Motörhead Ace of Spades Album History/Review

Motörhead - Ace of Spades (1980)

Members:

Lemmy – vocals, bass, backing vocals on "Emergency"

"Fast" Eddie Clarke – lead guitar, lead vocals on "Emergency"

Phil "Philthy Animal" Taylor – drums (except on "Please Don't Touch" & "Emergency")

Kim McAuliffe - rhythm guitar on "Please Don't Touch"

Kelly Johnson - co-lead vocals & co-lead guitar on "Please Don't Touch"

Enid Williams - bass on "Please Don't Touch" (NOTE: Enid and Lemmy play bass on the track, making it a six piece for this song)

Denise Dufort - drums on "Please Don't Touch" & "Emergency" (NOTE: Denise plays all the drums on the EP because Phil had a broken neck at the time)

Ace of Spades is the fourth studio album by the band Motörhead, released 8 November 1980, on Bronze Records. It peaked at No. 4 on the UK Albums Chart and reached Gold status by March 1981.[2] It was preceded by the release of the title track as a single on 27 October, which peaked in the UK Singles Chart at No. 15 in early November.

It was the band's debut release in the United States, with Mercury Records handling distribution in North America.

Production:

Production:

Vic "Chairman" Maile - producer, engineer & mixing

First Impression:

Classic release...not much more can be said.

As a teen I discovered Motörhead through the song "Iron Fist" which was the album after this one, but when I finally got my hands on this one I figured out what was so special about this band...pure raw Rock and Roll goodness, non apologetic, in your face power. This album made me a fan of this legendary band, and to this very day I will sing the praises of this band and especially this very line up...Lemmy, Phil, & Eddie will always be synonymous with this band and its legacy. This album is a beast and I can't be non biased about it...but in this review I will give my honest opinion about every track on the version I have which is the 1996 re-release. However before I dive into this record, let's cover some history about this band and this album...ahem....

By 1979, Motörhead had released two successful albums, Overkill and Bomber, and had gained a loyal fan following by constant touring and television appearances. Their ferocious, loud proto-thrash playing style appealed equally to punks and heavy metal fans alike, but in 1979 Sounds writer Geoff Barton coined the term "New Wave of British Heavy Metal" (NWOBHM) to classify a slew of newer bands such as Iron Maiden, Def Leppard, and Saxon. Motörhead — a band that resented being labeled anything other than rock 'n' roll — was placed in this new genre, which would go on to influence the emerging thrash metal movement that would include bands like Metallica and Megadeth. In the 2011 book Overkill: The Untold Story of Motörhead, Author Joel McIver quotes vocalist and bassist Lemmy:

"..I like Iron Maiden and Saxon out of the new mob, and that's about it, really...We were too late for the first metal movement and early for the next one...Motörhead don't fit into any category, really. We're not straight heavy metal, because we're a rock 'n' roll band, which no-one knows how to market anymore.."

Regardless, the association with NWOBHM would be another positive element in the increasing momentum that would lead to the band's most successful commercial period at the beginning of the new decade. In fact, United Artists decided to finally release the band's "lost" first album at this time under the title On Parole, which had originally been recorded in 1976 but shelved because it was deemed commercially unviable. Next, the Big Beat label, which had taken over Chiswick's catalogue, released Beer Drinkers and Hell Raisers (EP), packaging four extra tracks that the band had laid down for their debut album. Further evidence of Motörhead's nascent mainstream success was the release of the EP The Golden Years in May 1980 on Bronze Records, which became their highest charting release to date, peaking at #8.

Motörhead recorded Ace of Spades with Vic Maile at Jackson's Studios in Rickmansworth in August and September 1980. Maile, who had worked with the likes of Jimi Hendrix, Led Zeppelin, and the Who, had crossed paths with Lemmy when he was a member of Hawkwind.

And so the seeds were planted and the planets aligned for this release that would cement their place in the catalogs of both punk fans and metalheads the world over for generations. This album isn't at all perfect though but it can be used to define a large portion of this band's legacy as they would not stray too far from its formula all throughout their career...not that the previous albums were very different structurally but they were sonically less direct and a bit less in your face at times. So how can I review this one without kissing a ton of Motörhead ass? Well, you can't actually but I can be honest with how I see this album track by track...but I won't do that with this one as I will come off far too obnoxiously fanboy with this thing. Instead I will summarise my feelings about this album at the end of the review.

HOWEVER...I will add a bit of info about the connected EP (by way of 2 tracks off of the 1981 release "St. Valentine's Day Massacre" on the version that I have here) to this one that they recorded with the all female band Girlschool (another favorite band of mine by the way) under the name Headgirl.

Headgirl was a collaboration between Motörhead and Girlschool in 1980, the result being the St. Valentine's Day Massacre EP, though the groups were credited as Motör Headgirl School on the EP. The collaboration between Motörhead and Girlschool started in March 1979, when Motörhead began their first big tour with Overkill and Girlschool were their opening act. Lemmy had heard Girlschool's single "Take It All Away" and thought they were "fucking excellent" and liked the idea of girls being in a band. In his opinion, Kelly Johnson was as good as any guitarist that he had ever seen in his life and "wanted to stick it up these pompous bastard guitarists' arses". In late December 1980, Motörhead's drummer, Phil Taylor, broke his neck, preventing his continuing to play, so Motörhead's producer, Vic Maile, suggested they record a single with Girlschool. Lemmy chose "Please Don't Touch" by one of his favourite groups of the past, Johnny Kidd & the Pirates. For the flipside, the bands recorded each other's songs — Girlschool performed "Bomber" and Motörhead performed "Emergency", although Denise Dufort played drums throughout. The record was released on 14 February 1981, as St. Valentine's Day Massacre EP and reaching No. 5 in the UK Singles Chart, it became the biggest hit either band ever had in the charts. On 6 February 1981 the bands had been filmed in concert for a Nottingham TV show called Rockstage and on 19 February 1981, billed as "Headgirl", they appeared on Top of the Pops playing "Please Don't Touch". With Girlschool as special guests on the Motörhead 2005 Inferno UK Tour, Lemmy joined the band at the end of their set at Brixton Academy on 19 November to play "Please Don't Touch" for the first time ever live.

In 1981 a Japanese 12" single was released on the Bronze/Victor label, based on "Please Don't Touch" under the name Motorschool. Issued in a picture sleeve, it included "Bomber" played by Girlschool, "Emergency" and "Bomber" played by Motörhead, and "Emergency" and "Yeah Right" played by Girlschool. Lyrics to the songs were printed in English and Japanese. Bronze used the Headgirl collaboration again in 1981, this time for a 12" vinyl release in the Netherlands called Hard Rock On 12 — the record plays "Please Don't Touch", "Stay Clean", "Metropolis" and "Demolition Boys" but listed entirely different tracks on the sleeve.

However as it must be said, nothing goes on forever and we all succumb to our fates, this is where I'll end this bit with the final facts on this original line-up of Motörhead and their kindred spirit band Girlschool...Kelly Johnson, formerly of Girlschool and also guitarist with Headgirl, died on the 15th of July 2007, aged 49, after suffering from cancer of the spine for six years. She was followed by former Motörhead drummer Phil "Philthy Animal" Taylor on the 11th of November 2015, aged 61, after succumbing to liver failure, by bassist-vocalist Lemmy on the 28th of December 2015, aged 70, from cancer, and by Motörhead's lead guitarist "Fast" Eddie Clarke on the 10th of January 2018, aged 67, from pneumonia. Motörhead broke up when 2015 ended, while Girlschool still perform to this day.

And as a side note about the lead single off that previously mentioned EP. "Please Don't Touch" is the debut single by English rock and roll group Johnny Kidd & the Pirates, released in 1959 reaching number 25 on the UK Singles Chart. Just for some info for you.

Track List:

1."Ace of Spades"2:48

2."Love Me Like a Reptile"3:23

3."Shoot You in the Back"2:39

4."Live to Win"3:37

5."Fast and Loose"3:23

6."(We Are) The Road Crew"3:13

7."Fire, Fire"2:44

8."Jailbait"3:33

9."Dance"2:38

10."Bite the Bullet"1:38

11."The Chase Is Better Than the Catch"4:18

12."The Hammer"2:48

Castle Communications 1996 CD reissue bonus tracks:

13."Dirty Love" 2:57

(B-side of Ace of Spades single)

14."Please Don't Touch"2:49

(St. Valentine's Day Massacre EP)

15."Emergency"3:00

(St. Valentine's Day Massacre EP)

Conclusion:

I didn't do the usual track by track for 2 major reasons:

1) this review would be far to fanboy like and I don't want to come off that way....although it did become more a history lesson and less like a review.

And...

2) in all honesty this is a legendary album with a ton of backstory and a ton of viewpoints on it. It's an album that is viewed differently by everyone who hears it and plays a part in the lives of millions of people world wide. I have no business stating my opinions in such a way as to make you see things on a different way and harboring a bit of hatred for me...I won't do that. All I will say about it in my own view is this, this album is not perfect, and I honestly think in some ways this band did much better later on, and not every song here is a winner on its own, but as a package there is not much else in this genre that can tough it for raw power and ambition. The lyrics are simple, the drumming is tight, and all the guitar work is stellar for its time. Lemmy delivers the goods like he always had done up to this point and even after, with his chin up and his middle finger out for everyone to see. This band always gave 110% to the music and never looked back. So for that this album will receive my highest rating and a major recommendation...more bands should be like this one always was...all about the Rock and Roll.

Score:  5/5

Possessed Revelations of Oblivion Album Review

Possessed - Revelations of Oblivion (2019)

Members:

Jeff Becerra – vocals

Emilio Márquez – drums

Daniel Gonzalez – guitar

Robert Cardenas – bass

Claudeous Creamer – guitar

This album was initially set for release in 2018, but was delayed. On March 15, 2019, the album title was revealed as Revelations of Oblivion, and it was released on 10 May 2019 (on Nuclear Blast Records), making it Possessed's first full album in 33 years. The album entered the UK Rock & Metal Singles and Albums Charts at #7 in its first week.

First Impressions:

Well, this was a surprise I really didn't see coming.

My first experience with Possessed came from a compilation cassette I got for free at Camelot records. This compilation had tracks from a lot of bands I knew of or became a fan of through it, bands like Death, Voivod, Dark Angel, Heathen, Agent Steel, and quite a few more. But among these tracks was a song called "Confessions" by this band and it just blew me away only 2 other songs on this tape had the same effect but this one stuck just a bit more. It was aggressive and grating in a way that just made you want to break things. The vocals and lyrics were just amazing and above all it was just relentless. I found out shortly after from a friend that this track was on an EP called "The Eyes of Horror" and he just so happened to have this and their other 2 albums in his collection, so he let me borrow them for a couple days. What I experienced was a true game changer for me in terms of my music taste. This band was raw and dark, plus it had this guttural feeling like it crawled straight from the depths of hell itself. This was my first taste of what would help create a much broader and more vicious genre of metal...DEATH METAL. Now quickly on that, there are those that see this band as the first real death metal band but from my perspective I never saw them as that, they were proto types for the genre along with a few other bands at that time, and they helped lay the foundation for what became death metal...however, Possessed deserves far more credit than that simply because they took an existing form of metal and mutated it into a solitary trademark sound and style all their own, a sound that influenced generations of death metal and thrash metal bands that came later. But, I digress....let's get back to this particular album. Now, I know Jeff, I've known him for quite a number of years in fact, but knowing that don't expect this review to be an ass kissing session, this will be done in an honest way with as little bias as I can do. But when this album hit I honestly wasn't expecting it...now Jeff did hint at it and dance around it for a while but when it was on point for release I was surprised, he started pitching it all over social media and when I knew it was really gonna hit, my mind flashed back to those days when I first heard this band, and I got all stoked up for it...but now that it is out, and has been for a while now, was it worth the 3 decade wait? Well let's get out our exorcism kits and make this beast confess its sins, track by track as always....Let's Do This!!!

1. "Chant Of Oblivion" 1:54

Your basic intro track that sets up the mood for the album. Church bells and chanting and some kinda horror movie symphonic music...makes me want to watch an old horror movie.

2. "No More Room In Hell" 4:48

And now the chaos begins, pure aggression and that trademark Becerra vocal style that hasn't changed since "Eyes of Horror". This is a furious whirlwind of a track, it just doesn't let up for a second. The guitars on this thing just slice through the production on this and assaults your ears in a very satisfying way. This is a great track and shows this band hasn't missed a beat.

3. "Dominion" 4:25

This one shows off what I believe about this band. They are more than others label them. This track has a great thrash foundation where other much darker elements are added. This track has a groove to it that sets it apart from the crop of what people would label as Death Metal these days. This is a track that would be at home on any of their albums.

4. "Damned" 5:01

Another one that is a beast, it starts by slow plodding your senses then just cutting into your very soul. This bludgeonfest of a track is one of those songs that you need to listen to be couple times to dissect it, there is a bit more going on here than a single listen could reveal. It is very aggressive and for me, that is a very good thing.

5. "Demon" 5:16

I don't care what others say, this band wears its bay area thrash roots on its sleeve...now if it's intentional, I don't know but this (and many other songs by this group) really puts it in front of you. The dark and aggressive twist to it is there as well and that is this bands unique signature. More Death Metal bands need to do this, Possessed is a progression from their roots, they add to it and complement those roots but never deny they are there...this track really shows that whole story.

6. "Abandoned" 5:21

More pounding and head cracking...this band just loves to throw a barrage of concepts and sounds at you. This one is a "face melter" in the purest sense. The whole thing is just relentless in its tempo and Jeff just forces out the lyrics like they are going to be his last words. There is a slightly slower part in the middle that kinda reminds me of early Sodom and that is never a bad thing. Even in that slower part this track is still punishing. This is a brilliant piece of aggressive metal (whatever sub genre you want to call it). I really dig this one, I really really do.

7. "Shadowcult" 4:44

Now Jeff pitched this track for quite a bit on social media and I was very curious about it. This track has a "Beyond the Gates" feel to it mostly. Can't say much more than that, that album had its own presence to it and this track echoes that very presence. Its not overly complicated structurally but it just doesn't let up for a second. I really enjoy how this track feels. It just feels right.

8. "Omen" 6:41

Oh boy....more church bells. Has Jeff been listening to too much Cradle of Filth? This one really has a Cradle feel to it...that could work both for and against them but knowing Jeff, he doesn't care about that much. This is a very dynamic track and presents the listener with a nice sonic landscape to explore, but the aforementioned elephant in the room is the Cradle type structure this one has. It's ambitious to be sure and it works on this album as a whole but it does come a bit out of left field.

9. "Ritual" 4:47

Nice aggressively creepy riffage starts this one....then comes the sledgehammer to the face. Damn this track just pummeled you into submission, it shares a "Seven Churches" quality on its relentless aggression and shows off more of the Death Metal side of the band structurally. This is a brutal song that makes its point in the 4:47 it has, then it leaves what's left of you to twitch in your agony...this track is that brutal and ends that suddenly....it's beautiful.

10. "The Word" 5:09

Fade in and sound like a Norwegian black metal band...this track does just that in its own way at first then it goes into a more typical Possessed style. What Jeff and company has done so far on this album is actually refreshing. They cross boundaries and just use whatever makes their songs unique. I hear things that would work on albums from bands like Immortal, Trypticon, and Xentrix...just bits and pieces and in this track they all work very well together. If more bands in this genre did stuff like this, nobody could call the genre boring. Well done guys....very well done.

11. "Graven" 4:19

This one received a video (viewable below by the way) and deservedly so. If any song on here could be a poster boy for the whole album, this is it. It encompasses a lot of the components that are the core of this album. This track in particular is just ball bustingly aggressive and punchy. It is coarse and evil but very well executed in every way that matters for this particular genre. Nice vocal presence with a very demanding undertone to it...you had better bet this track was designed to fill this albums Satan quota as well, because he is mentioned all over this one and what a glorious thing it is here.

12. "Temple Of Samael" 1:50

The closer...another soundscape with an acoustic guitar laid over it to aid in the desolate feeling to it. Nice way to close out a very good multi faceted album.

Conclusion:

Well 33 years is a long time between full releases and one would wonder of the band would actually make something worthy of their original legacy...did Possessed pull that task off? I would say, yes. Not that this album is perfect, it really isn't. It has its fair share of odd inconsistencies and production quirks that kind of take from the intentions behind some of the songs, but as a whole experience this is a great album and fits along side its other brethren albums very well...it mostly feels like an evolution off the last EP "The Eyes of Horror" and even goes into even older territory at times while also presenting some fresher ideas for the band. Now if this is followed up in the near future is anyone's guess, but if it follows the same pattern as this one...it will also be a gem, and well worth the time invested in it.

Score: 4.5/5

KISS Crazy Nights Album Review

KISS - Crazy Nights (1987)

Members:

Paul Stanley – rhythm guitar, vocals, keyboards

Gene Simmons – bass guitar, vocals

Eric Carr – drums, percussion, backing vocals

Bruce Kulick – lead guitar, keyboards, backing vocals; bass guitar on "Hell or High Water"

Additional Recording Personnel:

Phil Ashley – keyboards

Tom Kelly – backing vocals

Crazy Nights is the 14th studio album by American hard rock band Kiss, recorded from March to June 1987 and released on September 21, 1987 by Mercury and Vertigo in Europe. This was the second album to feature the new line-up of Gene Simmons, Paul Stanley, Bruce Kulick, and Eric Carr.

Producer:

Ron Nevison

First Impressions:

WOW!!!

Post make-up KISS was a weird time for the band all around but it did show off a more musically flexible band when they weren't attempting to ride the Hair Metal coat tails of other more notable bands of the period. Crazy Nights is admittedly a favorite of mine because it feels great to listen to, even today. Now also admittedly, it hasn't aged all that well, it feels like a child of the 80's with all its cliches and tropes of the time. Now we all know KISS is no stranger to radio friendly albums, they were doing that since the beginning to various points and really made a career out of it since 1978's "Dynasty" with all of its production tricks and more approachable songs, including their disco based hit "I Was Made For Loving You". This band unmasked in 1983 on MTV at the release of their "Lick It Up" album and that ushered in a more musically driven band that for all intents and purposes experimented a lot more, and at times hit the target...other times however, not so much. However, after a couple line up changes and a couple of good attempts at creating a great 80's KISS album, we come to 1987's "Crazy Nights". From the start this album felt like a whole band effort (despite all the outside co-writers on the songs), it didn't feel slapped together with an obvious single dimension to it (Paul did most of the song writing and played other parts on the previous 2 records since Gene was too busy trying to be a Hollywood star at the time). This album is a much better attempt at a great KISS album, although it has it's detractors....but just how good is it now? Let's strap on our waders and slog through all the 80's tropes track by track and see what's what....Let's Do This!!

1."Crazy Crazy Nights"3:47

We start with the title track of this on and it kicks off actually pretty nice...a healthy "Wooo!!" from Paul then a little spoken dedication to the audience who is listening. Paul is great at throwing in banter on studio tracks as if this was always live, it really helps immerse you in their music. The lyrics are of the semi defiant anthemic variety and they do feel good. The pace is mid tempo power pop style hard rock. This track reeks of radio play fodder but it holds its integrity with the excellent musicianship throughout. This is a great track that still holds its own today. The video is cool too.

2."I'll Fight Hell to Hold You"4:10

One of those KISS songs that has a sense of grandeur and urgency in the main riff. Another somewhat anthemic price of lyric writing in this one but centered around a couple and not a group. This is another well executed song in every way that matters and still would hold up well today in any tangible way. It hits all the right chords for a hard rock song, and the solo from Bruce at the end is absolutely great.

3."Bang Bang You" 3:53

Now we start with what I would call filler to a degree. This is a typical KISS track that plays out in a very tongue in cheek way. Full of innuendo and double meanings within its kinda trite lyrics. However even saying all that it's a well played piece of fun...it's just not as moving as a lot of other track on this album, and if it disappeared from the album, it probably wouldn't be noticed.

4."No, No, No"4:19

Nice guitar work starts this track, which traditions into a sort of Van Halen rip off type of song. It's a Gene piece, and that is usually hit or miss....and this one is a miss in all ways. As far as I am concerned the title of this one is the same as my feelings for it...No, No, No indeed.

5."Hell or High Water" 3:28

Nice 80's KISS riffing on this one, another Gene track but this one fares much better in my opinion. The lyrics are a bit trite but all in all It's not a bad track at all. I like the feel of the song as a whole and the chorus backing vocals are mixed in well. The Bruce solo is solid as well...all in all this is a really good deep track and deserves a serious listen.

6."My Way"3:58

This screams 80's movie sound track...but it was not ever used as one. This is a track loaded with commercial radio friendly tropes. It's weighed down with keyboards and trite lyrics that would fit in a Karate Kid film...this is a massively commercial track, but like everything else it was done well and fits in this album as a whole. I do like this song but this is one that didn't age as well as others...it is definitely from the 80's.

7."When Your Walls Come Down" 3:25

Interesting short intro into a "Let's Go!"...another in remarkable song that just exists on this album. It isn't pretentiously pop, it isn't really crap either....it's just there. If anything could be a definition of filler, it would be this one. It's a 'meh' song. Not bad, not great, just there.

8."Reason to Live" 4:00

A video and radio hit....I live this track. The power ballad was a staple of the hair metal genre and a pretty big constant of the late 70's and 80's hard rock genres. KISS did this type of track very well from the beginning. This is no exception, tight performances and solid lyrics, this track just screams classic from the first note...it sounds like a product of the 80's but in this case, it helps it that much more.

9."Good Girl Gone Bad" 4:35

A typical chugging KISS riff starts this Gene song and it isn't that bad either...it's not mind blowing either but it serves the album. Gene doesn't do too bad vocally on this one either. It's structurally sound and Gene's bass isn't mixed too deep into it so you can hear some of that Paul McCartney type style he has...this is a competent deep track, not one I would seek out but if it came up on shuffle I wouldn't skip it either.

10."Turn On the Night"3:18

Another video single...this one is loaded with keyboards and pop rock feel. However those things work for the track making it a fun little track that brings a smile to your face and imbues you with some energy...it kinda makes you have fun with it. Can't argue that reaction either, especially with how well it was performed...it's just so polished, from Paul's vocals to the gang chorus to Bruce's guitar solos...it's just so good.

11."Thief in the Night" 4:07

The closer to the album and it is another Gene track...this one has a few good ideas in it and what it does, it does well, but this is a filler track. It seems a bit out of place on this album as a whole, it doesn't share the same vibe as the rest of the album, it would fit better on one of the 2 previous albums they released "Animalized" or "Asylum"...it just sounds like this albums. Not awful...but not right either.

*12. "Time Traveler" 4:57

Normally I don't do demo things here but this is an exception...this was recorded for this record session. Since it was released on the Box Set I decided I would covet it here. What we have is a track heavy on percussion and an adventurous feeling...it's got a good vibe and in all honesty this would have made a great closer to the album. The demo is well performed and Paul's vocals are absolutely great here. I just love this track and it should have been on this album proper...it fits the album completely and could have even been a reasonably successful single as well...why it's not on the record, I don't honestly know...but it is a great song.

*The song "Time Traveler" was recorded during these sessions and later released on the 2001 KISS Box Set.

Another song of note that was recorded for the album but not included was a song called " Sword and Stone" which was written by Bruce Kulick, Desmond Child(a long time KISS collaborator), and Paul Stanley, but did not manage to get on the album because producer Ron Nevison was not thrilled with the song. The song was offered to Canadian rock band Loverboy, and was re-recorded by their lead guitarist Paul Dean on his 1988 album "Hard Core". The song was also recorded by German heavy metal band Bonfire for a Wes Craven movie, Shocker.

Conclusion:

An album that divides the fandom but really doesn't deserve that stigma. Yes it's over produced and as commercial as all hell but its not a bad album by any stretch. It hasn't aged all that well in parts since it is an 80's album but those quirks kinda add to it's charm. When this album came out I bought it as quick as I could and I still stand by my claim that this is one of my favorite KISS albums...it's got a lot going for it which makes it an enjoyable listen and that is what I want from ANY KISS album. This shows a band who has gotten past their mid 80's problems and actually worked together to make a great album. I honestly have no real complaints aside from the couple obvious filler tracks but even those aren't too bad (except "No,No,No!!"). This album will continue to have a place in my top list and I think if anyone wants a good 80's era KISS album to listen to, this is a good one to start with. It has a great feel to it over all and is really fun to listen to.

Score: 4.5/5

Hirax El Rostro De La Muerte Album Review

Hirax - El Rostro de la Muerte (2009)

Members:

Katon W. De Pena - Vocals

Glenn Rogers - Guitar

Lance Harrison - Guitar

Steve Harrison - Bass

Jorge Iacobellis - Drums

El Rostro de la Muerte (Spanish for "The Face of Death") is the fourth album by thrash metal band Hirax, released on November 16, 2009. It is the first full length album to feature the brothers Steve Harrison (bass) and Lance Harrison (guitar) and the last with Glenn Rogers.

(NOTE: The very first album/ep with Steve and Lance was Assassins of war 2006 .. and then the ep chaos and brutality in 2007)

First Impressions:

Things got more interesting with the Harrison brothers...and even harsher.

Hirax is a band that not every metalhead has heard of. They are a very DIY bay area thrash outfit with a very consistent yet somewhat unique feel and sound. These thrashers started in the early 80's and took some breaks (some longer than others) from time to time, but everything they released along the way was better than the previous release, and their fans eat it all up. Their 4th album is another exercise in aggression with a new twist...The Harrison brothers, Lance and Steve make their on album debut here (Steve replacing the departed Angelo Espino on bass), and seeing as they are filling crucial rolls in any thrash band, this performance could make an album or wreck it, in my 30+ years of experience in the industry as a musician and studio technician I've seen both happen. But which one is it here? Well let's claw this monster apart track by track and find out...Let's Do This!!

1."Baptized by Fire" 4:18

The start of this one is an audio clip then it just cranks in with a furious riff and brutal rhythm section...Katon just screams over it all with his usual style but very much a thrash vocal style none the less. This track is a beauty of brutal precision and executed with neck breaking perfection. An unsung thrash classic being provided here, and should be recognized as such.

2."Flesh and Blood" 5:46

Another audio sample...there seems to be a theme here so far. A nice bass line and chaotic tremolo dive bombs fill the void between the sample and a very mosh friendly riff. This is definitely a pit tune, it's relentless and never lets you rest even for a moment. Can't complain about this one, it's what this band has done best for many many years. This one eventually devolves a bit and ends in a firm close.

3."Eradicate Mankind" 3:39

This just starts with a big riff that I feel goes on for a measure too long for my picky tastes but it still works. This is still an exercise in pushing the boundaries of thrash while still not crossing the line into death metal...the mid riff helps that a bit by being a nice call back to typical old school thrash. This is another good one on here...however it does feel a bit rehashed, but in this genre that's to be expected.

4."Chaos and Brutality" 3:38

Nice firm start on this one, but much like the last one the intro into the main riff went on a bit too long for my taste...but it is effective. More Katon screams in this one and the riff has a bit of a Celtic Frost feel in places...not a bad thing. It is a bit of this bands hallmark by wearing their influences on their sleeve, and the Celtic Frost thing is to be expected, Tom G. Warrior did design their logo.

5."El Rostro de la Muerte (The Face of Death)" 6:22

The title track is supposed to be the best on the album by old school logic...and it starts strong with a nice plodding riff that reminds me a bit of early Nuclear Assault. The chorus has an Overkill feel to it as well...Hirax is just a genre blender, and I can appreciate all the hints of other bands, it serves to unify the genre more than any other sub genre of metal...thrash has always been among the tightest of brotherhoods in metal. This track is a nice representation of it. I dig it.

6."Blind Faith" 2:49

Why do I get a bit of a S.O.D. vibe here? It is a chaotic track musically but it has its own unified feel even though it does give off vibes of a lot of other thrash bands. It may be because this is a formula song done in their own way, that isn't a bad thing.

7."Horrified" 2:52

This starts off with a bit more chaos and it just sinks its teeth in hard. The riff here would be at home on a Rigor Mortis album and to me that's just awesome. At this point I am sold on Lance and Steve...this is a hulk of a track...just wish it was longer.

8."Battle of the North" (Instrumental) 1:33

An instrumental that does what an instrumental is supposed to do...fill time and sound great doing it. No complaints with this short little masterpiece...it leads off well into the feel of the next track...

9."The Laws of Temptation" 4:39

This starts off with a rhythmic section that would make Overkill jealous...then it just ramps up into another bit of fury. This is another pit song that would test even the most conditioned of moshers. The chaos this track presents is just awe inspiring in every way. Every thrash fan should hear this one.

10."Death Militia" 1:51

A feedback build with the whammy bar starts this thing, random sounding drums enter in for a while...then out of nowhere it just takes off. This is a nice short one that fills a need for the album but doesn't overstay its welcome. Feels a bit like an old school punk song done by competent thrash musicians...which at its core, it is.

11."Broken Neck" 2:01

A track that received a video and to be honest one of my favorites on this album, and another one that I wish was a bit longer but alas it is not. Great heavy riff throughout and awesome vocals by Katon. Love the execution and the lyrics of this one, in my book this is a perfect thrash track...any songs that mention bodies, broken necks, and crushing roaches is a winner in my book.

12."Violent Assault" 3:32

Another sound clip starts this one, then a guitar intro that could easily shame Slayer....this is a very nicely written track and sounds quite menacing. When it kicks in it just goes full chaos and never lets up...it does keep a bit of a slayer vibe but does it far better in my honest opinion.

13."Cuando Cae la Oscuridad (When Darkness Falls)" (Instrumental) 1:57

Huh? Piano and organ? Well this was a bit unexpected. After the initial shock wears off it's actually not all that bad. No complaints, just a bit surprised.

14."Satan's Fall"6:24

Another clippy intro to this one, which is not a Mercyful Fate cover. This is an original track that is just as brutal as practically everything else on this album. It offers a nice set of complementary riffs, tight drumming, a good bass line that you can actually hear really well in the mix, and a huge vocal barrage to send it home. This is a great way to close out an album and it leaves an impression.

Conclusion:

This album is definitely an old school thrash love letter. It rages from beginning to end and in all honesty kinda puts to shame a lot of the new school thrashers. This album however isn't without its faults and one of those is typical of the genre...it can feel a touch repetitive. That's the nature of this genre and is what tends to turn some people off a bit. My feeling on this one is, it is another progression for this band and it maintains a track record of this band just getting better with each release. It's not perfect but it is worth the time invested in it and should be in any thrash fans library....so what are you waiting for, GO GET IT!!!

Score: 4/5

Rob Halford -Celestial Album Reveiw

Rob Halford - Celestial (2019)

Players:

Rob Halford - Vocals

*(The rest of the players are covered in the review)

Celestial marks the first Halford solo effort since 2010's Halford IV: Made of Metal. He has released two albums with Judas Priest since that time, 2014's Redeemer of Souls and 2018's Firepower.

First Impression:

More holiday cheer from the Metal God...I'm up for that.

Anyone who knows me knows that I hate most Christmas music (I am a sucker for "Winter Wonderland" though). It's trite and boring and usually kinda pisses me off. However there are those "Special" albums that come along that take those songs and turn them on their head and reinterprets them in a different style. Being a metalhead, metal versions of these tired old holiday classics are a mixed bag but when Rob Halford released his "Winter Songs" album in 2009 I finally had a collection of these songs reinterpreted in a style that I loved plus a couple new ones to boot. Now in 2019 Rob released a new collection of more reimagined classics plus 4 new songs with the help of real family and friends. Rob assembled a lineup of family and friends for this release. Halford's brother Nigel plays drums, while his nephew Alex — who is the son of Judas Priest's Ian Hill — rounds out the rhythm section on bass. Additionally, Robert Jones and Jon Blakely play guitars. And finally, Halford's sister "plays the bells." If it wasn't obvious enough already, "Celestial" is intended to be a very fun album, and to be honest it really is...but how fun is it you ask? Well let's ready the sleigh and trample through this one track by track and find out....Let's Do This!!!

01. Celestial [new song] 1:32

The album's intro, not much more than that. Sets a good tone though and treats this album like a concept album...which leads to....

02. Donner and Blitzen [new song] 3:31

The pitched first single that was out before the album. It's a good mid tempo track about 2 of Santa's reindeer. To be honest this track is just pure magical fun packed into 3 minutes and is a joy to listen to, plus it doesn't get boring at all.

03. God Rest Ye Merry Gentlemen 2:46

A ramped up arrangement of a traditional droner. This one keeps up the tempo and keeps you throwing up your fists in pure joy and rocking fun. This is an energetic one that I really like, even if the arrangement sounds a bit like early OZZY...maybe he should make a holiday album too.

04. Away In A Manger 4:03

A traditional slower track....Rob arranged this one to sound like a western/bluesy type track...a kinda "Blaze of Glory" type song. This choice really makes this one pop a bit more than the original and makes it far more listenable.. I really like this one, it really conveys a feeling and makes a boring old traditional song sound far more interesting.

05. Morning Star [new song] 4:14

This is a slower track with a bit of a Eagles feeling. Kinda poppy but not in a bad way, it is pleasant sounding and would be easily enjoyed on a cold winter day with a nice hot coco. It makes me smile just listening to it.

06. Deck The Halls 5:03

Well....let's get heavy again....and this does. This is one of those traditional songs that has been covered by all types of musicians over the decades to some very polarizing mixed results but Rob pulls it off here. It is a well presented and executed high tempo (but not too fast) metal arrangement. The guitars are the stars here though, great riffs and killer solos...and of course Rob's stellar vocals. No complaints about this one at all.

07. Joy To The World 2:48

Well...a Queen sounding guitar intro starts this one off nicely, that flows into a mid tempo arrangement. It's a basic track with more Brian May sounding guitar flair in it. It isn't a bad track at all, just a bit short...great solo in it though. It does directly connect to the next track.

08. O Little Town Of Bethlehem 5:31

A slower track that continues off the end of the last track. A bit of a moody yet oddly hopeful sounding piece which traditionally is a monotone bore fest of a song. Rob brings a bit of life and emotional context to this one, it is executed very well and is as tight as any song can be. This version makes me like it alot, especially around the 3:40 mark when it ramps up in power a bit and really drives things home, only to slow down a bit to wrap this one up...very nice arrangement on this one.

09. Hark! The Herald Angels Sing 2:06

A slightly pop punk arrangement of this traditional song...not a bad choice in my opinion and serves the album as a whole pretty well...I have no complaints about this one.

10. The First Noel 4:24

A traditional slow droner and pretty much my most hated traditional Christmas song, It's just so boring. Rob didn't up the tempo on this one but he did infuse more vocal power and character in this one, the background singing isn't overbearing and kept at a distance. It is a faithful arrangement but it has more feeling than the original. I can say this is not a bad version of a song I truly can't stand, I can listen to this version and feel some peace. I hate this song, but not this version...it's very pleasant.

11. Good King Wenceslas 7:28

Get comfy....this is a long one. This is a song I had to solo in elementary school in the 4th grade Christmas show...ugh. Thankfully my version wasn't this long...but this version has an intro on it to build an environment for it to reside in. It has a middle eastern type feeling to it but not an obnoxious one. Rob's voice does a good job here with the phrasing he applies to the traditional lyrics. It picks up around the 4 minute mark which adds a nice dynamic to the song that keeps it from feeling stale. Over all this is another well executed arrangement of an annoying traditional holiday classic. 

12. Protected By The Light [new song] 1:48

The closer to the album, the accordion ads a nice touch to the end of the album...this is a sweet little song that leaves you with a smile. Nice closer to a spectacular album.

Conclusion:

Well Rob did it again. Another great holiday themed album that can serve as a companion piece to his 2009 release "Winter Songs". In all honesty Rob Halford has made me enjoy Christmas songs much more with his arrangements of these stale old songs. He breathes new life into these songs and even adds new classics to the songbook. Over all I really enjoyed this one as much as his aforementioned 2009 album. Guess a jaded old metalhead like myself can do a Grinch too and change my outlook on all things Christmas with the proper motivation...and Rob's holiday offerings is that motivation. Do yourself a favor and get this one in your collection, it's worth every penny and then some.

Score: 5/5

Halford - Halford 3: Winter Songs Album Reveiw

Halford - Halford 3: Winter Songs (2009)

Members:

Rob Halford – vocals

Roy Z – guitar

Metal Mike Chlasciak – guitar

Mike Davis – bass

Bobby Jarzombek – drums

Additional performer

Ed Roth – keyboards

Halford III: Winter Songs is the third studio album by the heavy metal band Halford. It was released on 3 November 2009 in the United States, 9 November 2009 in Europe and 13 November 2009 in Germany.[4] It was written, arranged and recorded between 2008 to 2009.[5] The album is Christmas themed consisting of traditional holiday favorites made into heavy metal fashion along with a few original arrangements by Rob Halford and producer/guitarist Roy Z.

First Impressions:

A whole album of Metal Christmas songs? This could be fun.

Christmas songs are the bane of this overly commercialized holiday season, a holiday full of busy stores, cranky people, and the hollow drone of holiday standard music playing in so many forms practically everywhere you go. In 2009 Rob Halford tried to change that for the better (yes Twisted Sister did it in 2006, but that album is kinda satirical at times). His band Halford released their 3rd album, this one being a holiday themed release called "Winter Songs", produced by Roy Z. I remember getting this album when it came out in November of 2009 at Canterbury records in old town Pasadena, the stark blue cover and calm Rob photo made me really curious. I wasn't a huge fan of the 2006 Twisted Sister holiday album, but being a fan of Rob Halford and all of his bands made me want to listen. Can this album spice up the dismal history of holiday albums? Let's dig in and find out track by track....Let's Do This!!

1."Get Into the Spirit" 5:26

We open with a nice heavy riff from one of the NEW track on this one, and what a track it is. This is how a metal holiday album should sound. The drums are a powerful fury of hard beats, a great keyboard part in the middle, and a great bit of guitar work throughout. Then we have Ron's voice, banshee screams and great clean sound as well. Amazing song to start a great album.

2."We Three Kings" 4:06

An arrangement of a traditional Christmas song that we are all familiar with....but cranked up a bit. Rob using his best Priest voice and keeping it kinda level but still firm. The piano is a nice touch and fills this arrangement out well. The guitar work is great and the rhythm section is tight but not overbearing...I'm not a fan of the traditional version but I like this one....quite a bit really.

3."Oh Come, O Come, Emanuel"4:38

Another traditional song redone by Rob and the guys, and it's also a good one as well. Sonically it does have a Iron Maiden type gallop in its rhythm but for this track it works really well. I enjoyed this one and I have to admit it has been on my Rob Halford/Judas Priest playlist for quite a while now...it really a nice arrangement and is very gratifying to listen to.

4."Winter Song"5:38

This is another of the NEW songs for this album and it is a more somber piece from the mind of The Metal God. It really evokes a bit of emotion and thought from deep inside at times. It is a moving song in a lot of ways, and it brings a bit of much needed peace to a metal heart, and serves as a rest point to this album and that is a nice thing.

5."What Child Is This?" 4:27

This traditional Christmas song received a real nice arrangement as well. It is normal a trademark song used for the holidays in everything from films to store sale commercials. This one maintains its original slower structure but has a more medieval type of feel. It is well executed and sounds very good.

6."Christmas for Everyone"3:06

NEW track number 3 on this album, and it's a nice mid tempo rock song, that starts with church and sleigh bells. This one has an arrangement that reminds me of the song writing style of Alice Cooper. Pure traditional rock n roll with Rob's usual flair...a song that should be added to everyone's Christmas playlist.

7."I Don't Care"3:14

The 4th of 5 new tracks recorded for this album and it doesn't disappoint. It's another straight ahead rocker with fun lyrics and a really earwormy riff in it. It's a good listen, although it does have a phrasing section in the vocals that reminds me of "Smugglers Blues"...odd but cool.

8."Light of the World" 4:13

Number 5 of 5 new tracks, another somber track that musically sounds a bit like a cross between Pink Floyd and The Beatles...and that isn't a bad thing. It's a nice little track that brings about good feelings and even brought back a few good memories of past Christmases to this old headbanger...thanks Rob.

9."Oh Holy Night" 4:09

A traditional song done in a traditional way...well in Rob's version of traditional. It is a normally droning song that when given Rob Halford's treatment is a great version that I can listen to over and over. It maintains its normal emotional delivery but adds a lot of power, but not so much that it's a parody of itself, a tasteful version of a decent traditional holiday song.

10."Come All Ye Faithful" 2:27

I have heard a ton of versions of this song over my life and some were ok and some were abysmal...Rob did what he could with this one as well, it has a more regal feel here and feels musically like an attempt at a Queen song in places. It's a good version that deserves to be heard but it really serves to close out this album and in that it does a great job.

Conclusion:

When this album first hit my ears in 2009 I was a bit thrown off, mostly because I wasn't expecting a Christmas metal album to be this good and well thought out (especially with my experience with the 2006 Twisted Sister disaster). This album has a permanent place on my playlist all year around, it's just that good and it is also my defacto holiday album when I throw any Christmas gatherings. I can't say enough good things about this release and honestly if you are a metal fan, and you don't have this beast in your collection I have one question for you....WHAT IN THE HELL IS WRONG WITH YOU???!! Rob and the guys did an excellent job with this one and it will always have a special place in my heart. Well done guys....well done.

Score: 5/5

Twisted Sister - A Twisted Christmas Album Review

Twisted Sister - A Twisted Christmas (2006)

Members:

Dee Snider – lead vocals

Jay Jay French – guitars, backing vocals

Eddie "Fingers" Ojeda – guitars, backing vocals

Mark "The Animal" Mendoza – bass, backing vocals

A. J. Pero – drums, backing vocals

Additional Musicians

Lita Ford – co-lead vocals on "I'll Be Home for Christmas"

Doro Pesch – backing vocals on "White Christmas"

A Twisted Christmas is the seventh and final studio album by the American heavy metal group Twisted Sister, with the band releasing it on October 17, 2006. The album features classic Christmas songs performed in metal versions, often featuring lyrical changes.

Production:

Jay Jay French – executive producer

Mark "The Animal" Mendoza – producer, mixing, mastering

Denny McNerney – engineer, mixing, mastering

George Marshall – assistant engineer

First Impressions:

Huh? A Twisted Sister Christmas album?

The name Twisted Sister brings about nostalgia for the 80's MTV metal scene. This band was one of the darlings of that era and they always bring about memories of oddball lyrics and cheesy videos. This band was one that very few ever took completely seriously. The had a habit of breaking up and then reuniting a ton all through the 90's and it resulted in a very discordant discography...this 2006 Christmas album proved to be their last one ever released officially so far and it is a mixed bag of things all tied together by a mixed up holiday theme. Now I admit, back in the day I loved this band but they haven't aged well in my collection, I still listen to the odd track or album from time to time, but they aren't a favorite of mine, I still respect what they did for metal and hard rock as a whole, but I usually pass on them now if given a choice. Now then, is this Christmas album worth the time invested in listening to it? Or does it need to lay off the spiked egg nog? Let's dig in and find out track by track...Let's Do This!!!

1."Have Yourself a Merry Little Christmas" 4:48

Well this is kinda rough to listen to. Sounds like an off the cuff holiday hootinanny....at first anyway. It gets a bit harder with the standard TS sound profile that we are used to. However this particular traditional Christmas song is not really geared to their kinda off kilter arrangement....this is a tough track to rearrange well anyway but they did kinda ok with it by the end.

2."Oh Come All Ye Faithful" 4:40

The "We're not gonna take it" arrangement for this one? Honestly, that's a lazy attempt at being clever with this one. Not really good in all honesty.

3."White Christmas" 3:56

A hard galloping riff for a traditional ballad song. It really doesn't fit all that well. It seems forced to me and honestly could be done far better by this band. The only redeeming part of this one is Doro Pesch doing backing vocals, which I wish were brought forward a bit more.

4."I'll Be Home for Christmas" 4:08

The Dee Snider/Lita Ford duet...well it's another forced sounding track. It just doesn't sound that great to me, and to be honest, I've never been a fan of Lita Ford anyway. This is another track that could have been handled much better by this band.

5."Silver Bells"5:05

This one just "rings" of AC/DC sonically. It's a bit better than the previous 4 tracks but the gang vocals take away from it a bit, all in all so far this band has been pretty bad with this offering.

6."I Saw Mommy Kissing Santa Claus"3:39

Well, this one sounds a bit better musically, but Dee sounds a bit out of his range and phrasing style. Sounds like he's struggling a bit. This is still one of the better ones on this album and I can deal with its odd shortcomings.

7."Let It Snow, Let It Snow, Let It Snow"3:09

Well another forced sounding riff, almost Black Sabbath like...just not a good. The meter of this one is a bit problematic and the gang vocals are kinda iffy and out of place sounding. Not thrilled by this one.

8."Deck the Halls"2:52

A standard of TS riffage and more unneeded gang vocals. The riff is good and the break in the middle is pretty cool so this one gets a moderate pass from me based on the musicality alone.

9."The Christmas Song (Chestnuts Roasting on an Open Fire)" 3:40

A standard Co-Written by one of my favorite crooners, Mel Torme. This one is a pretty bad interpretation of this one. Can't say much else without ranting...so I won't....moving on.

10."Heavy Metal Christmas (The Twelve Days of Christmas)" 5:14

How many screwy versions of this one are there? This is an awful one...skip this thing.

11."We Wish You a Twisted Christmas" (hidden track)0:36

Dumb...dumb...dumb.

Conclusion:

Well this album is a loss, and gives a proof why this band ended when it did. It's an uneven mess of a holiday album. Christmas albums are supposed to be fun and the like but honestly this one isn't really fun at all. It's a dumpster fire that just won't burn itself out on so many levels in both execution and production. It could have been done better by this band, who's track record proves they can do and have done much better than this, the best parts are the guitar solos. If this is your goto holiday album, that's fine....but to this reviewer this Christmas album is just a Christmess. In my collection this album really ranks as a 'meh' album at best, and a near audio abortion at worst.

Score: 2/5

Mass Insanity - Maveth Album Reveiw

Mass Insanity - Maveth (2019)

Members:

Hector - Drums

Rafał -Guitars

Mały - Vocals

Viehu- Guitars

Tolas- Bass

MASS INSANITY was formed in October 2003. Maveth is their 3rd full legnth album and was recorded at Antihuman Studio in spring 2018, and mixed and mastered at 666Studio in Ostróda (2018).

Discography:

"In Deadly Silence" Demo - 2004

"99% Rehearsal Promo" Demo - 2006

"Language Of The Dead" Demo - 2007

"Silent Language" Compilation - 2007

"The Hypochrist" LP - 2011

"Antihuman" LP - 2015

"Maveth" LP - 2019

First Impressions:

Never heard of them....but I appreciate what I hear.

When it comes to death metal I have to change my approach to reviewing it. The track by track approach really doesn't work well for this and other deathy and grindy bands, as their music doesn't modulate the same track to track as other genres. So These reviews will be simple and traditional with highlights and subtle critiques on the album as a whole. So with all that said....Let's Do This!!!

Maveth is a modern take on death metal when comes to playing music, which in this case is a mix of brutal and groove oriented death metal songs based on a few interesting riffs in each song, good enough riffs to remember them in the short term but not much else, structurally these songs aren't earworm material. However when the band finds its winning formula it is quite the showstopper, and this album has a few moments of that hiding in here, some of theese stand outs on this are "Control / Manipulate" (intense and powerful guitar work), "Determined To Survive" (aggressive and confrontational guitar passages in the style of Malevolent Creation), and one of the heaviest and most atmospheric tracks on this album is "Cleanseation Course" which contains a heavy use of keyboards to achieve its somewhat brooding atmosphere. And last but not least – in tracks like "Maveth" and "Supported Pathology", the band`s devotion moves towards more traditional and faster death metal styles, focusing more on strong guitar rhythms and classic death metal shreds. The track "When Darkness Cover the World" is a song that can easily identify with the music of Decapitated and there are more moments in this album that remind me of this band as well as a few others. Vocals and drumming on the record sound pretty solid, the guitars and the rhythm section are also well done and don't really dominate the mix, far too many bands in this genre fall prey to far too heavy bottom end mixes. Production of the album is quite good and delivers a realm of death metal at its sonically finest and delivers a sonic landscape that is really a combination of Polish and Swedish death metal sounds.

Track Listing:

Legal Racism 4:43

Maveth 4:47

Control / Manipulate 3:14

Supported Pathology 4:38

When Darkness Cover the World 4:42

Cynical Worms 3:18

Determined to Survive 4:34

Cleansation Course 5:38

Conclusion:

Maveth is an album that definitely deserves to be put in the spotlight, and Mass Insanity as a band certainly need to be recognized and get the attention of the death metal fans everywhere with such good album for this genre. However for me this praise also carries a caveot, even though this album has its high points in song writing and production, in this genre of metal too many comparisons to other bands can make the album sound a bit too similar to far too many other albums out there. Death metal has a big fault because of its extremity, and that is a bad thing. Too many bands release things that sound too much alike, and this one falls in the same trap, it's a nice attempt but in the end its general lack of originality takes it down a couple notches. It's not awful, and most fans of this stuff should hear it, but it's also more of the same.

Score: 3.5/5