Alice Cooper - Welcome to my Nightmare (1975)

Alice Cooper was born Vincent Damon Furnier, but changed his name to Alice Cooper in the 1970s for legal reasons. His wikipedia page is filled with all sorts of fascinating facts. Here are a few random ones:

• Alice Cooper enjoys golf and plays almost every day, with a handicap of two.
• He hosts a radio show in Vegas, "Nights with Alice Cooper" (we were listening to it, whilst in the 'States and it was like "Wow, celebrities have day jobs too!").
• After recovering from alcoholism, Cooper went on to support other musicians suffering from addiction, including Dave Mustaine of Megadeth.
• His oldest daughter, Calico, appears in his stage show (I've seen it, it's pretty brutal)
• He pays an annual royalty to the original band members for using the name "Alice Cooper" commercially.

I saw Alice Cooper in concert at the epic, 2008 Rock to Wellington. In-a never-to-be-repeated-because-it-cost-more-than-they-made occasion I saw Ozzy, Cooper, Lordi, Poison, Whitesnake and Kiss all take the stage. Cooper was by far the highlight.

Anyhow, now let us go back in time to when I first heard Alice Cooper. It was "Hey Stoopid" and it was on television and I was blown away. From there I tracked down my "friends" with albums, and got my hands on several bootleg versions. This was one of them. Now, I am pleased to say, I legally own my cd copy!

Released in 1975, this was Cooper's first "solo" album. It got mixed reviews, but with its cabaret style structures, dark lyrics and an eclectic cornucopia of compisitions, which will make it all the more fun to dissect. It is a concept album, featuring the nightmares of a young boy called Steven and, I would suspect, his descent into madness. It is theatrical and entertaining.

The cover is indicative of this, with its soft, slate blue background bespectled with pastiline insects, and from a triangular cut-out in the centre rises Alice Cooper himself, resplendent with top hat and suit. It's pretty awesome, and strikes me as being more than a little tongue-in-cheek.

The album opens with "Welcome to my Nightmare"which starts with heavy, almost bluesy guitar chords, dripping with ominous brooding. The vocals are soft, yet eerie in their gentility, growing stronger and increasing in menace. The horns add an almost cabaret-vibe.

Gluggy, rolling rhythms reel us into "Devil's Food" with its echoing vocals. It quickly fades into the awesome Vincent Price and an arachnology lesson extoling the vicious virtues of the Black Widow with deliberate glee.

The creepy, meancing "Black Widow" brings more slow and heavy rhythms in an ode to this, the most venomous of spiders who will rise and dominate the human race. Piano adds to the theatrical style.

More piano, finger-clicking and very much a cabaret sing-along style to "Some Folks".

This leads into the controversial, beautiful and rather melancholic "Only Women Bleed". The gentle, twiddly guitars and Cooper's sorrow-laden vocals add to the atmosphere. This is not a song about menstruation, as was incorrectly assumed by several radio stations (who refused to play it) but rather about domestic violence. An uncomfortable topic, as relvant back in the 70s as it is still today.

We pick up the pace and liveliness for the anthemic "Department of Youth", with shadow of "School's Out" follows.

Then time for everyone's favourite song about necrophilia - "Cold Ethyl" is somewhat macabre yet funny and oh-so-wrong:

"One thing, no lie, Ethyl's frigid as Eskimo Pie..."

Discordant, jerking rhythms as we reach into the madness that is Steven's mind."Years Ago" is haunting and erratic, like the soundtrack to slowly crumbling sanity. Like a broken carnival.

Emotions afflict "Steven" with an overload in the similarly discordant, disconnected and broken track that bears his name.

"The Awakening" is a very creepy piece, short and sinister.

We conclude with "Escape" which seems more like an end-of-the-work-week celebration than anything dark and dire related to the previous tracks.

Overall, I like this cd, it is theatrical and interesting, filled with a variety of songs with varying rhythms - some that send a shiver down my spine and others to which I can sing along. It has menace mixed with playful fun.

I rate it 7/10.

White Lion - The Best of (1992)

Before the rather aesthitically appealing Mike Tramp joined Freak of Nature, he was in a glam-rock band called White Lion. Like many rock bands of the 80s their lyrics focused on the good things in life - sex, parties and rock and roll, with the occasional bit of political commentary thrown in. White Lion originated in Copenhagen, Denmark, when Danish-born Mike Tramp teamed up with American-born Vito Bratta. They had reasonable success - mainly with the songs on this album which is, of course, going to showcase the best of their music. Less of the sex, more of love and rock & roll! (And, of course, the social and political commentary). They are noted for their dyed-blond poodle haircuts, pretty boy eye shadow and the delightful fashions of the 80s (leather jackets, fringed jackets, tight jeans, lether pants etc) . Watching the videos is a little like stepping back in time!

It's a best of album, so it's not the most exciting of sleeves - a lion head, inked in exquisite detail, above wings, beneath the band logo, looking rather like an elaborate door knocker. Inside there's not much of anything - just a track listing and a photograph of ephemera, which includes a rather cute white lion plush.
The album opens with "Wait". Taken from their 1987 album "Pride" (which I own on cassette tape), this track peaked at #8 on the charts in the USA. It is a sweet love song, with Tramp's melodious, but raw-edged vocals adding a hint of pleading.

It's so dated, it sparks something in me, that gentle hint of nostalgia - the memory of long car journeys plugged in to my walkman; of lying in the grass during my lunchbreaks, lost in a world of music; of day-dreaming that one day I might find a poodle-haired musician of my own to make my world a brighter place...

Then we rock on in to the cruisy "Radar Love". This is a cover song, originally performed by Dutch band, Golden Earring. It's rockin' good fun with a bitchin'ly competent guitar solo. A great driving song, play it loud in the car!

More relationship angst, it's time to mourn a "Broken Heart" - starts with heartbreaking loss, then moves into a determination to move on and find something new:

"...I know that things will get better, I know the sun will shine again..."

This would be a good song for a teenage girl suffering her first break-up. Was I such a girl? No, in my teenage/High School years I never dated.

Let's have some real glam - "Hungry" is a song about carnal desires. Filled with all the typical glam-rock metaphors such as "loaded gun". It's fun, frivolous and contains such delightful lines as:

"...baby take off your leather and show me all your lace..."

After that nod to the glam-rock conventions, it's time to show their political side, with the melodious "Little Fighter" - a tribute to the Rainbow Warrior - the Greenpeace ship destroyed by the French Intelligence Service whilst at harbour in New Zealand in 1985, with one activist casualty.*  Filled with determination and passion - this is a love song to a ship, but a ship with a purpose and a mission. This is one song that cannot fail to inspire you.

"... rise again little fighter and let the world know the reason why..."

And now we have a rather impressive array of power and guitars merging into a symphonic intro into the glory and might of "Lights and Thunder". Heavier on the drums, sophisticated structures. Cruising vocals, a gentle and immense purr - like a lion would purr**.

This is followed up with the anthemic*** "All you Need is Rock and Roll". A competent, but repetitive number with skillful guitar solo and a twiddly bass line. Surprisingly long considering there's only about 5 lines to the entire song. But what a guitar fade-out! Very dramatic. Ah, we are back to the days of the long-haired guitar heroes. Not that Vito Bratta ever really made the "guitar hero" list.

Probably the track that made White Lion at least marginally famous, "When the Children Cry" is a gentle, bittersweet ballad beginning with gentle plucking and the taste of tears. Tramp's voice is at its most beautifully broken. It was true in the 80s - and it's even truer now:

"... all that we have broken, you must build again..."

This song never fails to choke me up a little inside.

Another lovesong laden with loss and longing - "Love Don't Come Easy" - nice rhythm, easy to sing along with, nothing special but very likeable. As a follow-up to "Children Cry" it's a bit anticlimactic however. Somewhat repetitive and rather along the line of 'state the obvious'.

Drum and baseline usher us into the cruising, maudlin chords of "Cry for Freedom", another politically slanted piece about the futility of war and the loss of life. Heart-renching with a superbly anthemic chorus. Here again, Tramp's choked, raw voice really adds to the mood. A glorious track.

Another live track, "Lady of the Valley" rips on into the rock and roll with a gloriously enthusiastic guitar riffs, before fading down into a slower beginner and then rising again in passion to crash into a mellow chorus. This is a song of mourning and loss. The lyrics give it a slightly fantastical, maybe almost primeval/pagan air, which makes you wonder who the lady of the valley actually is:

"I have brought my fallen brother and I've laid him, yes I've laid him at your feet..."

"Tell Me" is another song of love lost - teenage love that has turned to ashes. A bittersweet ballad of farewell.

And then the final song of farewell - "Farewell to You" which is a pleasingly mellow, catchy song that works well for any occasion - the last song for a party; a goodbye to your reckless, rock and roll years and also a pleasing way to conclude an album. White Lion, you will always have a place in my heart - rock may come and rock may go.

"It was easier to say hello, than to say goodbye..."

This is probably one of the best choices of White Lion albums for those that are not huge fans - the songs are light on the sexual connotations and lyrics have more substance, with a sense of hope and purity that is somewhat lost in the more cynically-fueled Freak of Nature. Here is a band that is young, and feeling optomistic about the future, despite the pain and suffering caused in the presence. Alas, by the time they had evolved and grown into FoN the pure naivety had been lost in favour of a darker slant and realisation that things were not going to get better, that hope would not necessarily lead to triumph.

This is an album that proves that despite the poodle-hair, the eyeliner, the tight pants, White Lion were (are?) a band with sustance, and beliefs that went far beyond sex, drugs and rock n roll.

Some of these songs bring a tear to my eye, others are mere frivolities. I feel an 8/10 is a fair assessment.

Some of my favourite White Lion songs that don't (for some reason) qualify as "Best of" are "Broken Home" and "'Til Death Do Us Part". I suggest you look them up. The first is heart-breaking, the second beautifully romantic.

* I was only 8 at the time and have vague memories of the event but I guess it wasn't of too much interest  to an 8 year old girl into My Little Pony, Sylvanian Families and collecting erasers, stamps and dinosaurs.

 ** if they could, but lions can't purr.

*** that is to say - stadium rock anthemic - the sort that gets everyone jumping up and down and shouting along. Like Kiss' "God gave rock and roll to you" but not as good.

Queensryche - Empire (1990)

This is Seattle band Queensryche's fourth album, and this is the album that brought them to the mainstream. Mainly because of one song - you probably know it. But we'll get there in a minute. First off - the packaging.

 Here we have the tri-ryche again, this time in pixelated glory, it soars over the word "Empire" designed like a tower. In terms of graphic design, it is very basic and kinda rubbishy. They could have done better. Let's hope the music makes up for it!

The album opens with the melodic progressive chords of "Best I Can". A radio-friendly song with decent rhythm and the occasional triumphant soaring of keyboards. A little anaemic, however, sanitised and sterile.

We blast into "The Thin Line" in which Geoff Tate starts with his lower, (slightly) deeper vocals. Low tenor, perchance? Some nice guitar interludes and a gentle bridge into the rockier chorus.

A distant shadow of "Revolution: Calling" - "Jet City Woman" starts with similar chords, but fades into a somewhat bland, exsanguinated number. Entirely too accessible and rather lacking in passion.

"Della Brown" is another gentle number. The vocals are quite nice, soothing, good rhythm.

Finally, something with a bit of spirit to it. "Another Rainy Night", the second single, starts with a more dramatic flourish. The vocals have a little more emotion, touched with pain and building to a powerful chorus. Bittersweet lyrics:

"...Strange how laughing looks like crying with no sound..."

 Starting with an answerphone message, we have "Empire", one of the strongest and more energetic tracks on the album. Lyrics are political, and more in the "Operation Mindcrime" league. It builds strong, has nicely echoey chorus, and Tate has a bitter knife-edge to his vocals.

"Resistance" is also pleasingly powerful, building to a strong chorus and again installs memories of OMC. Tate sounds rather more passionate when singing politics rather than love.

The glorious lullaby, "Silent Lucidity" remains the 'ryche's most well known - and probably their best - track. Ever. The use of orchaestral elements gives it majesty and power, and Tate's lower tenor is deeply soothing, slightly sexy and laden with emotion. This track, alone, deserves 10/10. The whispered "help me" sends a shiver down my spine.

"Hand on Heart" tries to be a powerful piece, but "Silent" is a hard act to follow. Tate's voice is smooth and flowing, like a creamy hot chocolate. Some passion, still a bit commercial, however.

Another somewhat sterile, but still appealing piece "One and Only".

The mournful "Anybody Listening?" seems a desperate, anguished plea for someone, anyone, to listen, to realise. The music is strong, thick, laden with guilt and social conscience. Tate's voice tempered with dedicaation and desperation. Deliciously low, thick, melancholic. A fine conclusion.

Something of a santised, polished and radio friendly album from Queensryche. It does contain the one song that made their names known - and is pretty much the only Queensryche song I've ever heard on the radio, outside of specialised "metal" shows (when I used to request a different track from them every 2-3 weeks). The album starts weak, builds to its climax, peaking at "Silent Lucidity", although the songs that follow are still more spirited than the opening. The first four almost had me giving this a lousy 5/10, but I now feel more comfortable lifting it to a 7/10.

In This Moment - The Dream (2008)

In This Moment started life in 2005, changing their name from Dying Star, along with their musical direction. Fronted by sassy lass, Maria Brink, they have released four albums and developed a fanbase via MySpace, internet marketing and plenty of small gigs. They hail from Los Angeles, California.

"The Dream" is their second album, released in 2008. Mine is a digipack edition and it is rather whimsical in apperance - designed to look like a sepia-toned novel. The cover depicts a raven, a cute fuzzy bunny rabbit and a heart-shaped clock-flower. Inside, things take a somewhat more sinister bend with the spooky fly-rabbit adorning the cd, and some rather creepy photographs flanking the lyric booklet. The lyrics are illustrated with cartoons of Alice in Wonderland characters, each bearing a striking resemblance to the band member pictured beside them.

It is also a cd rom, and appears to contain a video file for "Forever", along with an audio interview with the band.

The album opens with the eerie and dreamy "The Rabbit Hole" before rocking in to "Forever". A bouncy, catchy pop-come-metal piece, this is one track guaranteed to get the audience bopping up and down. Brink's voice is one of those sweet-and-innocent-but-secretly-malicious that I tend to associate with the deviant school girl or gothic lolita. I can almost imagine her prancing around in a tutu and splashing about in the waves. But then again, that might be just because I watched the video.

"All For You" follows similar themes. Steady rock rhythms, keyboards and guitars, boppy and poppy.

We tone things down a bit for "Lost at Sea" where a desperate and haunted edge lends itself to Brink's voice.

"Mechanical Love" brings us back into the steady rock rhythms, boppy choruses, bringing with it a steady dose of relationship angst:

"Oh, and you'll never understand me...."

 A dark and disconcerting piece, "Her Kiss" starts with a spoken whisper, before being overwhelmed by surging guitars, and Brink's soaring vocals cut in, sounding pure and sweet until she falls into the more familiar boppy-poppy rhythms we've grown used to. The song builds into a dramatic climax before fading out once more into..

This is followed by the soft and delicate "Into the Light" with plenty of piano in a shadow of a reflection of Evanescence's "My Immortal". Brink can sound rather sweet when she wants to.

"You Always Believed" sounds like a bitch song - the sort of "you're gone and I'm better off without you" track that was popular of around this era. This feeling is directly contridicted by the lyrics:

"And you held me through it all, and you never let me fall. And you let me fly away and you always believed..."

 As far as love songs go, it's not very convincing!

"The Great Divide" is another heavier number, with Brink squawking like a ferocious speed-metal chick over pounding drums. The chorus is more familiar ITM, although tinged with anger and desperation.

A surging rock number with shouted vocals, "Violet Skies" brings us back into the rockin', kick-arse chick feel.

We conclude with the slow and gentle "The Dream" which seems a fitting way to end the album.

Except it's not the end - for we have two bonus tracks. They're nothing to write home about - one is another version of "Forever" and the second is an instrumental version of "Forever".

Overall, not a bad album but rather reminiscent of the era - Evanescence, Pink, No Doubt and any of those female bitchy-kick-arse-chick singers that I never really paid much attention to, being rather caught in the nostalgias of the past. The songs are a nice variety of soft and fast, boppy and heavy but alas for ITM, Brink's vocals let them down with her typical vocal style getting very tedious after a few tracks. She's good when she sings it slow or lets her voice soar, she should do that more.

I ummed and ahhed between a 6 and a 7, and eventually settled on the good ol' 6.5/10.

Flotsam and Jetsam - Cuatro (1992)

Hailing from the desert state of Arizona, F&J began in 1982 as Paradox (not to be confused by the German band with the same name) with Jason Newstead as their bassist until 1986, until he left to join Metallica. They rose as part of the American Thrash Metal explosion in the late 80s/early 90s but never received quite as much notoriety as many of their counterparts. Despite this, they are still active today and have retained the same vocalist throughout.

This is their fourth album, as you may have guessed from the name. The cover seems to have been designed by a similar graphic designer to the Watchtower album, having a somewhat pixellated helicopter image beneath a bold band title and name. However, it folds out into a poster with a larger image and the band photos down the side, lyrics on the back.

The album kicks off with "Natural Enemies" - pounding rhythms, aggressive vocals, surprisingly smooth chorus. Eric A.K.'s voice is rough and raw, tending on the slightly higher side but not screechy or shrill. Just angry. Pace is rapid for the verses. Slower for the chorus. Drums pound and guitars churn with shrill confidence.

"Swatting at Flies" begins as a slower number, with darting guitar licks to open. The pace slows, chugging and churning before the vocals erupt, Lyrics filled with pent-up aggression:

"The only thing I ever made in life was a fist..."

American metal is so confrontational! The vocals have a good rhythm to them, punctuated with solid drum beats.

"The Message" is slower but heavy, ominous rifts and some intricate guitar passages.Short and to the point - "have you got the message?"

"Cradle Me Now" thrums with tension, as though it is being restrained and trying to break free. It chugs and churns and thrashs.

The pace drops another notch and we begin "Wading Through the Darkness" which is a borderline ballad. The vocals now have a twisted whine to them, although they still radiate aggression and frustration.

Chugging and churning we step into "Double Zero". Vocals are surprisngly slow and almost melodic, but still with the harsh edge and tending more towards spoken than sung. There is something quintessentially American about the lyrics (which are also about war in the Middle East, of course this was released shortly after the Gulf War):

"Home's where the guns are..."

We pick up the pace in "Never to Reveal" in which the drum pounds and the bass line chugs. Vocals are tongue-trippingly fast - which is reflected in the lyrics:

"...hope my tongue don't slip..."

"Forget About  Heaven" brings us back into the heavy rhythms; slower, aggressive. Kinda highly strung. Nice guitar solo.

We mellow out a bit for "Secret Square". Low, quite strong and rich vocals, light guitar accompaniment. Speeds up, slows down, falls into weird distortiony bits.

We race and pound into the almost-speed metal "Hypodermic Midnight Snack". Despite the not-so-pleasant theme, this is my favourite song on this album. It races through the verses, soars into the surprisingly harmonic chorus and then surges forth once more. Erratic, dramatic.

There's a bit of a glam metal vibe to "Are You Willing?", compelete with a bit of a squeal to the vocals. Otehrwise, he's tripping over his tongue again as he races through the verses.

The final track, "(Ain't Nothing Gonna) Save this World" offers nothing new to the world of music and is frankly, rather dull and uninspired thrash metal.

I've been listening through this album for the last four days. I think it's time to put it to rest and return it to the shelf.


Flotsam and Jetsam are not a bad band, they're just not very inspiring. Their music is modestly competent and well structured, as far as thrash metal goes, they're pretty good - despite their relative obscurity (and many steps down from Metallica). However, I prefer my music a little more quirky and dynamic and thus I shall rate them 5/10.

Enuff Z'Nuff - AniMaLs WitH HUmAn InTElLiGeNcE (1993)

I first discovered Enuff Z'Nuff through mailorder catalogues through some music company (EMI?) through which I acquired "Strength". Alas, on cassette tape. This album I picked up much later for the kingly fee of $5 from Echo records.

Enuff Z'Nuff formed in 1984 and, amazingly, are still active today. They hail from Illinois and have released 12 studio albums, of which I am only familiar with the second and third. During that time their line-up has changed somewhat, with two memebrs dying - one of a drug overdose and the other of cancer. They began with a glam rock sound, which they mellowed into more of a rock style after the glam rock genre faded into obscurity.

This album was less succesful than its predecessor, and has one of the members - Vikki Fox, airbrushed out of the cover art, despite the fact he appears in every track, because he quit after it was produced. The cover features the three remaining members, all looking very curly haired and moody in blue tones. The back of the booklet shows an old style poster advertisement, featuring two horses - one firing a canon and the other posing beneath the stars and stripes. There are cute little banner cartoons above the lyrics for every song.

The album rocks in to "Superstitious". Good beats, vocals a low, smooth going into the occasional higher range. Nicely paced and catchy.

"Aieee-aieee-aieeee" the "Black Rain" begins. Beats like solid raindrops. Vocals undulate nicely with the rhythms.

"Pret-ty lit-tle sing-ing boy, just be-came a brand new toy..."

Taking on a more mournful, rock ballad feel, "Right By Your Side". Nicely emotive melodies. Vocalist Donnie Vie has a nice touch of angst in his voice, although it does tend somewhat towards the whiny.

"These Daze" starts with dogs barking, but is a cruisier number. Vie's vocals are lilting and raw, with a  touch of whine,  undulating with the rhythms, almost like the purr of a really large cat. This is a rock song about celebrating the wild years, but (presumably) setting them behind you.

A roucher, rawer, wilder number is the "Master of Pain". Heavier rifts. Harder sound. Solid beat. Catchy chorus.

"Innocence" is a sweet and soft song about growing up. It is about the loss of innocence, but

"who's to say it's right or wrong?"

And has good melodies and some nicely emotive guitar play. The lyrics are sensitive and almost reassuring. The lyrics indicate that it is about the loss of sexual innocence, to someone that "you" care for. More romantic than say, Helloween's "First Time". The piano adds nicely to the atmosphere.

Another ballad, "One Step Closer to You" is one of those unrequited love songs. Not creepy, just suggesting that the love interest is currently, technically, unobtainable. It has a faster rhythm, suggesting that this pursuit is not hopeless and that "I" am the better option:

"Every little move I make is getting you away from that loser..."

 There's a slight country-rock edge to "Bring it on Home". Vocals are low, smooth and relatively gentle. Bit rawer on the bridge to the chorus. Really rockin' chorus. Repetitive but catchy.

Another cruisy number - "Taking a Ride" is smooth and sunny. The music has a laid-back, restful vibe. The vocals getly rising and falling with the melody.

 With a  whistle and a chug, it's into the rock and roll of "The Love Train". Catchy and a good pace.

A heavier piece with a goodly touch of angst, "Mary Anne Lost Her Baby" is about abortion and regret:

"...Questions in your head: now the forties pass you by and there's still noone in bed, just a big fat lonely why. Spending life alone when you could have had the joys that make you carry on..."

Lastly, we conclude with a goodly rock number: "Rock N World".

Overall, this is a solid rock album - perhaps lacking some of the more interesting combinations and melodies of "Strength". It's an interesting listen and Vie's voice is strong, with a reasonable touch of angst and not too much whine. Not particularly remarkable and not earth-shatteringly original, however.

Rating = 6.5/10.

Deliverance - Camelot-in-Smithereens (1995)

Deliverance formed in the 80s as a thrash band and gradually morphed their way into a more progressive, melodic sound, akin to Queensryche. Taking a decidedly Christian approach, they were generally overlooked in the metal circles, since most non-Christian metallers don't appreciate being preached to. And their lyrics are quite preachy, but they make up for it by being a jolly decent band. This was their poorest selling record at the time of release (or soon thereafter, obviously).

My exposure to Christian Metal was through a local radio station in Golden Bay. I later found one on another station in Christchurch, one week before it disbanded forever. This introduced me to bands like Sacred Warrior, Crystavox, Virgin Black, Seventh Angel* and possibly some others. I swear I've heard Vengence Rising too, but they obviously didn't leave a lasting impression because I cannot remember their song!

 This is one of two Deliverance albums I own. It is their seventh full length album. I should have listened to the other one first (it's an earlier release) but this one hasn't had so much "ear play".

As packaging goes, it's pretty dull. Designed to look Arthurian I think, in that it's all sepia tones and parchment patterned, with the writing and cross/circle designed to look like embossing on leather.  Lyrics inside and no band photo, although the back cover features a photograph of one of those narrow castle windows.

The album opens with the appropriately entitled "Somber Theme (where are you)". Vocalist Jimmy P Brown has a low voice, a high baritone (at my guess) with good strength to it. He sounds rather like Geoff Tate doing the low notes, but does not do the operatic tenor of Tate. Somewhat repetitive but with a strong somber and sonerous sound.

Second track "Lindsay" begins with heavy rifts and eerie distortion, like the climactic build up during a horror movie. Then the drums and bass guitar kicks in.The vocals are low and smooth, edged with honey. I think this may be a song about unwanted pregnancy - at least a spoken bit (half drowned by bass) indicates this. Apparently those between the ages of 15 and 21 make up 42% of unwanetd pregnancies.

"Not Too Good For Me" has a distinctly Queensryche vibe - albeit from their less interesting days. Brown's voice has a good strong vibe to it, and I want to say "cadence" but I'm not 100% sure if I'd be using the term accurately. Wikipedia isn't too helpful on describing how things sound. Much like this blog really. The beginning is slightly echoey and eerie, before a more typical rock vibe steps in.

The moody "Anymore" beings with slow, entwiningly melancholic guitar. The vocals are, once again, mid-low and smooth and rich, like milk chocolate. Funnily enough, I was just discussing the use of the word "anymore" in writing and whether or not it was appropriate to use it. In this case, definitely. The low sound creates a wall of emotional pain and loss, the strumming bass accentuating this, punctuated by sharp percusson.

Picking up the pace, but not the mood we shift into "Book Ends". The vocals are pitched higher, proving that Brown can manage a passable tenor (albeit not for long) - and does sound quite surprisingly like Geoff Tate (in more recent days when his vocal range has shifted down an octave). Songs filled with reading puns are all good by me!

"...I'm on the shelf..."

Even if it is a "finding God" song and the lyrics print the word "two" as the number "2" which I  do not like. But it is better than in the previous track, where they substituted the word "for" for "4". Ick *shudders*.

The tempo picks up and into the rockin' "Beauty and the Beast". Good rhythms and catchy rhymes. Sound kinda familiar? It's a Bowie song. Brown's voice is not entirely disimilar to Bowie, although not quite as low and sehxy. My favourite so far.

"Make my Bed in Hell" begins with low, distorted vocals, moving faster until the words trip over themselves.

By "The Red Roof" I'm starting to zone out a bit. The songs are good - pleasant to listen to and the vocals are appealing. But they're not particularly inspiring and are beginning to blur together. Perhaps this is why it has taken me almost a week to get around to reviewing this album (I keep starting it then getting distracted from dissecting and having to backtrack a track). It ends with evil and meancing distortion, like mists raising from the gates of Hell.

We then move into another low and moody song - "In-U". Again with the horrible text speak. This was published in 1995. Was text speak even really used then? Anyhow, this is the song that kept playing on my ishuffle when I had this album loaded onto it. It's good, strong, with some very powerful and quite stirring moments. Good bit of emotional overload in the chorus. He seems very passionate in his faith:

"Just when I thought my life was through, it was then that I found my faith in the fact that I believe... in U."

How does this album rate? Well, individually the tracks are pleasing to listen to. The vocals are low and smooth, occasionally low enough to be considered properly sexy, but generally a sort of halfway between tenor and baritone that is not variable enough to sustain the interest for an entire album. The pacing of the songs seems to be consistently slow and a little depressive. Lyrics don't seem to be too much preaching or God bothering. Not as dull as the more recent Queensryche, but not nearly as interesting as the older.

I'd give it 7/10 but the use of single letters or numbers instead of words bugs me too much. So I'll dock them half a point  and rate it 6.5/10.

* Although I believe that was actually through Speed Kills 6 and "Falling away from reality" a song about suicide, actually, the whole album ("Lament for the Weary") is about abuse leading to suicidal thoughts and presumerably eventually the finding of God. Pretty depressing for a concept album.

Cop Shoot Cop - Ask Questions Later (1993)

Hailing from New York City, Cop Shoot Cop formed in 1987 and parted ways in 1996. They never achieved commercial success, but did make a few videos and receive at least a little MTV airplay - which was how I discovered them - hearing the awesome "Room 429" on MTV. It was one of those songs that haunted me, I recorded it when it was on, and played it over and over. From then on I would keep an eye out for CSC cds in record stores, without success. Until, finally, I discovered this one in the sale bins in Real Groovy. Sadly, most of the other tracks proved to be a disappointment on first listen - so I listened to it once then filed it away into my collection, to be pulled out and reviewed today.

Unlike most of the bands I listen to, CSC are not guitar heavy. They do not even have a lead guitarist and use a mix of sludgy, grungy sounding instruments, sampling, drums and bass.

It is a cardboard digipack, which means that the labels applied by RG have damaged the cover, tearing off the top layer. It was probably only $5 anyway. Inside it does have a plastic case and the booklet is slotted into the side in the manner that is difficult to remove. The cover features a boy with a gun (I think) printed in red, over what looks like printed duct tape. This duct tape print continues on the inside of the cover and also over the cd booklet which contains the lyrics.

The album opens with the uninspiring "Surprise, Surprise". Industrial noise. Heavy bass. Slow, driving like a sledgehammer. Vocals bold and a little echoey. Shouted, not sung. Aggressive, raw and pretty blah.

This is followed by "Room 429" which is ominous and, although still having the echo qualities, Tod A can in fact sing. He has a low, raw voice which sounds like he's being gargling firewater and chewing sandpaper. I suppose the term gravely would apply, although he manages an almost melodic stretch.

"Nowhere" has a sludgy garage sound. Heavy, clangy drums. Industrial noise. Vocals rising and falling. Low and deep. Like heavy barrels being rolled around a junkyard. Raw and raucous.

The short instrumental "Migration" featured in a Nike advertisement. It has an interesting almost "Ride of the Valkyries" feel, except played through distorted machinery.

With an odd vibrating sound, "Cut to the Chase" contains a mix of classical structures, most of which are played using distortion and bass (low and high) with the addition of violins. It is haunting, looming. The violin is being played in quick little flickering motions, rapid and fluttering like the wings of moths.

Whistling and banging shepherd us in to "$10 Bill". It has a steady tempo, like stomping boots of a marching army, shouted vocals with the hint of a tune. There's trumpets too.

"Seattle" has a grungy, distorted feel to it. All samples and noise gates.  I know what Gates are now thanks to Lions Share.

That steady beating-barrels beat ushers us into the "Furnace". Vocals high, echoe-y and distorted.  I swear someone is shaking a sawblade. Maybe that's what "metal" means under the instrument list.

There's a whiny, exotic quality to "Israeli Dig". Also an instrumental.

Rockier rhythms for "Cause and Effect". More low and high end bass. This is a very bassy album, a sharp contrast to the trebly Polish Thrash bands I was listening to this morning.

Ha-urm, ha-urm. Vocals dominate "Got No Soul" along with an industrial clunking. Kinda reminds me of Nick Cave, accompanied by a machine and strange vibrating, shrill insects. Also maracas, trombones, sax and trumpet.

"Late for work again today. Somebody's lying down on the job again. Will you people please stop jumping under my train?"

Oh my goodness, Tod A can actually sing! "Everybody Loves you (when you're dead)" has an upbeat tempo, despite the negativity of the lyrics. There's even piano in this one, admittedly mostly down the low end. And a lot of random clanging noises. Bit of shouting.

"All the Clocks are Broken" has an industrial goth feel to it. Everything is toned down very low, very bassy. Eerie background noises. Shrill. Ominous. Vocals droning but powerful. Like a voice of nature.

"A broken smile never lies. A busted mirror cannot see you cry."

This album has really grown on me. The arrangements seem to be pretty good and the use of mechanical noise, noise gates and distortion gives it a gritty edge. I'd almost say steampunk, but it's a bit too modern and gritty for that. Initially (when I started listening to it) I was going to give it 5/10. then 6/10 and finally I'm going to settle on 7/10. Repeated listenings work for this one!

Van Halen - Diver Down (1982)

Time for some classic rock now - Van Halen! This is one of their older albums, and not one of their most well known - but for some reason it is the only one I own on cd: $10 from Echo records, second hand. It contains absolutely none of their notable tracks and is their 5th album.

Van Halen formed in California in 1972, fronted by the charismatic showman, David Lee Roth. The Van Halen brothers - Alex and Eddie were two of the other members, and Eddie is generally considered one of the finest guitar players in the world. Alex was the drummer and Michael Anthony completed the quartet with his bass guitar. They soared to rock n roll fame - with such hits as "Jump" and "Running with the Devil" which are awesome songs and not on this cd, of course. In 1985, Roth departed the band - due to personal conflict with Eddie, and was replaced with Sammy Hagar. Himself a fine vocalist. Roth returned again for a reunion concert in the mid 90s, before rejoining the band permanently in 2006. He is still a member there today.

Whilst this album seems to have faded into the depths of obscurity, it did earn them a ranking in the Guinness book of records for "highest paid single appearance of a band": $1.5 million for a 90 minute set.

Cover is... boring. Definitely ranks in my top #10 of "least interesting album covers" (Along with Warlord's "Best of", Helloween's "Chameleon" and Wrath's "Nothing to Fear". The cover is red, with a diagonal white stripe running from top left to bottom right. Band name at top right, title at bottom left. Not exactly inspiring. Inside it's no better - a band photo in which Lee Roth looks young, blond and pretty compared to the rest of the band who are all dark. The song titles, and some helpful instructions on how to keep your cds in good condition and clean them (straight line, center to edge, with a clean, lint-free, soft, dry cloth). Guess this WAS one of the earliest cds.*

So, slot it in and give it a spin!

"Where Have All the Good Times Gone!" (sic) the first track proclaims and it has a kind of downbeat feel to it. Roth doesn't have his usual "happy voice" going and sounds almost a little lost. Bit repetitive too, not my first pick for an opening track.

With a somewhat more energetic pace "Hang 'em High" rocks on in with very competent guitar flurries accentuating Roth's vocals. Again, it has a more melancholic feel, with Roth's voice being rather more melodious and smooth.

Some interesting instrumention on "Cathedral". Is that clarinet? It soudns almost like synth, but there's none listed, so must be Jan Van Halen adding their touch.

Another slower rock number, "Secrets" has more of a traditional soft rock feel such as is found in bands like Fish.

"Intruder" is a haunting drum and guitar instrumental, with some whining reminscient of industrial machinery towards the end it slips into the distinctive opening chords of "Pretty Woman" which sounds a little odd from Roth's vocal chords. He's a little rougher than Orbison. He does manage a rather throaty purr/growl at one point. Even this track sounds a bit maudlin.

Picking up the pace with some electronica guitar swirls as quirky twiddly squeaky flurries as it's time for "Dancing in the Street". Orginally performed by Marvin Gaye. Could increase the tempo a bit. Make this a livelier number. But no, still seems a bit foot-draggy. I'm not feeling like dancing guys!

"Little Guitars" starts with a very twiddly and complicated flamenco style intro before taking on bouncier rhythms. This one has a more quirky and upbeat nature to it. The chorus is perky and chipper and this is probably the most upbeat song on the album and, so far, my favourite.
Although I would swear he's singing "etch a sketch, etch a sketch"**

And now we're taking a trip back to the 20s with clarinet and "Big Bad Bill (is Sweet William now)". This is a song popular with barbershop quartets, but Van Halen have added in some extra instrumentation. It still sounds weird and a bit out of place on a rock album.

Now, time for some actual rock, "The Full Bug" has faster rhythms and a solid almost glam-rock beat. Very skilful guitar solo as Eddie makes his axe sing.

And possibly the craziest cover song on the album, "Happy Trails" is performed acapella and is short, slightly out of tune and kinda amusing. In fact, it kinda ruined the album for me. It's amusing, but not a strong way to end a weak album.

This is a very different album for Van Halen. It's less energetic, more soothing and has a shadowy sadness to it. The instrumentation is competent, although there are no full on rock-out guitar solos and there's a kind of lacklustre feel to it. Good background music (I might take this to work, actually). But, it's not Van Halen as I know and love 'em and even their choice of cover songs can't make up for the lack.

The only stand-out track is "Little Guitars" 8/10 for that (it's no "running with the devil") and 4/10 for the rest of the album.My recommendation - if you want a Van Halen cd, DON'T buy this one!

Rating = 5/10

* To wikipedia! The first cds were made in the mid-to-late 70s and became commercially available in 1982. The year this was released. 

** It's actually "catch as catch" but still!

Twisted Tower Dire - Crest of the Martyrs (2003)

Funny story time... For T, I was debating whether to listen to this album or To-Mera's "Transcendental" and thus I pulled both off the shelf to give 'em a spin and see what I felt like listening to. To-mera was very dusty, and the sticky label on the slipcase particularly resilient to removal, and when I slipped out the plastic box and opened it. It was empty. No cd. Surely I've listened to this at least once, I pondered, and opened every cd drive in the house, including that of my old computer, of which the HD and box sits beside my desk. All empty. So, either I've managed to misplace the disc or I have never, ever opened this cd box and never received it. On the plus side - my brother may have a copy or I could buy it on itunes for $14.32.  Just debating whether it's worth it. The music store I bought it from - Real Groovy, have all closed their doors now, but I emailed the guy's new store, on the off-chance that the disc is lying around in the "lost boxes" pile somewhere. Not gonna hold my breath though!

Thus Twisted Tower Dire "win" this round!

TTD are an American power metal band from Virginia. They formed in 1995 and don't appear to have much else of note about them - or a wikipedia page (and wikimetal is broken).

It is a highly attractive album. Another digipack. The cover shows a graveyard on fire - the orange and the indigo a pleasant contrast. The flames form a hoard of tiny figures, carrying amongst them crucifixes from which their victims hang. The Grim Reaper rises in the darkling sky whilst lightning crackles around him. The gravestone contains the legend "The Disciple's Hate is darker than the martyrs". This cover is replicated inside on the booklet. The cd is also highly attractive, ringed in runic symbols and branded on the flipside with a ring announcing the band's name and their album title.

The album blasts into "At Night" with its old school metal rhythms and structures - reminiscent of Dio and with a hint of Warlord, even sounding slightly sludgy with that garage sound.

Somewhat more slamming, it's time for "Some Other Time, Some Other Place." Vocals are middling low, lower than most melodic metallers, but higher than baritone. Catchy chorus, over the bam-bam-bam of the drums and the shrill flurry of guitars.

We gallop into "Axes and Honour", another solid rockin' number. The theme is very mediaeval, somewhat Arthurian:

"Come, join our crusade. With axes and honour, our way of life's saved."

 It feels a little like they're trying to capture the mood of Manowar, but their music lacks somewhat in the creative, quirky charm. It's powerful and competent, but perhaps a little too polished, despite the slightly tinny edge to the mix. It feels to me rather like this is actually a record, not a cd.

"To be a Champion" feels like an American Hammerfall. The vocals aren't as pure and high, but the rhythms and structures are strong. The choruses are valiant and the sort you can chant (or scream) along with. Some nicely harmonic chanting too.

Another strong, solid number is "Infinitum". Vocals feel a little closer to shouter than singing, although he does get a bit melodious at times.

Similar structures in "Fight to Be Free". Faster pace. Violent lyrics:

"I'll kill who I can, spill blood upon the sand..."

By "Transfixed" we are definitely fitting into a musical pattern. Every song moves at a decent pace - not too fast but certainly not slow, the vocals vary from shout-singing to the occasional more melodious, same pitch, soaring chorus, and every so often there's a chorus of voices.

Picking up the pass and sliding in the sludginess for "Guardian Bloodline". I must confess, I've kinda tuned out now. The songs are rather lacking in diversity and although by themselves they're decent enough to listen to, in totality, the album is a bit on the drab side.

Gentle guitar, like sunbeams shimmering through leaves. Vocals soft and gentle, like a leaf dancing on the breeze. "The Reflecting Pool" is the most original and interesting track on this album, creating a feeling of golden sunlight shimmering across the azure waters. Of course, then it ruins it by charging back into the same rhythms we've already listened to on the previous 9 tracks. Really rather intense guitar duelling. Rapid drumming. Quite dramatic.

Finally we conclude with "False Orion", another slower number, with some interesting, poetic wordplay:

"As the smoke clears all the children's tears turn to dust in the wind..."

Moody and maudlin, with nice choruses and a good eerie feel. Then we rock on into that style we're becoming rather used to.

If Scanner were a European band that sounded semi-American, TTD are an American band that sound borderline European. The rhythms and structures are good and strong, very competent medieaval/fantasy metal. Not enough variety to totally stimulate my senses, however. The vocals are also a tad tending towards mild irritation.

Rating = 6/10

Queensryche - Rage for Order (1986)

Queensryche are probably the finest band to come from Seattle, Washington. Sure, some would argue that it was Nirvana, or Pearl Jam, or maybe even Nevermore; but for technical prowess and musical competence, Queensryche have stolen my vote.

This is their second ful length studio album, and one of my favourites. It displays a creativity and intricity that was lacking somewhat from their debut album, along with an added dose of intriguing menace.

The cover is pretty plain - the band and the album names written in a ring, surrounding the tri-ryche symbol, overlaid across a fairly crude, lineary map of the world and coloured in what could well be blood red clouds. Inside the lyrics are printed in a bold, san serif font. I found the band photo particularly amusing:

Loving the widow's peak Geoff! The permed hair is particularly entertaining too.

The album starts with the catchy "Walk in the Shadows". Tate's voice is in fine fettle, high and melodic in pitch and power.

The rhythms slow, taking on a dreamlike quality, the guitars plucking gentle melodies as "I Dream in Infrared". Desperation bleeds from the vocals, surging into power and determination.

"The Whisper" is anything but. A solid beat, soaring vocals and a somewhat eerie edge to it. Great chorus, and harsh whispering voices. It has a technical aura to it, making me think of the voice in the computer, calling to the unsuspecting, controlling them.

"Please take my hand, don't be afraid. I am your master, you are my slave..."

Keeping with the creepiness, the eerie openings of "Gonna Get Close to You." The guitars create a dark and gloomy mood, shadows creeping in like fog, hiding all manner of secrets. The lyrics are pure stalkerism:

"I wait by your door til you're asleep at night and when you're alone I know when you turn out the light..."

Another with a menacing edge, "The Killing Words" bring with them a touch of frost, dancing across the drums and guitars. Chorus is filled with desperate anguish.

"Surgical Strike" hits with precision and power. Sharp, determined; Tate's voice is a spear. LYrics related to war.

Echoing, otherwordly, "Neue Regal" brings with it a hint of exotic. Vocals are high, bell-like, looming menace clustering in their shadows. Almost industrial sounds. Towers looming, darking the sky with their acrid smoke.

"Eternal Youth (We Are Rebellion)" strikes me as being a dystopian song, the sort that  makes you think of the general public rising up against the Government, waving banners, shaking fists. Combining shouting, breaking glass and general anarchy with Tate's vocals and a gallopin', rockin' chorus.

Following this is the hauntingly melancholic "London". It sounds like a love song - or to be precise, a loss song. The vocals are melodious, yet tortured, thrumming with loss and loneliness and abandonment.

"Screaming in Digital" is like a soul, trapped inside a computer, technologically imprisoned and crying for help. The vocals have a polished, technical edge to them. The instruments thrumming with pent up emotion.

Another haunting, lost and bittersweet piece, "I Will Remember" is heart-felt and forlorn. Tate's voice feels as fragile as a broken heart, the music playing a slow and solemn counterpoint.

 In a time when pants were tight and hair was permed, and lyrics were all about sex and love (but not necessarily both), Queensryche stomped onto the scene - with the hair and the pants, but they brought with them dark shadows and their own special blend of menace. This would have to be one of their finest albums: 9/10.

Overkill - Horrorscope (1991)

Rising from the American Thrash metal era, Overkill hail from New Jersey. They are one of the most successful East Coast US metal bands and have released 16 studio albums, plus several live and EPs. Formed in 1980, they are still active today, although they have undertaken numerous line-up changes, their vocalist, Bobby "Blitz" has remained a constant.  
 
This is their sixth album. It is regarded as one of their defining moments and is their heaviest release, being more aggressive and darker than their earlier albums.

The cover folds out into a sort of poster, albeit one made up of printed squares. The front depicts their horned skeletal mascot - this time with hands, carressing a globe, in which screams a human face. The border is industrial, rivetted with skulls. The title, "Horrorscope" drips in bloody trails that are barely visible. One side of the fold out sheet holds the lyrics, the other band portraits and "Chaley" their winged, horned skull mascot.

It opens with the slow, technical chords of "Coma". Brooding, threatening, like stormclouds gathering on the horizon. Then they break, and we blast into the fantic, hectic strumming and Bobby "Blitz"'s distinctive half-scream, savage vocals.

"Infectious" begins with more chaotic strumming, racing, racing, galloping away headlong as Blitz's vocals snarl over it. Choruses are repetitive enough to sing (or scream) along, not that you feel particularly inclined. They're pretty much controlled, somewhat melodic, noise.

More racing guitars, and an intermitent drumming bring us our "Blood Money". Structurally similar to the preceeding tracks - fast, vocals like a vicious beast, intricate guitaring and some complex shredding in the solos as the guitarists war for dominance. Filled with pent-up aggression.
"Thanx for Nothin'" delivers more aggression; reflected in both the savage shredding and pounding drums, snarling vocals and savage lyrics:

"Thanks for nothin'. Yeah, I said nothin'. Next time better think. Think before you speak!"

 So angry... give me happy European metal any day.

Oooh, piano, a handful of notes, repetitive, like the soundtrack to a horror movie. The guitars roll over them, and still they persevere.  Giving it an eerie, otherworldlyness. Gone, the guitars have enveloped them. "Bare Bones" races at a breakneck speed, the drummer heading for wrist - or arm - injuries. Unrepentent. Furious.

Slower, more ominous, "Horrorscope" is the title track and was also the track selected for individual release. Technically competent. Intricate, jerky rhythms, the vocals are raw and ragged rasp. The chorus spat out like a threat:

"The change is here, the future clear - I can feel it com-ming!"

 Heavy rifts, pounding guitar. You know the drill. It's a "New Machine".

The instrumental "Frankenstein" is an epic powerhouse of duelling guitars, clashing with one another as they weave through the intricate chords.

"Live Young, Die Free". Fast, frantic. You get the idea. The drummer sure is getting qutie a workout!

Hardcore drumming, churning rifts. "Nice Day.... for a Funeral". Some nice slow bits, funereal, you might say.

And finally, we have a ballad - "Soulitude" brings the speed down and the vocals lower into a manner that is actually quite pleasing to the ear. Blitz can actually sing. So why doesn't he do it more often? Maybe he does on other albums. Even when it surges out of the singing and back into the screaming, it's with an emotional passion. It reminds me a little of Maiden, actually, except angrier.

Bit repetitive, bit too angry. Favourite songs are "Soulitude" and "Horrorscope", the others all tend to blur into one another and I can take 'em or leave 'em. The guitars are an almighty voice, Blitz's vicious snarling screams get a bit tedious after a time. I'd have to say, more than two tracks in a row just feels like... overkill.

I'm gonna rank it a 5/10.

Mercury Rev - Secret Migration (2005)

Mercury Rev are glorious. As you may recall, it was my brother who lured me into their music, capturing me with their sound much as you would capture a mouse with peanut butter. The melodies, the liveliness, the sheer effervescence of their music... it is a delight to behold and absolute divine aural pleasure.

If you wish to know more about Mercury Rev, Pandora Radio has a nifty entry.

This album was purchased on a trip to Wellington. I had been informed of its impending release, which coincided with our vacation. Therefore I skipped out of the convention I was attending, racing down the hill in eager anticipation. I think this is the first time I've ever bought a cd on the day of its release and held it in my (slightly shaking) hands. I couldn't even listen to it - since I hadn't a portable cd player. But it was mine and it was beautiful and it was enough, for a time, to simply hold it in my hands and admire it.

The album cover is a thing of beauty. In perfect pastel lilac hues - delicate and fragile, like their sound. A moth, tawny wings spread to reveal eyes and a woman's face upon its thorax. Inside the dreamy, surreal, otherworldly feel continues with gorgeous lavendar shades: swans, clouds. It is all very dreamlike and ethereal, entrancing.

Of course, the instant I slipped it into the CD player I fell forever, unrepentedly, in love.

The dreamlike, haunting "Secret for a Song" entrances with its gentle piano, fleetingly beautiful vocals - as clear and as sweet and as innocent as a childhood kiss. Glorious enough to bring a tear to your eye and reach deep down into your soul and give it a gentle, loving, squeeze.

"I'll tell you a secret, I'll sell you a secret for a song..."

 Beautiful, melancholic, entrancing; now we delve "Into Yer Ocean". The lyrics are pure poetry, the light, lilting rhythms enhance and transform the music into thousands of delicate crystals, tinkling like stars above the gentle rise and fall of waves.

Tinkling like tiny stars, we have "Diamonds" with more evocative poetry:

"...like a bracelet hung, from a spider's web..."

Sweet, delicate, sensitive.

Piano and strings delicately dance around Jonathan's wonderful voice as he leads us through "Black Forest (Lorrelei)". Haunting, fairytale lyrics and a sense of longing and loneliness with a hint of helplessness.

"There's no way 'round the forest, the only way is through. And there's no way I'd make it without you..."

Their lyrics are so rich, so beautiful, so dream-like and whimsical that I cannot resist quoting them.

"Slow, rich, glorious velvet "Vermillion" is as smooth as a caress.

The glorious "In the Wilderness" is a love song. Vocal-centric, sweet, innocent, romantic and beautiful.

And Mercury Rev score mad bonus points for the line:

"How could I have been blind for so long
and how could the woman I love be so strong"

'Cos how many musicians would have used the rhyme "wrong" instead?
Also:

"...Take her by surprise, not by force..."

This song is like being enfolded in the arms of your beloved and lain down on the verdant grass in a glorious woodland where the trees are wearing their autumn suits.

Haunting melodies, echoing and spectral as the flutes and strings entwine "In a Funny Way". But it's not funny, it's beautiful, vibrant and playful love song. Fleeting, ethereal, ephemeral.
(The video is delightful and slightly creepy - you should totally watch it).

Hell, I need a thesaurus to write these reviews!

It's like being swept up into the clouds and sung to by angels.

Another beauty, "My Love" is the sort of melody that cannot help but stir your soul. The lyrics are filled with heartbreak and regret:

"... I never gave you enough, I could have given you my love..."

A lament of letting the one you love slide through your fingers, of not giving all that you should to someone who deserved it. Such a simple thing - love - but it means so much.

"Moving On" is short, choral and flavoured with crystal raindrops.

"The Climbing Rose" is another song of transcendent glory.The lyrics are repetitive, but poetic.

The drums erupt with vibrant energy as your spirit will "Arise" into clarity and poetry.

For a song called "First Time Mother's Joy (Flying)", this is a bittersweet symphony, the piano adding an edge of melancholy.

"...Soon the dormant patient roots will show themselves as childish shoots..."

Their lyrics are so gosh darned beautiful.

Concluding with the melancholic, the sorrowful, the heartfelt "Down Poured the Heavens" when Jonathan's voice almost cracks with the emotional overload.

Mercury Rev are, quite possibly, one of the most evocative and stunningly beautiful bands in the world. I cannot understand why they are not better appreciated, or more well known. There is noone that comes even close in terms of clarity and whimsical charm. Their songs are poetry to music, their arrangements pure magic and Jonathan's voice has an otherworld quality that makes you wonder how he can possibly be human (I think he's fae). After this album and the previous, it seems so impossible to possibly top them, that Mercury Rev released an album of entirely different stylings and sound. Still, whether they return to this sound or not, they have left us with two magnificant albums. The mood for this one is generally gentler, more melancholic, filled with longing and loss, compared with the playful innocence of (some of)"All is Dream".

And what will I rate this one? Yeh, you guessed it = 10/10.

Warlord - Best of (1989)

I was going to listen to Within Temptation, or maybe Wolfspider for W this time through - then I saw the Warlord CD in my collection and I could not resist.

This band formed in San Jose, California  in the 80s, as sorta a low-key Manowar, although according to Wikipedia their influences were actually Rainbow, Angel Witch and Jethro Tull. The band take amusing pseudonyms - Destroyer, Thunderchild, Damien King and Sentinel. They have never performed live, not wishing to be considered part of the LA live scene. Although they did hire a theatre to record their first full length release, and performed to an empty hall.  This possibly explains why they never attained much in the way of notoriety or recognition, but do retain a cult following to this day. They ran through three vocalists: Damien King I, II or III and released a couple of albums, then some compilation and best of albums, basically reusing the same tracks, because they only had one full length album and one EP up their sleeves. They split up without really achieving much of anything, then reformed in 2002 with Hammerfall's Joacim Cans their vocalist. They seem to be the band that other bands like - Hammerfall are named after lyrics in the song "Lucifer's Hammer" and Yngwie Malmsteen cited them as his favourite band in the 80s.

I own two Warlord albums - their original EP release, 1983's "Deliver Us" EP on vinyl (stored in my cupboard, since I can't play records) and the 1993 "Best of" which is the entire Deliver Us EP pls 7 more tracks (two of them new versions of older tracks), probably almost their entirely collection. Since the vinyl is buried, I'll be doing this review of  "Best of". This was their first release on CD. I picked it up because it was cheap and had twice as many songs as a record that I really liked but couldn't play!

The cover is black. With red writing. It is a single fold, and inside declares that if you send $32.95 to an address in CA you can receive a VHS video with live footage, interviews and documentary. Live footage is from their audience-less concert. There's a photo of three members of the band, performing not-live. I doubt I could still get it today, some 20+ years late. <- now available on DVD, apparently.

Anyhow, after that eccentric intro, I bet you're wondering what they sound like - right?

The album opens with "Deliver Us From Evil". Eerie wind, light guitar, building into something dramatic. Definite folk inspirations.  Twiddly guitar, low, wistful vocals "Deliver us from evil". Then.... a pause... and BAM the drums start in a rhythmic, somewhat tinny (this was the early 80s) beat. Like soldiers marching into war. Vocals are a soft tenor. The beat of the song is great - it totally seems like the pounding of a mighty army and could well be their battle song. Except for the fact that vocals are not particualrly aggressive, even if they do get somewhat shrill at times.

Haunting, melancholic melodies and almost feminine vocals usher us into "Winter Tears". Damien King's voice could almost be a lower pitched woman. It certainly has a wistful, ethereal quality. Because this is an 80s recording, it has that almost more fragile edge to it. The song itself is delicate, but has solid beats and a quirky edge to the guitar.

Now we rampage in to "Child of the Damned", a raucous and fast piece with the vocalist almost tripping over his tongue. HammerFall do a pretty good rendtion of this song.

"Penny for a Poor Man" is another somewhat folk-esque piece, with a strong fantasy feel to it, evoking feelings of high stone walls and a man in rags, shuffling his way along the dark, litter infected streets.

An ominous opening leads us to the "Black Mass". Sludgy, primeval. Vocals wispy and ethereal. Has a feeling of early Candlemass about it.

"Lucifer's Hammer" introduces the first synth sounds, swirling and whirling over the heavy bass beat as the:

"... hammer will fall on you..."

Primeval, tribal and dramatic. This track was also on Metal Massacre II.

Thus ends the "Deliver Us" EP and we are now into the slightly later music:

"Mrs Victoria" was a track featured on Metal Massacre III. It has a greater clarity of sound than the early tracks, and haunting synth music that reminds me of King Diamond. Although the vocals are of decidedly lower pitch than Mr Diamond's! The lyrics are vicious and the music manically furious and agitated. It sounds decidedly different from the "Deliver Us" days.

Following up is "Aliens" - starting with a quick drum solo before the guitar overwhelms them with a sludgy garage sound, overlaid with synth. Has a good pace, quite jaunty.

I suppose "Lost and Lonely Days" would be considered a love song. It marks a return to the earlier sound, with tinny drum beats and guitars - but is that a touch of the synth I hear?

Now, something we've already heartd - "Beginning" with a declaration about 1984 and then a repeat of "Lucifer's Hammer". Further research - Google plus Wikipedia, shows that this song is based on a Larry Niven novel by the same name. A comet is crashing to earth. It is called HammerFall. This version has more keyboard (ie: some) in it than the earlier version.

"Solilquy" starts with fleeting guitar, joined shortly by thrumming drums. Vocals are thin and spidery, a little bit lost. As be fits the lyrics which are along the lines of:

"I'm alone, I'm alone again and that's how I'll always be, until the end..."

 The next track is "MCMLXXXIV". It is an instrumental. It appears that Warlord considered 1984 a Very Important Year. Or perhaps that's just because these are taken from their "And the Cannons of Destruction have Begun..." As far as instrumentals go,  it's not particularly memorable.

Now we have "Child of the Damned" again. Slightly less ominous than the former version, and starting with a higher-pitched falsetto scream. I would hazard a guess that this is Damien King II or maybe III. His voice is thin, almost reedy.

And of coures, the immortal line:

"Better to rule in Hell than it is to serve in Heaven..."

Which is from Paradise Lost (the book, not the band that, presumerably, named themselves after the book).

So, that's Warlord. Slightly eccentric, somewhat forgotten, except perhaps in the heart and soul of the actual musicians that they inspired. I'm curious to hear their work with Joacim, and might have to track down some of their more recent stuff. Their sound is pure 80s fantasy metal with folk influences, and like a toned down Manowar with weaker vocals.

But they're pretty nifty, and deserve 7/10.

Here's their newer stuff:
https://www.youtube.com/watch?v=leWVxtcDP7o
They've got Damien King III back, but he's going by Rick Anderson now.

And here the are with Joacim:
https://www.youtube.com/watch?v=ZqA2sOHtdYg
Sounds rather like Hammerfall, not surprisingly. I really should listen to my HammerFall album but, alas, I have so much Helloween they tend to take H priority. Maybe next time through I'll do two.

Vicious Rumors - Welcome to the Ball (1991)

When I decided to review this album for V, I thought it would feel like a new cd to me - as I can barely remember listening to it. However, as soon as I put on the first track, it all came flooding back to me. By the second track, I remembered that their vocalist had died in a car accident (in 1995) which always made the song "you only live twice" particularly ironic.

Vicious Rumors are also considered a Power Metal band. However, unlike most of the PM genre that I listen to, they hail from America. This means that they are closer to thrash metal than the classically inspired PM of Europe. Like many of the US Metal bands of this style, they come from San Francisco's Bay Area, which seems to have inspired a goodly amount of heavier bands with (moderately) more melodic vocals. Musically, their stylings are quite complex and the vocals range from baritone to falsetto. Instead of the "happy sounding" metal of Europe, with strong fantasy elements and triumphant structures, they have gone more for the aggressive and intense.

Founded in 1979, VR released four albums before Carl Albert's unfortunate death (car accident) and made a tribute album for him, going on in his honour. They did experiment a bit with sound however, and suffer from line-up insatibilities. In 2006 they returned to their classic sound, and they are still active today.

The cover says it all, really - the title "Welcome to the Ball" is a phrase with duel meaning, in this case the large metal ball that is about to wipe out what could be a concert hall. The band photo reminds me rather of the Savatage ones, although that may be the permed hair which in this case appears in a variety of colours and various from intensely curly to slightly wavey. The men of this era seemed to have better hair than some of the ladies. Expressions range from glares to the slightest hint of a smile.

The album opens with the pounding, angry rifts of "Abandoned". This is the sort of song I used to play loud and mosh about to in my room when I was feeling angry, depressed and... well, abandoned. Albert's voice is not overly high, but has a razor-edged whine to it.

"You Only Live Twice" introduces a bit more melody into the vocals, as they surge alongside the pounding drums and the guitar plays in short bursts, before being permitted full reign. There is a nice versatility to the drum rhythms. Vocals are still at the same pitch, with the whine and occasional lilting rise. The chorus is nicely melodic.

Starting with some ominous beats, "Savior from Anger" promises to be a powerful thrash song. Vocals are faster paced with a bit of shouting and higher pitched anger. Albert's voice is a pleasant pitch, actually, never getting shrill (like say, King Diamond) and varying up and down from baritone to tenor. This song has political conotations and is (like many of 1991) focused around the conflict in the Middle East.

Another song with social-political conotations,  "Children" is a slower song with meaningful, thought-provoking lyrics, and in the chorus Albert's pleasantly low vocals rise into an almost-falsetto. The guitar and drums are simply in this song, implying that it is almost, kind of a ballad, and it fades into light guitar, vocal accompaniment and children at play.

"All the children are the heirs, taking what we give them..."

 Another slower song, "Dust to Dust" starts with aching guitar before another joins it and the two form a formidable wall. Vocals remind me of Dio - about the same pitch and with the same edge to them.

"Raise Your Hands" is another catchy piece with slower, rockier rhythms and  a rather catchy chorus. Good to shout along with!

"Strange Behaviour" is another solid metal number, with more shouted choruses and good rifts. Nothing outstanding.

Rather sinister girlish giggling begins the thrashing "Six Stepsisters" which has rather disturbing lyrics and races along at a rapid, almost frantic pace.

"I couldn't take it, her screaming like that. Six tortured souls in one body trapped.
They fight to control the thoughts of one brain. Blood thirsty kin one in the same."

Sex or horror? I'm not sure!

For some reason, "Mastermind" seems more familiar than the others. It has a nicely distorted chorus and politically orientated lyrics. Solid thrash metal with good vocals and strong rhythms.

Now it's time for a ballad - "When Love Comes Down" allows the sorrowful edge of Albert's voice a chance to reign, although at times it rises into frustrated and desperate.

The album concludes with "The Ends of the Earth" which pounds away with aggressive determination.

I had forgotten how much I enjoyed Vicious Rumours. They remind me of other bands of the era - Overkill, Forbidden, Testament, Exodus... many of these from the Bay Area Thrash Metal scene. (except Overkill, who were from New Jersey). Overall, more aggressive than their European counterparts. They have a goodly mix of the fast and the slower, and even a semi-ballad for good measure.

I'll give them 7/10.

Type O Negative - October Rust (1996)

After all that tenor and falsetto, I feel like something a bit lower, a bit slower, a bit moodier. Therefore, it is time to slip on one of my Type O cds.

There is something about Peter Steele's voice - so low, so somber, so emotional and powerful. Alas, on April 14th, 2010, aged only 48, he died of heart failure. It was a bitter day for the goth metal world. Standing 6'8" and with a history of cocaine and alcohol abuse, I guess his body was overworked. The negative edge to the lyrics, the self deprecation and general angst were also a sign of his mental health, as he suffered also from depression.

The legacy he left behind was seven albums and nine music videos. I'll try to find some that fit in with this review.

Like most (or perhaps all) Type O albums, "October Rust" is green and black, only the title and the band being written in the actual colours of october rust. Four vertical stems, thorny rose stalks, bissect the cover if the booklet, and on the back the band stare out. Monochromatic, scowling, their long black hair resembling hoods. Steele himself looks rather like a vampire. On it are the words:

"Functionless art is simply tolerated vandalism.
We are the vandals."

Inside, the lyrics share page space with autumnal scenes creating a melancholic, somewhat oppressive atmosphere.

The album opens with "Bad Ground" - 37 seconds of long, drawn out static, followed by an introduction by the band - complete with chicken noises.

First actual track, "Love you to Death" starts low and smooth - Steele's voice a rich caress to the aural senses. His low, bass-baritone vocals stir something deep in the soul, although mostly he sings at a slightly higher pitch. The keyboards and solemn melodies entwine into something that is somehow both romantic and melancholic at the same time. It ends with the heartfelt plea:

"Am I good enough for you? Am I? Am I?"

"Be my Druidess" has an electronic edge to the music and a faster paced, slightly more upbeat mood. This seems to be about pagan rituals involving sex, something which can easily be concluded by the closing lines*. Darkly romantic.

Still slow, "Green Man" is rich with verdant goodness, the music feeling organic and alive.

Heart-breaking "Red Water (Christmas Mourning)" is possibly the saddest Christmas song ever. Slow, poignant and melancholic. The lyrics say it all:

"My table's been set for but seven, just last year I dined with eleven..."

Steele's deep voice, with its slightly liliting, accented edge to it, combined with the slow rhythms and dejected Christmas bells are enough to bring a tear to the eye.

 In a completely different vein, we have "My Girlfriend's Girlfriend" with its more upbeat rhythms, catchy chorus and rather silly and colourful video clip.

"Die with Me" starts with almost whispy vocals, gentle and mournful, accompanied by acoustic guitars.

This is followed by the rather repetitive "Burnt Flowers Fallen".

The cruisy, almost soothing "In Praise of Bacchus" is another richly organic piece. Vocals are slightly distorted and fuzzy. The fade-out is haunting and lingers, like smoke after a flame is extinquished, flaring again to complete the track.

Now for a cover song - Neil Young's "Cinnamon Girl" is treated to Steele's deep and magnificant vocals.

"The Glorious Liberation of the People's Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa" is a weird instrumental that is over before I finished typing the title. I had to listen to it twice. It's slightly ominous, with chanting and cheering. I'm sure there's something deeply meaninful about it, but I don't get it.

The beautiful and haunting "Wolf Moon (Including Zoanthropic Paranoia)" opens with piano and violins (or bass). If you don't know what this song is about, read the lyrics carefully. If you still don't know, then it's probably better that way. It is another slightly murky sounding piece, over which Steele's voice rings out loud and low and clear and true.

The spectral and epic "Haunting" concludes the album. It starts slow and dramatic, looming beats and achingly wrenching vocals.

There's a final message from Peter too.

Although generally I prefer the higher, more operatic male vocals, I would have to say that the lower ones - like Steele and Brennare, definitely seem to stir something visceral within me.

Haunting, melancholic, beautiful, romantic - these are all words that can be used to describe this album. It's a fine offering from a fine band. We will remember you Peter, your legacy lives on in your music.

Rating = 8/10.

*Which are far prefereable to Quorthon's statements in his horribly grunge-esque solo track: "No More and Never Again"

Queensryche - The Warning (1984)

This is Queensryche's very first full length album, following on from their "Queen of the Reich" EP. It in inspired by world events of the time and also by the George Orwell novel Nineteen Eighty-Four.

On a random aside - Geoff Tate was fired from Queensryche in 2012 - but due to legal issues both the line-up he left behind, now with the ex-vocalist  of Crimson Glory, and he with a "new" line-up including another ex-member, are both legally allowed to use the name "Queensryche". If both manage to get an album out in that time, it could make for an interesting aural battle.

But, in 1984 the wide world of progressive rock stood before Queensryche  - this album achieved modest success but never charted in the US of A, although "Take hold of the flame" became popular in Japan. The Japanese are known for having excellent taste in melodic metal (although I have only one Japanese metal band's album in my collection).

The cover is simple but makes a statement. It depicts a card - like a tarot card, inscribed with the words "The Warning" held in a gloved, and frankly rather unhealthy looking, hand, whilst green lasers shoot from the card like eyes or headlights, behind it is Earth. The message is clear - things are going wrong with our planet.

Here in his younger days (he's 24/25), Geoff Tate has a high and clear voice that rings out strong and clear with an almost bell-like clarity. The album opens with "The Warning", a song of simple structure with rhythmic guitar and drums. It is Tate's voice that gives it the power and emotional impact it implores - powerful, with a hint of desperation. He sure can hold his notes well!
"En Force" gets into a somewhat more dramatic start with tolling bells (their voices relatively high and drum-like) and surging into the vocals. Again, Tate's voice is a fine force and it is easy to see why his is considered one of the best in the genre. The higher notes are sweet and pure, but with the occasional harsher, raw edge. There is an innocence in it as well. The lyrics have a definite dystopia/sci fi edge:

"Light tracers follow me farther into the depths of unknown. The blackness surrounding the borders of hope. We're alone"

  The ghostly drumming and spectral and ethereal vocals give the final verse an eerie and unnerving edge. It feels lost, and haunted.

Before we soar into "Deliverance" a rather faster paced and energetic piece, similar to what we consider the classic Queensryche sound.

Ghostly and slow, feeling distant and haunted, "No Sanctuary" follows. This is not precisely a ballad, but definitely a slower, and softer song - again with an edge of desperation.

Following on from this is another dystopia-inspired song, "NM 156", this one possibly more inspired by the book. The vocals start with computer voices, then Tate's desperate high notes soar over them.

"Microchip logic, have we no more thought?
"Is this wrong" I enter, answers sought"

 The future is  before us, and it is not a pleasant place. Decent and somewhat complex guitar solo, soaring vocals compete with faster, harder, rawer and desperate. Tate can certainly wail.

Now, I believe it is time for a Power Ballad. And "Take Hold of the Flame" certainly fits the bill. The vocals are as bright and clear as the fire themselves, flickering into a gloriously high howl. The chorus is delightfully anthemic:

"So take hold of the flame. Don't you see life's a game?"

 I can almost see those lighters held high! (Of course, nowadays everyone uses cellphones instead - far less likely to cause accidents or fire alarms anyway).

The somewhat heavier "Before the Storm" follows this up with its echoed chorus and more involved guitar structures, the whirling guitar solo imitating a grey sky broiling with clouds.

"Child of Fire" is another song of loss and desolation, heavy with desperation as Tate wails:

"Look around. Is this the end you've foreseen?
The pain? The misery in us all?
What was it that you knew?
Will we someday learn it too?"

 Finally we conclude with "Road to Madness" in which Tate drops half an octave, or maybe a wee bit more and forlorn strings echo his words. His words are tinged with hints of loss and desolation. Like the soundtrack to a lost man, walking forlorn along an endless highway. It turns faster and more urgent as it marches towards its conclusion.

A very fine debut album, with hints at what Queensryche will become. The songs are nicely variable, contrasting with one another to take on personalities of their own. Haunting and memorable but possibly a bit dark and serious to earn it much acclaim at the time of its release - a time when Iron Maiden ("Powerslave") and Judas Priest ("Defenders of the Faith") were having their day and glam metal had laid its roots.  It had a lot of steep competition.

I'm going to give it 7.5/10.

(Note: Yes I posted R and Q around the wrong way, I DO know which way the alphabet works, that was just the way I happened to listen to them, okay?)

Phoenyx - Keepers of the Flame (1990)

This album was a bit of a gamble - albeit a very cheap gamble. It lay in the Real Groovy Sale Price bins, at the kingly cost of $1 or $2. The band photo on the back makes them look like wanna-be gypsies from the mid 80s - big hair, tattered clothing in a cornucopia of styles. The cover depicts a phoenix so stylised that I only just realised it WAS a phoenix. It's pretty wicked - all celtic design. Nice gold font on the cover too - that must have cost a fair amount to print. Inside, the paper is thinner, more like an actual booklet than the glossy cd covers I'm used to, and the list of instruments is appealing - electric violin, mandolin, tambourine, bodhran, mandola, flute and something called a florlogue.  Also bagpipes and a female vocalist. Hrm, I thought - sounds like folk. Could be folk-metal, could be folk-rock or could be pure folk, either way, it's probably worth $2.

And when I put it in, I fair wooped with glee. DEFINITELY worth $2.

Phoenyx are pretty obscure. They're from San Francisco, California and labelled as "Celtic fusion rock". Googling "Heather Alexander" is interesting - because the vocalist is apparently actually Alexander James Adams - from his website:

Alec is also the appointed heir to Heather Alexander. Heather, who was actually a changeling, was called back to faerieland in November 2006; at the same time, Alexander, the child in whose place she had originally been left and who had been raised in faerieland, was released after beating the faerie queen in a fiddling contest. Thus, Alec now carries on Heather’s musical legacy.

This band just become officially even more interesting (finally reading more carefully through wikipedia I discovered he is transgender and transitioned in 2006). He also indulges in a little filk music. And he's pretty funny too. Okay, so I've got distracted and am visiting his website, where this is video of him performing "He of the Sidhe" - this is the story mentioned above (the duel with the faerie queen) - ohmigosh, that man can fiddle! Seriously, I expected to see smoke coming off the strings. He appears to be a bit of an icon in the Pacific North-West. He now lives in Oregon with his wife and many animals.

This is the only album Phoenyx released and it is (not surprisingly) out of print. But if you think it sounds interesting, there is a bunch of solo stuff available through his website both of his and Heather's.

Now, to get back on track... Inside the booklet, the lyrics are illustrated with simple line art, giving it a real storybook feel and the music, well, let's give it a listen, shall we?

"Banish Misfortune/Lark in the Morning" are two folk reels, playing back to back and inspiring a lively, frisky mood upon the listener, promises of what to expect. There's a slightly discordant edge to one of the instruments, I think Ritual make use of them.

In "Stormbringer" the vocals come in, and oh boy, does Heather have a powerful voice or what! There are definite echoes of the 80s here, with a lilt to her accent and an almost masculine depth* - when she wants it to. Not metal by a long shot, but definitely rock. The music is alive and energetic, giving quirky little trills.

"The King of Elfland's Daughter" is a duet, between male and female (Heather and Alec, now that would be weird and chronologically improbable) - there's no other vocalists listed for this track.

"Black Unicorn" has a menace to it, the music low and looming. Vocals with the lilting accent. Music evocative.

A far more lively number is "Cat and the Fiddle". Pure folk, with very little of the rock but perhaps a tiny touch of country.

"Hey diddle diddle, answer me this riddle...
Hey diddle do, tell me what you will..."

 "Marley O'Reilly"  is a reel jig, with a good rhythm to dance and spin to and some very delicate fiddling.

"The Voices of the Sea" is a haunting number, with eerie vocals drifting in a spectral fashion. Heather's voice is edged with sweetness. This is a siren song - a soft and gentle, luring tune from a mermaid to a sailor, wishing them well on their voyage.

The mysterious "Creature of the Night" gets off to a haunting start. Alexander's voice is powerful and slightly ominous. It increases in tempo and menace, as the sinister Satyr lures the innocent and ithe ignorant into the woods. The gentle music evokes the feel of the dark forest in which strange creatures lurk.

Another set of reels now - starting with the slow and melancholic, "Musical Priest" becomes more lively as it frisks and folics into "Butterfly" then dives and dips into "Swallowtail".

Something a little more aggressive now - "March of Cambreadth". It opens with some marching fiddle and violent lyrics:

"Axes flashing, broadswords swing, shining armour's piercing ring..."

Keeping in the spirit of the Celts, they even spelled "armour" the English way.

Now, something's "Up in the Loft" - something threatening and strange. The turne is dramatic and the chorus jerky and a little discordant, while the fiddles whimper and the drums and guitars thrum with tension.

"Oh but yesterday I heard it, with its haunting mournful cry..."

A jerky and strange intro leds us into the ghostly, modern and pretty intense "Concentration". Vocals on this piece are from Cat Taylor. It's not a heavy song, but the back-and-forth tribal rhythms and the whispered vocals are disturbing and creepy. Very different from everything else.

The album concludes with "Yo Ho!" A rousing nautical tune with somewhat dark lyrics that - partway through, goes into the folk song about sailors that we all know and love (but with possibly different lyrics).
Like all good folk songs at sea, it has a light and whimsical verse, then a rousing chorus that the rest of the crew can join in with.

"If you eat ship rats then you get more meat..."

Hrm, I'm in the mood for pirates now. Maybe I should skip past Q this time (it's just Queensryche again, I've nothing else) and leap into Running Wild. What do you think?

This is a charming album, folk blended with  rock and a smattering of the quirky and curious. It has a light and whimsical feel, like the band were having a bit of a lark when they created it. For something a little bit fun, with some quite entertaining lyrics and a vocalist that sounds like she stepped out of the 80s and does a bitchin' tenor**, this might well be the album for you. Of course, it's out of print, so you're out of luck - unless your local store is trying to clear it at a mega cheap price, that is!

Let's give it a 7/10.

* not surprising, really. 
** I'm trying to prove I know something about vocal scales now. I don't. So if I'm wrong, so be it.