Site Update.... I'm Back!

UPDATE!!!!!

I know it's been a couple of years but I am back and getting ready to review all the metal you can stand once again. There will be a slight change to the format. This page will focus on vintage metal mostly....stuff that was released before the year 2000....the only exceptions are noteworthy new releases that actually are more than a carbon copy of everything else that comes out these days. See you here in a couple weeks when I post a new review on a very classic yet forgotten album 

LET'S DO THIS!!!!

The Great Kat, Worship Me or Die (Review)

 

The Great Kat

Worship Me or Die!

Released: 1987

Genre: Heavy Metal, Speed Metal, Thrash Metal

Length: 30:17

Label: Roadracer

Producer: Kurt Shore & The Great Kat

Band Members

The Great Kat - guitars, vocals, violin

Tom Von Doom - bass

Adam Killa - drums

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The Great KAT is one of the most important and known front woman of the 80s. She studied violin for several years (studying at the prestigious Juilliard Academy) and then she became crazy about metal in general (apparently after hearing Judas Priest), deciding to form a band. The result was the “Worship Me or Die!” album which features eleven tracks of pure speed or shred metal (or whatever genre you want to throw it in), honestly though it doesn't matter what you want call it. The main word is speed and it’s all about the pure, fast guitars parts, and deceptively complicated lead shreds.

Since the opener, “Metal Messiah”, we can understand how the whole album will be. The speed is always high and the songs are full of guitars solos intermezzos. They are very fast and can be seen as a bit excessive and annoying in some parts to the uninitiated listener. The twist is that there are solos in several parts that didn’t need such an abundant amount of them, but we get them anyways much to the joy or annoyance to the listener (I personally like them). They are ultimately shred solos with lots of tremolo picking parts in different styles, they can be a bit difficult to break down and ingest at first but in time you will start getting it, unless you are some kind of elitist towards the instrument.

The vocals by this aggressive girl are truly vicious and somehow they reminded me the ones by Nicole Lee from Znowhite. The drums and the bass are competent but are pretty much there just to support the main work by the guitars and everything is a bit centralized in the structure and the mix. The songs lead everywhere as is most of the cases, being conceived as a simple manifestation of anger and impulsivity, yet there is an underlying method in all of them. Yes, the refrains are earworms and become very recognizable, to some that’s not enough to make great songs. However that premature thinking process is where those people are amazingly wrong, there is a lot going on here that takes a few listens to really absorb to appreciate.

The point to this (and subsequent albums) is this is metal from the perspective of a virtuoso, not a simple guitar player with a Yngwie delusion. The tempo changes are a bit weird at times but do fall in line with the concepts and ideals of classical music and its historic composers. The continued lead guitar shredding is a bit erratic at times but it is still based in classical composition and not meathead metal tropes. Now given when this released I am pretty sure everything was made to be excessive and shocking to garner a bit of attention (I remember a small feature in People Magazine regarding her) but the refrain and the vocals on “Satan Goes To Church” are just amusing, and I believe that is the point, you never knew what was coming next. The drum triplets on the track in question are a solid and serve the song well, the most traditional metal sounds come from the palm muting parts on the guitar which makes it a bit more derivative for the time but it is still very solid tonally.

I think my only complaints are 2 fold....first, the songs are really short but that is just personal preference talking. She still creates short songs now which are just as punchy and technically formidable today. Second, the production is a bit thin and coarse, sometimes the highs can really hurt your ears if you haven't adjusted your volume or EQ to compensate for that in advance.

Ok, you want to shock the audience and the people, then do it in a way that isn't status quo of the day. That is just what you have here in this album. Now there maybe several more "serious" and "creative" “metal queens” in the panorama of the 80s at the time with great musicians behind them, but there was and still is only one Shred Goddess, and that was and is The Great Kat. This album is an interesting piece for the collectors of rarities if you find an original copy of it (it is a bitch to actually find it in the wild). For the rest of you, find it any way you can & listen to it eithet for pure curiosity sake or to have something that comes off typical and simple at first, only to drag you down the rabbit hole of compositional madness. It is not a perfect album but in my opinion it is worth the time invested in it....if you are willing to step into the world only The Great Kat can create.

Score: 4/5

Flotsam & Jetsam "Blood in the Water" album Review.

 

Blood in the Water is the fourteenth studio album by American thrash metal band Flotsam and Jetsam, which was released on June 4, 2021. It is the band's first release with new bassist Bill Bodily, who had replaced Michael Spencer in November 2020. Now despite what their name says, these Phoenix thrashers are far from an expandable waste lost on oceans. Self-titled album brought them back to relevance, giving us such instant classics like 'Iron Maiden' or 'Time to Go'. Hell, they even remade 'Forbidden Territories' from old demo recording of 'No Place for Disgrace'. But it wasn't consistent record, it felt overproduced (with Eric Knutson's vocals being the biggest victim here) and it definitely could've been cut of 2 songs. Meanwhile 'The End of Chaos' was pretty good, but it did feel a bit too monotonous at times, and it also could have cut a couple of songs to make it feel a bit more fluid. This trend sadly continues on 'Blood in the Water', but despite that, it is a great record in its own right.

I gotta tell you, the anticipation for this album was tough. Waiting for months without any interesting premieres in other media, with very few songs released, one could think "what will Flotsam and Jetsam bring to the table this time?". We were all kept wondering "Will it give something new, or will we receive 'The End of Chaos, Pt. II'?", Well, one thing is certain, Flotz' are sticking to thrash, with some heavy and power mixed in.

Even if pre-released 'Burn the Sky' did trick me in its intro that Eric and rest of the band wanted to go back to the perplexing 'The Cold' vibes. But nah, 20 seconds later we're treated to badass riffs and masterful drumming, courtesy of Ken Mary. Eric also sells it all in vocals, going for some high-pitched yelling ('Burn the Sky', 'Brace for Impact'), vocal melodies ('Undone', 'A Place to Die')... Hell, in 'Grey Dragon' (yes, other "mainstream" websites, this song is called 'GREY Dragon', not just 'Dragon', you morons) there are even moments of growling! It's very brief, but it's a nice contrast to the "Ooooh" moments Flotz' loves to introduce and fits perfectly to this bat-shit insane song.

This album is certainly a lot more aggressive than previous releases. Just compare riffs from 'Seventh Seal' or 'Demolition Man' to 'Blood in the Water' (the song), 'Burn the Sky' or aforementioned 'Grey Dragon'. Michael Gilbert and others weren't lying when they said Flotz' is pissed on this record. That, thankfully, didn't detracted them from putting melody to the songs. It's all fun and great when band goes all out on the likes of 'Brace for Impact' or 'Seven Seconds 'Til the End of the World', but it is also important to give some spin to them, not just resort to mindless whiplash. 'Blood in the Water' (the album) also introduces some variety in songs themselves, it's no longer just "medium/bit faster/fast paced" stuff. The albums gives some room to breathe in the likes of 'The Walls', 'Too Many Lives' and 'Undone', keeping it slow, but still heavy. Hell, there is even a ballad! What it would be, 3rd, 4th in Flotz' discography? Well, anyway, 'Cry for the Dead' works pretty well for what it's trying to achieve.

However, 'Blood in the Water' (the album) is not perfect. 'Too Many Lives' and 'Reaggression' are pretty mediocre, and they could have been easily cut out. Bass guitar is lost in the mix, so it's hard to judge how well Bill Bodily fits the band as their new bassist. This album also has some of the more cliché lyrics in entire Flotsam and Jetsam discography. Well, it was never entirely their strong point, but sometimes you wonder how 50 year old guys could have wrote them (just look at 'Brace for Impact' - "If you don't brace for impact there's a chance to die" - kinda corny and by the numbers). Not all of them are bad though, the likes of 'Grey Dragon' and 'Cry for the Dead' would probably be the biggest highlights of this album.

There's also an issue of album structure, not surprisingly (Sorry, but three songs in a row with titles starting on "B"? And all of them being fast and relentless? Come on, man) Meanwhile, I appreciate adding slow songs, but I think the middle part of the album relies on them too much, breaking the flow. The album closes in just 45 minutes, which I think is perfect runtime for an metal album. Even though, it's still the strongest Flotsam and Jetsam have been since debut album and No Place for Disgrace. It's not perfect, but it's a reminder of why I love Flotsam and Jetsam and why they are worth your time to check out as well. As they say, "Flotz' Til Death"!

SCORE: 4/5

Lizzy Borden Love You To Pieces Album Review

 

Lizzy Borden - Love You To Pieces (1985)

Love You to Pieces is the debut album by the American heavy metal band Lizzy Borden, released on Metal Blade Records. The album would produce the song "American Metal" which would later be added to the Metal Blade Records 20th Anniversary box set.

Over the years, I think I've been fairly grounded in my criticism of Lizzy Borden to this point. That could have to do with the fact that neither their debut demo nor Give 'em the Axe were exquisite examples of this band's potential even though they were both very solid, or that I was consciously avoiding doing so to maintain some amount of credibility for when the rave inevitably began, but that all ends here. Yes, I'm a pretty serious fanboy of the band in question, and yes, with Love You to Pieces, all bets are off. Any indifference I may have had early on effectively died roughly three seconds into "Council For the Cauldron" with the intricate and wickedly beautiful guitar melody that erupts into a speed metal riot of the highest order. That would be the first of many, I would come to learn, as this is only the first in a series of anomalously good albums; and while I may prefer the spotless Visual Lies, it's hard to fault their full length debut for not being so absolutely perfect.

First and foremost, we must address the iconic imagery that is the cover. Let me give you some personal background. I lived through the eighties as a teen, so the whole glam image has never seemed as repugnant to me as it might have to those who had to suffer seeing "I'll See the Light Tonight" juxtaposed to "Every Rose Has its Thorn" on MTV. I never disliked most of the music the scene produced (and I absolutely love much of it), but the actual image has always kind of appealed to me in a classic cliche sense. It's almost like fascinating history that raises curiosity and interest because a lot of the packaging of albums from the time still make me scratch my head trying to figure out the intended context of the imagery, if there is any to begin with. However, even with that said, what in the unholy hell is going on here? What could possibly be the benefit of scaring or confusing the target audience of the music with an image that probably emasculated metal fans everywhere and stole the functioning of their ever-scarred eyeballs? But then I guess that is really what makes this imagery so memorable, it's completely discordant with the albums content yet in a way, synchronous with it at the same time.

That was basically Lizzy Borden personified, though. With their ridiculously flamboyant image and questionable yet classic album art, as well as their confrontational attitude when looking at society, they were basically begging not to be liked, they were almost daring you to hate them. Luckily, if this was their mission, they failed miserably thanks to the fact that the actual music is utterly astounding. Granted, they're still quite an acquired taste. Lizzy himself was probably the biggest love/hate factor the band had, for his helium-addled shrieks and wails put quite a pain in the eardrums of many an unwilling listener. I for one love his vocals to death. His purity of voice (which has persevered to this day, he hasn't lost a step vocally) and instantly distinguishable accent never fail to thrill me, as do his high pitched cries and outstanding phrasing. You never forget a Lizzy Borden vocal line. It just doesn't happen, and the lyrics, though somewhat typical and reflective of the time, are made outstanding due to their flair for simplicity and their eternally memorable nature. Themes of rebellion, love, anarchy, and power reign supreme in this vibrant musical setting, one marked by timeless melodies of both the vocal cord and the axe.

Many unsuspecting glam fans lured in by the cliche ridden pictorial hook were probably taken aback by the sheer amount of instrumental talent involved here. The group still had its most dynamic duo of guitarists at this point, with both Tony Matuzak and Gene Allen at the helm. In flurries of rollicking NWOBHM riffing, blue collar US power influences, and quick spouts into early speed metal (see "Godiva") these guys pave a complex web of guitar-work that remains accessible and even slightly radio-friendly. The latter factor would become prominent as the band consciously moved into more commercial territories and acquired a crystal-clear production, but that can be traced back to tunes like the excellent "Save Me," whose simple hooks, melodic leads, and swinging chorus instantly engrave themselves into the memory. Look elsewhere to find unforgettable pieces like the galloping "Warfare" and "American Metal." I would deem the latter as one of the best metal anthems ever composed, soaring high and marching triumphantly under the star-spangled banner. Usually I find any song involving the US to be a pandering and ill-advised propaganda campaign, but the passionate delivery, gang-shouted chorus, and piercing vocal summoning all create a spine-chilling serenade to the music we love.

Overall there are just too many highlights to name, like the inspiring balladry of the title track, which never goes stale. I really like the production here, which plays rough for the style but remains clear enough to discern each element in the mix. This was band with a vision to share and to cherish, and a sound strong enough to permeate all the hairspray and makeup and leave a permanent impression in the mind. The sudden leap from their somewhat plain traditional metal beginnings to a true force to be reckoned with can seem quite dumbfounding, but the music here proves to be just as sharp as the blades on the band's legendary logo. Listening to this, it's hard to believe Lizzy Borden would only hone their songcraft further and serve up an even better platter of melodic perfection just two years later. The rest, my friends, is history.

SCORE: 4.7/5

Personnel Credits:

Lizzy Borden Band:

Lizzy Borden – lead and backing vocals

Gene Allen – guitars, backing vocals

Tony Matuzak – guitars

Michael Davis – bass, backing vocals

Joey Scott Harges – drums, backing vocals

Additional musicians:

Jon Natisch, Mark Benson, Tony Copozzi – backing vocals

Production:

Randy Burns – engineer

Eddie Schreyer – mastering at Capitol Records, Los Angeles

Brian Slagel – executive producer

Tom Baker – 2001 remastering

A 10 question interview with Rik Fox

 

A 10 question interview with Rik Fox

(I originally did this interview via E-mail back in late 2019....then technology had its way with me and I thought I lost it. Managed to salvage it a few months ago but being in a pandemic with always changing rules and finances....well, it slipped my mind again, life happens. Finally at long last here it is in its entirety. The 10 question interview with Rik Fox, bass player for such bands as Steeler, SIN, & W.A.S.P. among others. Enjoy.....)

Greetings

Welcome to the first random installment of 10 Quick Questions...

This is a casual review spot that is conducted with musicians and bands over messenger and E-Mail. I set up the questions 5 Random Questions and 5 Career Influenced Questions. The artists are on their own time as to when they get back to me and then I post their answers here as they wrote them...no editing, no censoring. Now let's begin....

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The first candidate in line for this new site feature is the one and only Rik Fox...a musician that has in my honest opinion gotten the short end of the stick in the business...however in spite of this he still has a great list of credentials under his belt with various bands in the New York and LA music scenes (among others) his most recognizable was the band Steeler where he played along side the likes of Ron Keel and a young Yngwie Malmsteen. He was also the Co-Founder of LA shock rock legends W.A.S.P., even going as far as naming the band...but that claim is mired in controversy among musicians and fans alike. But....as we say on this site all too much....Let's Do This!

Random questions...

JW: Any awkward school years stories?

Rik: All school years stories are awkward, aren’t they? However, I’ve always been a pretty transparent person, and this is beyond awkward, and, extremely difficult to talk about, but I was sexually traumatized by my Parochial School Third Grade Nun. It was a very terrifying experience of humiliation and degradation. If I can ever eventually get my book finished, the Catholic Church is going to be reeling from the fallout. Jaws will drop, I assure you. Hell of a way to open an interview, eh? I bet you weren’t expecting that salvo.

Well....no I wasn't. Thank you for being so open about that, it is a shocker...especially since I have known you for as long as I have. That took a bit of courage to bring that up and I respect that. (EDITORS NOTE: I want to take a moment to urge the readers of this to please keep any and all comments that may be in poor taste to themselves...they will be deleted from the comments if I see any. Thank you.)

JW: What is your favorite odd food?

Rik: “Odd”? I can’t think of anything ‘odd‘, although I’m something of a chef in the kitchen, I create all sorts of interesting concoctions, including healthy, and cancer-fighting combinations. I contributed one of my recipes to a book of Rock Star Recipes to help fight Autism, I’m extremely honored an humbled to be included among the performers in the book. I’m pretty much a traditional ‘comfort food’ kinda guy, although I watch my health more these days and don’t overdo anything.

JW: Any words of wisdom that you have for those reading this?

Rik: Well, based on my experience in this business, I’m not too sure that there’s that many people who really care about anything I have to say, (and you, personally, have been a witness to some of that). But I will say, that at the end of the day, follow your dream, and, if you can make a positive difference in the life of just one person, then you’ve done your job. If you force-multiply that by many more, and make a positive difference in the lives of others, then you can take that with you and your reward will be waiting for you in the afterlife I guess. It’s good for the soul. It’s all about the energy of Love, especially with animals. Always watch your ‘six‘, and your friends backs too.

JW: When was your first concert and who was it?

Rik: At the age of about 12 or 13, I was taken to see Richie Havens. I guess I was a little too young to get all that acoustic political message stuff, so I really don’t count that. I was always into more up-tempo, popular, or heavy rock. So, I’d have to say that my first ‘official’ concert while in high school, was the legendary night of Grand Funk Railroad and Humble Pie at Shea Stadium in Queens, New York, I believe it was 1970.

JW: Do you have that one go-to album that no matter how many times you listen to it, it never loses its joy for you?

Rik: That’s a tough one, because there’s SO many influences that hit me in my formative years in high school. Honestly, I really can’t nail it down to one album. However a short list would be Steppenwolf, Uriah Heep, Grand Funk, Mountain, Humble Pie, Angel, KISS, Alice Cooper, Captain Beyond, Mott the Hoople, Slade...lots of 1970’s heavy English bands.

Now that we have gone through the lighter section of questions, time to get into the meat and potatoes of this interview...

Career related questions...

JW: How old were you when you started on the road to being a musician, and what set you on that road?

Rik: About 12 or 13. Most definitely hearing my first two albums; The Beatles, ‘Rubber Soul’ and the first Steppenwolf album in December of ‘68. Then, seeing Steppenwolf on TV sealed the deal. I guess seeing bassist Nick St. Nicholas wearing a fringed buckskin jacket and black leather pants looking cool with his Rickenbacker or Gibson EB-3 bass was the ‘IT’ moment for me.

JW: Is there one song or album in your career that you wish you could either fix or forget? If so, what?

Rik: Really listening and practicing to the bass lines of Uriah Heep’s Gary Thain really helped improve my playing style, so, probably, my bass tracks on the STEELER album. I’d love to go back in and re-record my tracks, because I know much better lines now then I did then. I wish I knew then what I know now. It’s too bad there’s no real clear good quality version of that first W.A.S.P. demo I recorded on in 1982, my bass grooves on ‘School Daze’ were really swinging and jazzy.

JW: Being a musician has its bad days, any career horror stories you would like to share?

Rik: Well, right off the top, actually ‘being’ in this business is, in and of itself, a horror story, depending on your POV. I think every band has had it’s ‘Spinal Tap’ horror story in one form or another. I guess the main ’horror story’ that comes to mind is never really having been accepted or respected by a lot of the other players in the business. Especially in Los Angeles. It would be nice if Blackie Lawless finally came clean on the truth about my being one of the original co-founders of W.A.S.P. and admitted that I created the band’s name. But, as we all know, there’s tons of insecure, and jealous players out there and for some reason, people just couldn’t get past my image and really listen to what I was playing, despite knocking out of the park onstage. Personally, I’ve found that a lot of guys really don’t like it if you look cool or dress cool, so they say shit about you behind your back. These days, much of that 80’s image is all gone and it comes down to the music. In 2018, I recorded a couple of tracks on an album called ‘London Fog’ by a guy named Jim Crean, out of Buffalo, NY, and he’s got a laundry-list of top A-List talent on his albums, like myself, all playing guest tracks. He asked me, so I recorded on the album single ‘Broken’ with Dio/Sabbath drummer Vinny Appice, and Jack Russell’s Great White guitarist Robby Lochner and Paul DiAnno guitarist Steph Honde, and another track of an Angel cover with Frank DiMino. Although the album is really good, Honestly, for my part on it, at the end of the day, nobody really gave a shit, especially in trendy Los Angeles. A lot of guys get celebrated when you play with industry heavyweights. But not me. Nobody cared. But, I think, if you listen carefully, you’ll hear some pretty cool bass lines I laid down there. Nowadays, I’m starting to get a small percentage of that acknowledgement from guys I really respect, like The Master; Billy Sheehan, and Badlands bassist Greg Chaisson, and they’ve actually taken the time to listen to how I play and have complimented me, for which I’m honored and humbled. Some people think my time in STEELER playing with Malmsteen was a horror story. But I’ll tell you what, I’m the first bassist on U.S. soil to go toe-to-toe on a daily basis with Malmsteen and I didn’t sweat that kid one minute, I survived. LOL!

JW: As a song writer we get inspired by all sorts of things outside of our genre and even our field, What inspires you musically in your career?

Rik: Good question. I’m pretty well-read. All kinds of topics, all kinds of fields. If you watch Ronnie Dio’s interviews, he says the same thing. That’s where you draw a lot of creativity and inspiration from. Sci-Fi is always a great source, I’m a student of military history, and so, that’s a great source. Look at Manowar and Sabaton; great songs about glorious historic battles. I’ve got the legendary Polish Winged Hussar knights in my ancestry, so that’s very inspirational right there. Channeling your emotions and even anger, is a great way to pour it into song lyrics.

JW: What have you not done in your career that you still want to do? The thing that would put the cherry on the top of your already amazing musical legacy.

Rik: Well, I thank you for even considering my musical career a ‘legacy’ let alone ‘amazing’...From your lips to God’s Ears. That’s extremely very kind of you to say that. The Brass Ring has always seemingly eluded me, and not by my choice. Always the bridesmaid and never the bride I guess you could say. I’ve watched the parade of friends go by on many occasion and nobody reached out to say ‘come on and join in.’ At least I’ve got a few great industry people behind me for which I’m very grateful, like Sola Custom Guitars for my upcoming (by the time you read this) Rik Fox signature “Thunder Eagle” © Bass, DR Bass Strings, Babicz/Full Contact Hardware Bridges, EMG pickups, Pro Player Art Custom Amp Screens, Sew Perfect Custom Patches, Dunlop Picks, and the never-ending support of my wife Tamara, who’s saved my skin on more than one occasion. I’d always like to record on more albums, of course, and, at my age, do at least one arena tour. But it’s getting far too dangerous out there now for that, on top of which, there’s a lot of irresponsible, ineptitude in the booking and promotions end of the business, and, even that godforsaken, stupid, greed-driven ‘Pay-to-Play/Buy-on concept which really takes all the traditional fun out of the whole thing. All the egos out there? Decades later, ‘same shit’ different decade.’ Thanks for having me as your interview subject. As Ronnie would say: “Good on Ya.”

And thank you so much Rik. From here on is some recommended content and artist links for you to check out. I ask the artist if they have anything in particular to share and this is what they give me. Please enjoy these links and their content, the artists I tend to reach out to are ones that I truly believe are worth your attention...thank you for taking the time to read this content...and stay true.

His website:

rikfoxbass.wix.com/rikfox

His reverberation page...

https://www.reverbnation.com/rikfox

"I'm not in the  video but I'm on the track with Dio/Sabbath drummer Vinny Appice, and guitarists Robby Lochner from Jack Russell's Great White and Steph Honde of Paul DiAnno/Hollywood Monsters."

Video for "Broken" by Jim Crean


Video for "Don't Take Your Love" by Jim Crean

(Links will open in a new window)

My personal recommendation is the debut album from Steeler. A nice chunk of 80's hard rock and a joy to listen to, especially considering the talent on the thing. It can be purchased in various ways....check your favorite online music distributor to get your copy today.

Anvil - Legal at Last Album Review

Anvil - Legal at Last (2020)

Released on AFM Records & Ward Records (Japan)

With cover art and an album title double entendre that I can hardly keep a straight face over, Anvil rolls out its 18th studio full length effort. After an relatively consistent decade, which started off strong with Juggernaut of Justice, one of my favorites that they'd put out since the 80s, one would think it's a little difficult to build up any sort of expectations for whatever is going to happen next (especially with the mega solid 2017 offering "Pounding the Pavement"). The Canadian trio are survivors, I'll give you that, whether their hit documentary film spurred them on through the 21st century or not, Still, their output kinda fluctuated a bit but even at their most 'meh' they weren't all bad, 2016's Anvil is Anvil was a fun enough outing, and Legal at Last offers more along those lines, a dozen tracks of primitive, meaty heavy metal which offers no surprises whether you've been following the band for 4 weeks or almost 40 years...but then again, you won't need any.

As you've guessed from the title, this one's going to have a handful of Anvil's crushing sonic love letters to the marijuana, but despite the silliness with which their lyrics are often imbued (you would be shocked as to how many don't actually get it), the music itself is no joke, just some energetic heavy metal, starting out faster with the title track, and then going into one of their loping, mid-pacing, burning metal numbers "Nabbed in Nebraska" which will slightly remind you of fare like "Metal on Metal", "Concrete Jungle" or "Forged in Fire" only not nearly so legendarily catchy, but still a stand out among those tracks. But Robb Reiner's drums sound really powerful throughout, and they pull off a nice lead bridge and some backing vocals heavily reminiscent of old Twisted Sister. Other fun numbers include "Chemtrails", the rumbling "Gasoline" and the twisting "Talking to the Wall", a cool, darker, menacing cut which reminded me a lot of some of my favorite Anvil stuff on discs like Pound for Pound or This is Thirteen. Great riffs here, with a steady mid-paced tremolo picking and Lips sounding as bent ass angry as he gets these years. And the hits don't stop coming there, in fact there aren't really any tracks here that I'd consider weak, and the vast majority of the material is hard hitting and memorable enough that I've been enjoying repeat listens since it released.

Honest, blue collar heavy metal with a monumental rhythm section. The Lips/Reiner/Roberston lineup has really solidified over the last few years and they make this all sound effortless, not that it's particularly technical or nuanced (but that has never been the point of this band) for the genre but they clearly sat there and managed to come up with a dozen ragers at varied tempos, with no real filler. Hell, they even save the heaviest track "No Time" for the end, another one that throws me back to their darker sounding stuff from the past, and another killer lead sequence. Anvil has a distinct sound in their field, instantly identifiable, and this one plays to all of their strengths without ever drifting off into some of the issues that have affected more than half of the records they've put out since the early 90s. Should satisfy the long term audience as well as younger folks just looking for some bar-busting, catchy heavy metal with zero pretentiousness anywhere to be found. You might not be able to hammer out an effective weapon or tool on that glass mascot bong, but they'll certainly club your ears in with this record before fleeing town with your old lady and a bag of ganja.

And to think, because of the current pandemic we will be getting more from these guys this year... can't wait.

Score: 4.5/5

TECHNICAL INFORMATION:

Anvil

Steve "Lips" Kudlow – vocals, guitars

Robb Reiner – drums

Chris "Christ" Robertson – bass

Production

Jörg Uken – producer

Martin "Mattes" Pfeiffer – producer

Alice Cooper Raise Your Fist and Yell Album Review

 

Alice Cooper - Raise Your Fist and Yell

QUICK FACTS:
Raise Your Fist and Yell is the tenth solo album by rock musician Alice Cooper released on September 5, 1987. It features the track “Prince of Darkness”, which is featured very briefly in the John Carpenter film of the same name, in which Cooper has a cameo as a murderous vagrant. The song can be heard on the Walkman of one of his victims. A music video was made for the song "Freedom", which also became the album's sole single. Raise Your Fist and Yell is the only Alice Cooper album to feature Ken K. Mary on drums and the second and last to feature Kip Winger on bass.

The album continues the slasher film trend created by Cooper’s previous album Constrictor. The track “Lock Me Up” features a guest appearance from Robert Englund, who portrayed Freddy Krueger in the A Nightmare on Elm Street series.

The album cover for Raise Your Fist and Yell was painted by artist Jim Warren.

THE REVIEW:
Growing up in Florida, finding good music was a bit of a challenge back in the day. Suuure, nowadays you have your fancy, schmancy Internet and can order any CD at anytime from anywhere, or stream anything you want from one of a bazillion streaming sites, but back then we didn’t have such luxeries (yeah, we walked to school uphill both ways, too).

In 7th grade, my friends and I discovered a heavenly like being – and that being was the BMG Music Club. No longer were the metal heads of geezerville limited to Target's shitty music selection, or the few actual record stores that stocked more than the crap on the radio – oh no horn flyers, for only a penny you could order 11 rockin’ cassettes. The cassettes were white, the inserts were usually missing, the cases were often cracked, and we could care less. When you first opened that box of 11 cassettes it was like Christmas for Headbangers.

One of the first 11 tapes I got from BMG was Alice Cooper’s Raise Your Fist and Yell (I also ordered Constrictor at the same time, that review will come later). What I knew about heavy music was from MTV, my friends, and my dad. MTV had introduced me to Motley Crue, my friends had introduced me to Metallica, but my dad’s record collection was the first place I had ever seen anything that was actually loud. to tell you the truth I didn’t even know much about Alice Cooper at the time – my friends and I would just scour the BMG catalog looking for the most creepy album covers, and order them. That’s how I discovered Iron Maiden’s Number of the Beast, SOD’s Speak English or Die, and this one – Alice Cooper’s Raise Your Fist and Yell.

If you’re a fan of 80’s era rock and roll, this is a must own album. It’s got all the dementia of your average Cooper album, but the music is a far cry from his old stuff. The style on the album is more on par with other rock bands of the era – think Bulletboys or even Ratt for that matter (just a bit more twisted). This is the album before Trash (you might remember the single Poison, that review is coming as well), so if you’ve heard that you know roughly what you’re in store for, although Raise Your Fist is the edgier of the two albums. Of course, the music on the disc just serves as a vehicle for Alice Cooper’s madness, plenty of which is presented throughout the 10 song lineup.

The disc opens up with “Freedom,” a rousing anthem that demands that we get our “freedom to rock” and “freedom to talk”. The chorus also demands that we raise our fist and yell. Not some of his deepest lyrics, but it works great as an album opener.

“‘cuz I never walk away
from what I know is right
but I’m gonna turn my back on you … ” – Freedom

Many of the songs on the album could be considered filler. That doesn’t make them bad, just not great singles. Still, they’re all very singable and catchy. In “Not That Kind of Love,” Cooper sings about wanting to touch, feel, and taste a girl, and tacks on “don’t get ideas, this won’t last forever.” At one point he says “I won’t be calling you to go to the prom.” Can you imagine 60 year old Alice Cooper taking anyone to the prom? What a great visual. Instead of a flower he could wear a billion dollar baby pinned to his lapel. Ah shit, where was I?

Many of the songs on the album are anthems of sorts. There’s “Give the Radio Back” which talks about how he’s tired of being in school and how his friends are partying outside and he wants his radio back. Again, just thinking of Alice cramped up in one of those little school desks. “Mr Cooper, can you PLEASE take off that top hat! This is a school!” Another anthem is “Lock Me Up,” where Alice sings over and over “If you don’t like it you can lock me up, woah, oh oh oh, oooooh,” which is a message to his musical critics.

“Cover your eyes,
Cover your head,
You’ll never know what hit you
til’ you’re covered in red … ” – Lock Me Up

For all the fluff, Raise Your Fist and Yell has a couple of not only my favorite Alice Cooper songs, but some of my favorite songs of all time.

By far, a favorite song on the disc is “Chop, Chop, Chop.” If you know Alice Cooper, most of his songs are stories – this one just happens to be about a guy who performs a service for his town. Unfortunately for local prostitutes, that service is picking up local prostitutes and chopping them up, “keeping the city so clean.” I LOVE it!

“Chop, chop, chop, engine of destruction
Chop, chop, chop, a perfect killing machine
Chop, chop, chop, it’s symbiotic function
Chop, chop, chop, I keep the city so clean” – Chop, Chop, Chop

There are a couple of other classics on the disc as well. “Gail” is a song about a girl who has been dead and buried for quite sometime. As the “bugs serve time in her skeletal jail,” he wonders how the bugs remember Gail. Later in the song, a dog digs up a bone and wags his tail, and he wonders how the dog remembers Gail. Cool stuff. In “Roses on White Lace,” Cooper chops off the head of a former love who has betrayed him. “In my own way, I lovingly kiss the bride.” Ew.

Time To Kill is a song about a guy who’s been locked away in prison and is ready to kill when they let him out. Prince of Darkness is a song about Lucifer – not praising him, but more just the story about how he was cast out of Heaven and how he’s waiting for revenge. Of course this WAS the 80’s, so you had to have SOME Devil reference on your disc to get any sort of credibility.

I find most of Alice Cooper’s music from the 70’s to be a bit slow and an aquired taste (obvious classic exceptions excluded), and his new stuff to be just a little radio friendly, not that it's bad or anything, it is Alice Cooper after all. For one album though, I think he hit the nail right on the head. I’ve bought every other Alice Cooper CD over the years without any regret. Currently this is one of several Alice albums that are out of print, and it is pretty much a product of it's time, yet it serves as a fulcrum in his discography between his kinda chaotic output before and his more solidly consistent albums since. While not all the songs are heavy hitters, they’re all singable and just this side of “pop”py, even though they all maintain an evil streak running through them, thanks mostly to the edgy axe work of Kane Roberts (yeah, the guitarist who looked a bit like Rambo and had a machine gun guitar).

It’s especially a great CD for road trips. Even you might catch yourself singing “Chop chop chop!” while cruising down the road. The music on Alice Cooper’s Raise Your Fist and Yell may be dated in the 80’s, but the songs themes (especially about the Devil, killing prostitutes, cutting the head off of your first true love, and demanding the right to rock) are timeless.

SCORE: 4.5/5

Released September 5,1987
Recorded 1987
Length 36:53
Label MCA
Producer Michael Wagener

01. Freedom
02. Lock Me Up
03. Gave the Radio Back
04. Step on You
05. Not that Kind of Love
06. Prince of Darkness
07. Time to Kill
08. Chop, Chop, Chop
09. Gail
10. Roses on White Lace

PERSONNEL:

Alice Cooper - Vocals

Kane Roberts - Guitar, backing vocals

Kip Winger - Bass, backing vocals, keyboards on “Gail”

Paul Taylor - Keyboards

Ken K. Mary - Drums

AC/DC Back in Black Album Review

 AC/DC - Back in Black

I may as well start this one with my score, it's a solid 5/5 easily and an all time classic to the Nth degree. What can you say about it or the band who made it that hasn't been said before? This is simply one of those albums everyone must listen to at least once in their lives, it's just that good and representative of the genre it's in. But I will try to do this album justice through this review, so strap yourself in and let's do this....

When Sydney, Australia’s AC/DC released their fifth album Back In Black, it became an instant epic in the quintet’s discography. Yet the success was bittersweet, coming in the aftermath of the death of original lead singer Bon Scott, whose vocals on previous albums made songs like “Highway To Hell,” “TNT,” and “Dirty Deeds Done Dirt Cheap” resonate with audiences around the world.

The band’s previous albums – High Voltage (1976), Let There Be Rock (1977), Powerage (1978), and Highway To Hell (1979) each found the band ascending to a new level. When Bon Scott died in 1980 after suffocating on his own vomit from a night of excessive drinking and falling asleep in his car with his head tilted back against the head rest, the remaining members were pressed to find a new lead singer. Through the grapevine of the music business, the members of AC/DC heard about a brute singer from Newcastle, England whose scraping vocal purveyance was similar to Scott. Enter Brian Johnson.

The album Back In Black was recorded in a studio in the Bahamas with producer John “Mutt Lange” (Cars, Def Leppard) and was to be released within six months after Scott’s death. The immortal title track would serve as a tribute to fallen leader Bon Scott.

The ten tracks on Back In Black are revved-up toe- tapping pulsations with roughly knotted edges strewn across them. The twin guitar turbines of the Young brothers, Malcolm and younger brother Angus, emblazon the songs with crunching riff-ola and roughshod cuts that bite, squeeze, scrape, and punch across the kicking rhythmic beats. The scratchy textures of Brian Johnson’s vocals project a soul torn in agony like going through an exorcism or some bone crushing ordeal. His coarse vocal scats rip and tear, snicker, screech and snarl through the songs. Bass player Cliff Williams and drummer Phil Rudd kept the beating hard and pounding solid. Their songs are odes to the loud, crude, rawness of rock, showing influences from Led Zeppelin, Thin Lizzy, and Ike and Tina Turner. In fact, Brian Johnson’s first rehearsal with the band included a rendition of Ike and Tina’s song “Nutbush City Limits.”

The haunting convolutions of “Hells Bells” opens the album, as the band engraves a trail of speeding thrusts on “Shoot To Thrill” and charging choruses on “What Do You Do For Money Honey.” The bluesy rock axis holding up “Givin’ The Dog A Bone” is roped by head banging beats even branching the album on a more melodic scale. “Let Me Put My Love Into You” features cranked drum strikes and brawling contortions while the title track struts with a cool boogie groove. “You Shook Me All Night Long” is a foot stomping rowdy gambol. “Have A Drink On Me” delves into hard rock verses tweaked by ripping guitar hooks. “Shake A Leg” resounds as the harbinger to power-pop metal and “Rock And Roll Ain’t Noise Pollution” bolsters blues/rock ridges along ruffled guitar gyrations.

Angus Young told VH-1 Classics that his older brother and former band producer George Young advised him during the recording of Back In Black to write songs as “if you were an unknown band, how would you want to attract an audience.” Mutt told them, “You gotta get that impression across that you’re presenting something new that nobody’s heard for the first time.”

But AC/DC have managed to hold up for fourth seven years since their inception in 1973 as Angus reveals, “If you want to make a record that’s gonna be around, you gotta aim for your fans, because they’re the ones that are always gonna be there.” He claims that his philosophy has kept them young and energetic and at 65 years old, he can still rock a schoolboy uniform on stage like nobody’s business.

Score: (See Top of Review)

Personnel:

Band:

Brian Johnson – lead vocals

Angus Young – lead guitar

Malcolm Young – rhythm guitar, backing vocals

Cliff Williams – bass guitar, backing vocals

Phil Rudd – drums

Production:

Robert John "Mutt" Lange – production

Tony Platt – assistant engineering

Benji Armbrister – assistant engineering

Jack Newber – assistant engineering

Brad Samuelsohn – mixing

Bob Ludwig – mastering (original LP)

Barry Diament – mastering (original CD releases)

Ted Jensen – remastering (EMI/Atco reissue)

George Marino – remastering (Epic reissue)

Bob Defrin – art direction

Robert Ellis – photography

Lizzy Borden Visual Lies Album Review

 

There are a few things one has to take into account to avoid an immediate bias against Lizzy Borden. For one, they were 'glam' in the sense that they wore big hair and trashy 80s metal gear like Kiss or Poison. Second, they were a very theatrical band, and they liked their women in leather with hair as big as their own. Third, Lizzy himself, the vocalist, has a voice which can sooth like a crystal scream or wail like a siren, an obstacle for some.

That being said, they are one of the best metal bands ever produced in the United States of America, with a pretty spotless discography. With all that hairspray, I didn't want to believe it either. Sitting at the peak of this body of work, alongside the rock opera of Master of Disguise, is the excellent Visual Lies. This record has a lot in common with Menace to Society or Love You to Pieces, but it's got a cleaner, accessible sound that in no way hinders the marvelous songwriting.

Every track on the album is loaded with memorable riffs and charming vocal melodies. The guitars are expertly crafted: every hook, every melody, every lead, no wasted notes. "Me Against the World" is power metal lite, deriving its energy from the constant, steady thump of its rhythm guitars and big NWOBHM chorus. In fact, Lizzy's entire style is like a beautiful dedication to the masters of NWOBHM who paved the road for 80s hard rock. "Shock" is another another mid paced track with the huge vocal hooks and delicate, memorable guitars. "Outcast" starts with a great riff, and slows for an emotional, acoustic verse. This verse alone has better vocals in it than many bands have on their entire records...and of course, another of those amazing chorus hooks that should have ensured this band would have dominated radio play if the $$ weren't changing hands for other bands to do so. "Den of Thieves" picks up speed at just the right time on the record, and the guitar work during the verse is simply stunning, with some kickass leads to boot. This is one of my hands-down favorite Lizzy tunes, and for the power metal's fans time and money, the one you want to hear the most on this album.

The title track "Visual Lies" uses some gentle melodic picking lines to create an incredible atmosphere before the swollen, glorious vocal hooks that could easily have given Cinderella or Def Leppard a run for their money. "Eyes of a Stranger" may not be the equal to Queensryche's track of the same name, but it's an excellent melodic mid paced fist pumper. "Lord of the Flies" once again picks up the pace for some more extremely memorable speed metal. It's almost a shame that so many of the songs on the album are slower, not that they're bad by any means, but it would have been a pleasure to hear an entire album where Gene Allen and Joe Holmes were allowed to just go off. "Voyeur (I'm Watching You)" also has some delightful licks but based off more of a blues hard rock vibe. The album ends with the great "Visions" and its swinging hooks and rollicking percussion.

Visual Lies is easily the best produced album of 1987 (having veteran producer Max Norman at the helm definitely made the difference), I don't hear many albums in the 21st century that come close to sounding this good. Every note is at the perfect level and no element of the music dominates another. With a vocalist this graceful and talented, that's not an easy feat. The guitarwork deserves an award for both its restraint and the sheer amount of quality found in every track. This album is a major achievement and it's a crime the band doesn't get the credit it deserves. While not as directly heavy, the material is easily as catchy as a Primal Fear or Hammerfall, in fact it's superior.

SCORE: 5/5

Released: September 5, 1987
Studio: Long View Farm
(North Brookfield, MA)
Genre: Heavy metal, glam metal
Length: 41:50
Label: Metal Blade

Players:
Lizzy Borden - Vocals

Gene Allen - Guitars

Mychal Davis - Bass

Joe Holmes - Guitars

Joey Scott - Drums

Produced by veteran metal producer Max Norman (Ozzy Osbourne, Savatage, etc.)

King Diamond The Eye Album Review

 

It has always surprised me a little to see King Diamond's solo albums praised more on the media review front than his work with Mercyful Fate, since the earlier band was arguably more influential for the metal scene, appearing as they did at the time when many of the more extreme subgenres were emerging. The solo work represents a slightly simpler, certainly catchier take on the free-flowing melodic metal genre, generally approaching the NWOBHM sound from the angle of Angel Witch or Satan and adding even more campy drama and lead guitar exuberance. This album is probably the least progressive and innovative of all the early albums featuring King, though it is widely attested as one of the best examples of pure heavy metal played with feel, flair, and instant appeal.

Now there is no denying the storytelling capabilities of Mr. Diamond but this album is a bit of a departure for him, I'll elaborate, his two prior concept albums (Them & Conspiracy) had been told from the perspective of the protagonists; this one is told from the view of a narrator. The themes of Christian atrocity with the persecution of alleged witches and sexual abuse against nuns are present.

The story starts off with an unnamed character finding a necklace called "The Eye", that allows him/her to see the events the necklace was witness for in the past. They see an accused witch named Jeanne Dibasson being tortured and burned at the stake. Next they see two little girls finding the necklace in the ashes at a stake, and what they see when they look in the eye kills them. Finally there is the story of Madeleine Bavent, a nun working in the Louviers convent, who finds the necklace and decides to put it on. After being raped by Father David, she uses the necklace to kill him by making him look into it. Shortly after, the new Chaplain, Father Picard, arrives and starts bringing everyone to communion. He winds up lacing their communion wine with some substance that lets him control their minds, and uses a group of nuns including Madeleine to ritually torture and kill children. In 1642 all are arrested and imprisoned.

The main parts of the stories told on this album are true, and took place during the French Inquisition, 1450–1670. All of the following characters are real and from that period of time:

-Nicolas de la Reynie (spelled "Nicholas de La Reymie" in the lyrics): Head investigator of the Christian Burning Court (Chambre Ardente), in Paris, France.

-Jeanne Dibasson: Supposed witch.

-Madeleine Bavent: 18-year-old French nun who entered the convent at Louviers in 1625, after having been seduced by a priest. Died in 1647 in prison.

-Father Pierre David: Chaplain of the convent at Louviers till his death in 1628.

-Father Mathurin Picard: Chaplain of the convent at Louviers from 1628 to his death in 1642.

As an album 'The Eye' is much more accessible after the tangled structures and longer songs of 'Conspiracy', which comes as a relief for me, having found that album somewhat of an impenetrable endurance test at times. 'The Eye' also improves on the conceptual oversight of '"Them"', which began to turn into pure theatre at the expense of the music. The concept for this album seems more apt for use as the storyline for a heavy metal record, the Inquisition having already the requisite sense of drama and savour of truth that the haunted house/ghastly family concept never achieved. What that means is that 'The Eye' serves as a good introduction to King Diamond's work and has the potential both to initiate newcomers and alienate older fans of the heavier, more knotty material. For me, it's a very pleasurable album to listen to, since it doesn't take any effort to appreciate, despite some of the old problems with this band's output.

In the first place, the guitars on this record sound wonderfully smooth, which isn't a compliment often thrown about in heavy metal. If one thinks of Dave Murray's (Iron Maiden) classic lead tone and glazes the surface of that tone with ambrosia, we get pretty close to what Andy LaRocque and Pete Blakk sound like here. There isn't really any crunch or grit to their riffs or leads, but they float and flash and scamper playfully over the top of Snowy Shaw's more decisive drums and the bass of Hal Patino, which is sometimes energetic, sometimes subdued. King is also less abrasive than some of the earlier albums displayed, showing almost a knack for subtlety (gasp!) and also using smoothness admirably to create some beautiful atmospheres and reflective moments, for example in the quieter parts of 'The Meetings'. He goes through all the voices and has a crack at narration in 'The Trial (Chambre Ardent)', though he sings in a notably measured way that complements the music slightly better than before. There are still moments of excess, such as the overdone keyboards on 'Two Little Girls', which doesn't contain much of musical merit, as well as Jeanne's voice in 'The Trial', which just sounds silly.

For the most part though, we are treated to an album full of feeling. The emotional range that this concept provides is welcome for those who tired quickly of the constant shocks and creepiness of the previous 4 albums, while the exceptional lead guitar work is a masterclass in melodic detail. I've always thought that LaRocque was slightly too reliant on effects for his solos on 'Abigail' and the likes, so it's great to see him and Blakk chill out a bit and paint with notes, rather than blitzing the listener with everything through the pedals. The swell and roll of a solo like that of '1642 Imprisonment' is gorgeous, particularly when balanced by King's varied vocal lines giving more pace and power to the gentle riffs. That word gentle might be a warning sign for some metal fans, though there are faster and heavier moments in 'Behind These Walls', 'Into the Convent', and 'Burn', which features one of the most appropriate combinations of guitar and violin in classic heavy metal. When this band get going, as with 'Behind These Walls', they sound like a force to be reckoned with, yet there is something slightly unsatisfactory about the preponderence of lighter sections, which makes the album feel almost relaxed at times. However, you can still turn the volume up, so...it's up to you really.

As I mentioned, I find this album very pleasant to listen to and it can suit many moods, but it's not quite gripping enough at times, subsisting at a comfortable medium between Mercyful Fate's raw heavy metal and the fluidity and timelessness of Iron Maiden's late 80s work. Therefore, despite addressing some of the cheesiness and lack of focus that beset King's earlier solo material, 'The Eye' allows itself to slide back by staying just a little too laidback and well-rounded. For me, I have nothing particular against this album, yet I can't exactly say I love it either, for me it does lack the punch of previous works because of all the digital additions (up front keyboards, digital drum pads, slightly sterile production). Thus, I can merely give it a warm recommendation and declare it a strong addition to the music of King Diamond's discography.

Score: 4/5

Released: 30 October 1990

Genre: Heavy Metal 

Length: 43:53

Label:Roadrunner

Producer: King Diamond

Players:

King Diamond - vocals, keyboards

Andy LaRocque - guitars

Pete Blakk - guitars

Hal Patino - bass

Snowy Shaw - drums

Roberto Falcao - keyboards