This is roughly the scale I use when reviewing:
***** = Classic
****= Amazing
***= Good
**= OK
*1/2= Poor
*= Horrid
Battle Born
The Killers
The Killers
time as pop superstars is probably over after this album, a kind of level off
after substantial hits on each of their three previous releases. It might not seem that way at first, “Flesh
and Bones” sort of being a battle march the way Tom Petty or Bruce Springsteen
would do it, before leading into lead single, the borderline anthem “Runaways.”
However,
this just doesn’t have the haunting or the beauty of all The Killers best
tracks. Sure, they’re more or less a
singles based band, but this doesn’t really give them any room to transcend to
anything else. A lot of this is decent
mellowed out rock that doesn’t really catch any attention.
Some
material, like the title track or “A Matter of Time” have good feels to them,
but nothing matches up to previous hits like “When We Were Young,” or “Mr.
Brightside,” nor does this materialize as an album.
**1/2 Stars
Down IV, Part 1 – The
Purple EP
Down
The longest
running, and arguably best, Pantera offshoot, Down now has an established mode
of songs, something which makes this Phil Anselmo fronted outfit a little bored
as of late. Still, the ingenious guitar
work of Corrosion of Conformity’s Pepper Keenan helps the case somewhat.
This is
actually a pretty solid release.
Beginning with the cliché of a rising guitar sound on “Levitation,” the
band keeps things tight and heavy, if not always original, throughout most of
the six track EP (overlong closer “Misfortune Teller” is the weak link.)
There’s
plenty of crushing metal here, particularly the single “Witchtripper” and the
riff wizardry of “The Curse,” which could well have been a Black Sabbath
song. However, Anselmo & crew show
they haven’t forgotten the power of a slow-crusher. Always the dealmaker on groove metal albums,
this extended player’s fit in the genre is the strong “Open Coffins.”
Still
though, there’s something good but generic about this release; any Pantera or
Down fan should be sure to check this out.
*** Stars
Aftermath of the
Lowdown
Richie Sambora
Whoddathunk? Golden Age Bon Jovi guitarist Richie Sambora can
not only stand on his own, but put up a hell of a fight.
A treasure
trove of blues, rockers, and ballads, Sambora’s newest release is such a breath
of fresh air partly because of how completely unexpected the thing is. Sambora, after all, is not a household name, though
he is a major writing force for the group.
Sambora’s
success then, comes from a couple things: primarily it’s his hidden talent in
guitar, vocals, and even songwriting, but also that he isn’t clamoring for a
hit, he’s just writing music like he knows how, and for himself. The result is a surprisingly honest and
powerful coherent set of eleven songs.
Furthermore,
Sambora knows how to kick things off, pulling out all stops on “Burn That Candle
Down,” a must for blues rock fans. Yet
what’s even more incredible is that, while most albums released in the digital
age tend to start strong and finish weak, Sambora keeps his effort concentrated
and consistent throughout the entire length of the disc.
Whether it’s
the gentle balladry of “I’ll Always Walk Beside You,” the soaring “Every Road
Leads Home To You,” or rocker “Nowadays,” Sambora has crafted something truly
extraordinary here, something that deserves as many listeners as it can
get.
**** Stars
Head Down
Rival Sons
Zeppelin
revivalists with a thing for riffs, the Rival Sons have not only been
productive since their 2009 debut, but have made a name for themselves amongst
the dwindling hard rock crowd. The
previous Pressure and Time sounded at
times as if it came right out of the 70’s, but their third seems more to hail
from the 80’s.
Let me
explain. In the late 80’s, hard rockers
Whitesnake took the hair metal formula but pumped up the blues-rock to the max,
starting the tirade of bands with “Bad-Zeppelin-isms,” such as Kingdom Come and
Blue Murder. These groups had some good
material sure, but they also had the tendency to sound like a watered down Led
Zep.
That’s exactly what the third Rival Sons album is. After sounding like Zeppelin themselves on
the second, the third has great riffs and energy (check out “Keep on Swinging”
or “Wild Animal,”) but also has bloated pieces like the two part, overlong, “Manifest
Destiny.” Overall, it’s a mixed release
for the group and a bit of a step backwards for them.
**1/2
Stars
Unsung Heroes
Ensiferum
Folk metal’s pretty much the most intriguing metal subgenre
(unless you’re counting it’s offshoot, Pirate Metal,) but the weird thing, is
there is no band that stands out as the triumphant champions of the genre,
except maybe the more hard rock Flogging Molly.
This new
Ensiferum album’s no different. While it
shines with an epic air over it, this record never materializes to anything,
often sounding like tired metal music with odd instrumentation thrown in to
some effect.
There’s
also a substantial death metal and power metal influence on them, but this isn’t
the best result I’ve seen of mixing the three.
While there’s nothing awful about this, it’s just dull and little stands
out one way or another.
** Stars
***FLASHBACK***
Very ‘Eavy Very ‘Umble
Uriah Heep
In modern
day, the cobweb encrusted David Byron on the cover is an appropriate metaphor
for Uriah Heep’s dusty, rusted debut, an oft overlooked release which should be
standing on the same platform as Black Sabbath, Deep Purple, and Led Zeppelin,
who forged the fires of heavy metal in the pioneering year of 1970. Undeniably, this was more of an influence on
the onslaught of heavy metal acts of 1971-1975 than say, Led Zeppelin I, and
even with its Deep Purple imitation act, Heep set the foundation for the
progressive metal that would later be pioneered by Rush with releases like
2112, and Heep themselves on the four or so follow-ups to this. But this isn’t a progressive record on its
own; nor is it a heavy metal record.
In fact, it’s not much of anything, basically
failing to attain the cohesiveness of In Rock or Black Sabbath, or the hits of
the first two Led Zeppelin records that would make those three remembered as
Gods, while Heep is rarely brought into the conversation when discussing the
beginnings of heavy metal.
Even with all its dated production values and
discombobulated structures, Very ‘Eavy
Very ‘Umble still
rocks as a very heavy, very powerful record, well worthy of
consideration as one of the first three of heavy metal.
Just listen
to the loopy beginning to opener “Gypsy,” whirling in proggy glory before
stabilizing on an intense study in early metal riffing. This is just the beginning of a tour de force
that provides a forcable blueprint for heavy metal. “Walking In Your Shadow” channels the blues
while “Dreammare” is a progressive and psychedelic monster.
Other
highlights include riff-rockers like “Real Turned On” or “I’ll Keep On Trying,”
as well as bonus track “Born In A Trunk” or “Lucy Blues,” a track that would
foreshadow their later work.
The main
attraction, however, is probably the monstrous “Bird of Prey.” Chugging and shrieking its way through the
intro, “Bird of Prey” is a song that intensifies throughout, making it perhaps
one of the most overlooked songs of early hard rock and metal music, much like
the album in general.
**** Stars
Good reviews!
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