in with Halford growling "When you feel safe/When you feel warm/That's when I rise/That's when I crawl". It was the perfect song to open all of Priest's live shows on the "Defenders" tour--I know, I saw them twice on that tour--although it's not quite as great of a song to hear whilst lounging in the comfort of your living room. "Eat Me Alive" is pretty self-explanatory ; its true meaning not fully revealed until Rob courageously came out of the closet in 1998. It's an okay speed-metal track, a bit too repetitious; it's probably the weakest song on the CD. But then we get to my second-favorite track on here, "Some Heads Are Gonna Roll", which became widely played on FM hard-rock stations. It's about "the power-mad freaks who are ruling the earth" and gives us a great lead guitar solo trade-off between Glenn & K.K. The next track is a haunting power-ballad called "Night Comes Down". It's dark, emotional, and fits the mood of this CD perfectly. Closing out the original DEFENDERS set is "Heavy Duty/Defenders Of The Faith", a slow-paced but pounding two-part heavy metal anthem that serves as a tribute to the legions of Priest fans everywhere, and for all those who want to be rocked till their "Metal Hunger's fed". That's a fake audience cheering on this studio version, but it reminds me of when I saw them do it live, and I was part of a REAL screaming crowd!
But wait; there's more! With this Remastered version, we now get a studio bonus track called "Turn On Your Light". It was written "during the early years of our career". Like most of the bonus tracks on Priest's Remastered CDs, it was recorded in 1985 during the sessions for TURBO. It's an unusually slow song, with both acoustic guitar and keyboards (very unusual for a Priest song), although it does contain a fuzzy lead guitar solo and does get pretty heavy towards the end. It's not a great, standout track such as "Prisoner Of Your Eyes" (from the Remastered SCREAMING FOR VENGEANCE), but it's not bad either, and it is good to *occasionally* hear Rob Halford sing without screaming. Finally, the CD closes with an appropriately live version of "Heavy Duty/Defenders Of The Faith." It's rendered faithfully, and extended to five-and-a-half minutes with Rob leading the real screaming crowd on a minute-long "We are Defenders of the Faith" chant.
DEFENDERS OF THE FAITH still remains one of Judas Priest's strongest albums ever. It's earned a special place in my heart, and it still rocks me till my Metal Hunger's fed! HIGHLY RECOMMENDEDDefenders of the Faith (Exp) Overview

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Powerslave Review

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Powerslave ReviewIron Maiden's "Powerslave" was to metal what Michael Jackson's "Thriller" was to pop. If you were a fan of heavy metal in the 80's then this album was the soundtrack to your Saturday night out with the guys. There is just so much on this album to rave about, be it the killer chorus of "2 Minutes to Midnight", the great guitar track of "Flash of the Blade, the cool "Egyptian" sound to the title cut, of the epic "Rime of the Ancient Mariner". There was something here for every metal fan. Iron Maiden has made a career out of defying the norm, and in a time when most bands were riding the metal-pop wave, writing songs about Girls..Girls..Girls, or Talking Dirty to Me, Maiden's subject matter was the RAF during WWII and the Blitz with "Aces High". "Powerslave" is about Egyptian mythology, and the album also features a song about fencing "Flash of the Blade". Not your typical song matter for an 80's metal band. But the highlight of the album for me is "Rime of the Ancient Mariner", based on an 18th Century poem, this 12 minute epic tells the tale of a doomed captain and his ship, and is musically one of the most impressive songs in Maiden's catalog. If you haven't heard this song, then buy this album immediately! It's worth the price of the cd alone. It doesn't matter if you think "Powerslave" is Maiden's best album, or if you like "Beast" or "Piece of Mind" or any one of their other albums better, you have to respect Iron Maiden for what they accomplished with "Powerslave".Powerslave Overview

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Sabbath Bloody Sabbath Review

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Sabbath Bloody Sabbath ReviewSince it was a big departure in sound from their first four albums most consider Black Sabbath's fifth disc the one that most divides critics and fans. Some think that the newly discovered keyboards (by Rick Wakeman, a member of the band Yes) and orchestral arrangements made "Sabbath Bloody Sabbath" too artsy and soft. But others (like me) think that, while this album may be "more progressive" than usual, it is also their most creative effort to date. And, of course, like all Black Sabbath albums, the guitars are still very much involved. "Sabbath Bloody Sabbath" does not skimp on the type of sludgy, rumbling riffs that Tony Iommi made Black Sabbath famous for. The catchy, churning main riff of the first track (the title song) helped to break the band out of the creative "dry spell" they were in, following the recording of their last release, "Vol. 4" (after Iommi discovered this guitar lick, the rest of the songs came easily.) This song also has a couple of acoustic breakdowns. Next, "A National Acrobat" has shimmering, wah-wah guitars, and "Fluff" is an instrumental. It's an interlude-type song, with serene, twinkling, acoustic jangles and cool, pretty piano keys. The synthesizers are most clearly evident on tracks four and six, "Sabbra Cadabra" and "Who Are You?" (the latter track, which has a melodic string arrangement, is very spacey--it sounds like it's the soundtrack to a laser or light show.) But "Killing Yourself To Live" is heavier and more up-tempo, as is "Looking For Today," which features a catchy, rhythmic hand-clap pattern. Lastly, "Spiral Architect" is where the orchestra joins the scene. Its lively, almost uplifting violins contrast Iommi's guitar solos well. So, "Sabbath Bloody Sabbath" is a true gem which proves Black Sabbath were successfully able to expand on their sound and add creative touches to their music, while still remaining true to their roots. The sound quality can be a little dated at times, but this is yet another classic in Sabbath's catalogue.Sabbath Bloody Sabbath OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: BLACK SABBATHTitle: SABBATH BLOODY SABBATHStreet Release Date: 02/02/1988

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Sabotage Review

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Sabotage ReviewThere are a few things I gotta say about Sabotage, Black Sabbath's sixth album: First, it's one of my favorites. Probably my favorite over Paranoid just because I've heard Paranoid way too many times in my life. Secondly, that this is the decline of Sabbath. No doubts about that. If you think differently and are a huge fan of Technical Ecstasy, well... you're insane! This was the last time that Sabbah were all on the same page. Sure there are little bits and pieces of greatness after Sabotage, but very little. Sabotage is a grand and glorious rock epic! This is probably the only album that Sabbath put out that flowed perfectly! Where they started to experiment on Vol. 4 and Sabbath, Bloody Sabbath, Sabotage is the culmination of all that. Whoa! Taking a two-year hiatus from touring and recording will do that to you. Everything falls into place. Also, what a great album cover. Ozzy wearing a dress and those really cool giant-heeled suede Elton John boots. Bill Ward in his red spandex pants with his checkered underwear showing through. Geezer with a cane. The 70s! Wow!
Hole In The Sky - Great song! I'm looking through a hole in the sky, I'm seeing nowhere through the eyes of a lie.... Great lyrics Great riffs. The productin value was probably Sabbath's best. Rocking!
Don't Start (Too Late) - Iommi finally did it, he made his little instrumental show-off pieces fit into the rest of the album without throwing it for a loop! Cool little 50 second accoustic blurb that heads right into one of Sabbath last classic cuts.
Symptom Of The Universe - All out metal goodness! This is one is one of those signaure Sabbath tunes that you will alway remember. Yeaaaaaahhhh!
Megalomania - Sprawling! That's is what this song is: sprawling! What a killer epic tune! This song is haunting. One of my personal favorites! Moody and dark and whoa! I love this song! The ghost of violence was something I'd seen. I sold my soul to be the human obscene.... Great!
The Thrill Of It All - Another personal favorite. The lyrical content on Sabotage grew to maturity seemingly overnight. Since Geezer wrote most of the lyrics I'm not sure you can blame Ozzy for most of the juvenile, hilarious lyrics of the past Sabbath albums, but these songs are definitely better written. Perhaps Ozzy was lending a hand? Can I ask the final question if the answer could be sold? Perfect.
Superzar - Sprawling instumental with moaning chior in the background. This is epic. No doubt about that. Are we in some dank, creepy monastery? Sounds like it. This is mood music for a human sacrifice. Beautiful. Cohesive to the rest of the album.
Am I Going Insane (Radio) - Pobably the most recognized song off the album becaus of it's induction onto the greatest hits collection We Sold Our Soul For Rock'N'Roll. Great song. Sabbath really clicked for the last time on this album.
The Writ - Apparently Black Sabbath as an entity were having a lot of legal problems at this time and Ozzy said once that they couldn't go onstage without getting served with a writ or a restraining order or whatever. Thus the birth of this lengthy album ender. Killer tune. Epic along the lines of the rest of the album. Fits perfectly into the Sabotage lineup.
Overall, Sabotage is the most consistent album Sabbath ever came out with. All the songs mesh into a whole and that was very hard for Sabbath accomplish over the years. The fact that they tok a two-year break before recording Sabotage suggests that they needed to be away from each other to come back and make some good music. If Paranoid is their landmark album, then Sabotage is their perfect album. What goes wrong after this is warring egos and drug-addiction and the end of Black Sabbath. Sorry. All good things must eventually come to an end.
Dig it!Sabotage Overview

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Black Sabbath, Vol.4 Review

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Black Sabbath, Vol.4 Review_Black Sabbath Vol. 4_ was the first album where classic sludge-rockers Black Sabbath (Ozzy Osbourne-vocals, Bill Ward-drums, Geezer Butler-bass and Toni Iommi-guitar) started experimenting - which possibly foreshadowed what would be more emphasized on the following album, _Sabbath, Bloody Sabbath_. I just want to make a clarification before I move on: Black Sabbath's music is not about satanism or devil worshipping - it's subject matter is mainly about the harsh realities of life (i.e., crime, war, drugs, mental illness and more), which is rather "dark". Moving onto the tracks:
The album opens with "Wheels Of Confusion/The Straightener", which is a sludgy/heavy powerhouse. This is arguably the heaviest on the album. The lyrics are reflective and sad. "Tomorrow's Dream" is a r&b-rocker with groove. "Changes" is a beautiful piano-based ballad. The combination of Ozzy Osbourne's emotive vocals and the sad orchestral backdrops make this a somewhat painful track to listen to at times. "FX" is a short experiment featuring eerie guitar feedback from Toni Iommi. "Supernaut" (to me) proves that music is a transcendent force without limits or boundaries. The mix of boogie, classic psychedelic r&b and metal, shows that unlikely combinations can work - which almost makes it seem like it was never "unlikely" to begin with. "Snowblind" is a slow heavy rocker. Tony Iommi does some of his best soloing on this track. The end features some orchestral backdrops (possibly from synthesizers). "Cornucopia" is probably the most ominous sounding on here (check out the opening section). The dark lyrics contribute to this aspect as well. "Laguna Sunrise" is the beautiful and evocative acoustic guitar instrumental. If anyone were to listen to this calm, sedate and airy track (without knowledge of it being Sabbath), you wouldn't guess that this was the same band known for their dark and sludgy output - that's talent. "St. Vitus' Dance" is an upbeat, summery and "happy" sounding rock track - at least on a musical (excluding lyrics) level. "Under The Sun/Everyday Comes And Goes" sounds the most "Sabbath-esque" on here. The beginning is heavy and ominous. It then segues into a straightforward heavy rocker. The lyrics are deep, thought-provoking and rebellious. They address such issues as religion, personal beliefs and violence.
In short, _Black Sabbath Vol. 4_ is a classic metal album, which deserves to be owned by diehards, as well as those interested in Black Sabbath, or the roots of heavy metal. This would serve as a good introduction, as it features a well-crafted balance between heaviness and mild experimentation.Black Sabbath, Vol.4 Overview

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