Mondegreen, noun: A misheard lyric of a song, typically a phrase rather than a single word.
One of the many Tenology posts currently in the works deals with Mondegreens in Rock/Metal music old and new. When assembling this list, I tried to avoid choosing songs with forced misinterpretations that clearly sound nothing like the original lyrics, instead opting for lyrics that are either well known Mondegreens or ones that I've personally misheard over the years.
Underneath each track is an embedded YouTube video that starts just before the Mondegreen in question. However, since videos get taken down every day, I'll also be including a Spotify playlist at the bottom of this post along with the exact time of the Mondegreen for said Spotify track. Again, the time listed in the title is for the Spotify track, NOT the YouTube one.
1. "Paranoid" - Black Sabbath (2:20)
Lyric: "And so as you hear these words, telling you now of my state".
Mondegreen: "And so as you hear these words, telling you now I want my steak".
Of all the lyrics that I've misheard over the years, this is the one that probably surprised (and embarrassed) me the most. I only discovered the real lyrics after singing this song on Rock Band with one of my friends, outing myself as a classless fool who didn't know the real lyrics to a Black Sabbath song. Fortunately, I don't think he gave a shit and my social status remained untouched that day. To be honest, I prefer the delivery of "I want my steak" and will always hear those words when I listen to this song.
2. "Kid Charlemagne" - Steely Dan (3:26)
Lyric: "Careful what you carry".
Mondegreen: "Care for wine, Drew Carey?"
I once read a heated debate in a YouTube comment section as to whether the lyric in a song about drug dealers was about caution when transporting goods to a car or offering the host of Whose Line Is It Anyway a glass of Pino Grigio. It went on for some time and the only purpose it served was allowing me to list it as a Mondegreen some 10 years or so later. Whilst I've never made the mistake of thinking the lyric was genuinely about Drew Carey myself, I can hear both versions when I listen to it.
3. "Turn Up The Radio" - Autograph (1:33)
Lyric: "The only time I turn it down, is when I'm sleeping it off".
Mondegreen: "The only time I turn it down, is when I'm feelin' it up".
Unlike "Paranoid", this Mondegreen is one that I may have made myself but didn't believe was genuine for years. I listened to this song and wasn't sure if he was singing about feeling music up although didn't care enough about the real lyrics enough to do a five second Google search. However, after knowing the correct lyrics, I feel like that's all I can hear now. However, if you find a version of this song with weaker audio quality, you might mishear the lyrics too.
4. "Blinded By The Light" - Manfred Mann's Earth Band (0:11)
Lyric: "Blinded by the light, revved up like a deuce, another runner...".
Mondegreen: "Blinded by the light, wrapped up like a douche, another runner...".
Continuing the trend of alternating personal Mondegreens with fairly well known ones, this song contains arguably one of the most common Mondegreens in existence. I mean, just listen to it! They must've heard the chorus after recording it and thought "Hmmm, that kinda sounds like we're talking about wrapping up douches. Should we do another take?" before deciding to take an early lunch instead. Ah well, at least this isn't the band's signature song or anything...
5. "Footloose" - Kenny Loggins (2:37)
Lyric: "Gotta take the hold of all".
Mondegreen: "I'll take the whole of Rome".
Another Mondegreen that I only believed because I couldn't figure out what the actual lyrics were when I first heard this song. I can't remember exactly why but at some point in my youth, I was typing out all the lyrics to this song and didn't have the common sense to simply Google the lyrics...so I tried to work it out phonetically and needless to say, ended up very confused. Now I know the actual words, I can hear "all" instead of "Rome" but you have to admit, the first part of the line still doesn't sound quite right.
6. "Hate Not Gone" - Stone Sour (2:10)
Lyric: "My Hell is running cold".
Mondegreen: "My Elvis wouldn't go".
This is one that I've coined but every time I hear this song, whenever it gets to the line before the chorus, I always hear "My Elvis wouldn't go". This line appears throughout the entire song but I've selected the line that I believe sounds the funniest when you imagine Corey Taylor lamenting the fact that his personal King Of Rock wouldn't do what he wanted. This isn't a well known song so I doubt this is a popular Mondegreen but of all the ones on the list, it's probably one of the easiest ones to hear.
7. "(You Can Still) Rock In America" - Night Ranger (1:23)
Lyric: "Not a sound as she makes her getaway".
Mondegreen: "Not a sound as she Mexican waves".
This is a Mondegreen that I genuinely thought was the actual lyric until I played this song on Clone Hero recently and saw the words "makes her getaway" instead of "Mexican waves". Granted, the actual lyric makes a hell of a lot more sense in the context of the song but I didn't dispute the idea of this fictional character figuratively (or literally) performing a Mexican wave in dead silence. Why? Not entirely sure although I can still hear both versions of the lyric when I listen to this song.
8. "Creeping Death" - Metallica (1:24)
Lyric: "So let it be written, so let it be done".
Mondegreen: "So let me retire, so let me die".
Whilst both lyrics are suitably badass for this absolute beast of a song, I personally prefer the version that I misheard when I first listened to this song. Since the song was called "Creeping Death", I think I naturally assumed the chorus would be about dying. However, some years after hearing it, I discovered that it was actually someone giving orders, kinda like the rest of the song. Should've figured it out but ah well, it's still a fucking great tune.
9. "La Dee Da" - Foo Fighters (0:18)
Lyric: "Jim Jones painting in a blue bedroom".
Mondegreen: "Chimp Trump's bleeding in a blue bedroom
When I first heard this song, I couldn't quite make out the lyrics and assumed it was about Trump due to Dave Grohl's unhappiness with American culture around the time of the album's conception. That and the previous line referring to the White House. Admittedly this isn't a well known Mondegreen (as far as I know) but don't worry, the last one's a bit more infamous.
10. "Fortunate Son" - Creedence Clearwater Revival (1:47)
Lyric: "I ain't no military son".
Mondegreen: "I ain't no milk terrorist's son".
Again, I quite like the term "milk terrorist" but I only discovered the true lyrics after a radio DJ also confessed to getting the lyrics incorrect when they listened to it. Even though I can sort of hear "military son" when I really listen for it, "milk terrorist's son" just sounds more natural. Song's still great, though.
Are there any well known or lesser known but equally amusing Mondegreens in Rock/Metal I've missed? Let me know via Twitter or in the comment section, as I'm probably gonna do another one of these posts in the future if I can find enough examples.
Showing posts with label Black Sabbath. Show all posts
Showing posts with label Black Sabbath. Show all posts
Thursday, 16 August 2018
Sunday, 17 December 2017
Tenology: Valuable Vocalists In Rock/Metal
Here we are! The end of this four-part Tenology collection looking at impressive musicians who take on the four main roles of any great Rock/Metal outfit. We've covered guitarists, drummers and bassists so far so vocalists are finally getting their time in the spotlight...you know, apart from all the time when they're on stage.
As I feel obliged to mention whenever I write a Tenology post, this is not the equivalent of posts proclaiming that Vocalists 1-10 are THE best in Rock and/or Metal, nor is it my personal top 10 list of all time. There are almost certainly going to be talented vocalists that I overlook when writing this (I'm still kicking myself for completely missing a fucking awesome bassist in my last post. I might go back and edit it soon) but as the name suggests, this is merely a 10-person list of vocalists whom I would place on a pedestal.
If I've missed any shining stars that you believe deserve a space more than some of my other entries, feel free to let me know in the comments or via Twitter. However, if they've appeared in previous blog posts for their talents as a different musician (e.g. Geddy Lee of Rush) then you won't find them here, although chances are I value them as a vocalist if they can play and sing simultaneously. Also, be aware that there are some vocalists I have intentionally left out because I personally believe that when it comes to singing, they're a bit shit (or at best, overrated). Here are some of them!
Ozzy Osbourne
Mick Jagger
Bruce Springsteen
Janis Joplin
Bob Dylan
Serj Tankian
Blaze Bayley
Axl Rose
Right, now that we've got that unpleasantness out of the way, let's look at the valuable vocalists!
1. Paul Rodgers
I don't usually write these posts in order of personal ranking but I felt like I had to start this list off on a strong note, so to speak. Paul Rodgers has been in quite a few groups over the years (notably Free and Bad Company, although he also recorded an album with Queen) but I'm mostly counting Paul's contributions as the Bad Company frontman for his placement here. The man's voice is simply incredible; smooth and soulful but able to fully Rock at the drop of a hat. Some of the bands big hits such as "Feel Like Makin' Love" and "Electricland" showcase his ability to flawlessly flip between two different singing styles but if you need even more proof, go and see him perform live. The fact that the man can still belt out the classics after four decades as if he were in the studio laying them down for the first time is the sign of an incredible vocalist.
2. Klaus Meine
Compared to some vocalists, Klaus Meine probably isn't the first choice for a list of undeniably talented Rock/Metal frontmen but to me, there is no Scorpions without Klaus Meine. His raw vocals are synonymous with the band's own blend of Heavy Metal, whether it's in the band's iconic anthems ("Rock You Like A Hurricane", "Wind Of Change") or lesser known deep cuts ("Catch Your Train", "Another Piece Of Meat"). To me, the sign of a strong Rock/Metal vocalist is the ability to use the sound of their singing voice as its own instrument unique to that band. Some of the vocal melodies sung by Klaus give the songs that extra push that separates them from generic material by other 70s/80s Metal bands, hence his inclusion here.
3. Sean Harris
It's hard to compare the works of former Diamond Head vocalist Sean Harris to the rest of the entries on this list when you factor in that most iconic and well respected Rock/Metal vocalists have had many, many albums to hone their ability and make a splash on the music scene. However, the fact that Sean's only had a couple of albums worth of decent material to show how great he is only adds to my admiration of the man. There was a time when he was hailed as the next Robert Plant and after listening to such tunes as "It's Electric" and "Trick Or Treat", I can understand why. I'm hesitant to describe his singing as "wailing" because it sounds like criticism but if you've ever listened to the band, you'll know what I mean. His vocal work isn't as harsh or aggressive as you'd expect from a Metal band but it still works incredibly well. It's a shame these guys didn't get a bigger break as I imagine we only scratched the surface of what Sean Harris would've been truly capable of.
4. Steve Perry
Whilst I'm not the biggest Journey fan on the planet, I would defend Steve Perry's inclusion on this list for one song and one song alone. Naturally he's a great vocalist on a wide range of Journey's material but whenever I think of his work, I always find myself drawn to one clear example of what I would consider his finest hour: "Keep On Runnin'". It's the kind of song that would inspire me to learn to sing just so I could blast it out without sounding like a completely tone-deaf wannabe although I doubt any amount of practise would make me capable of matching his vocals. The verses Rock extra hard because of his singing and the chorus is driven by the sheer power of his voice alone. Your average music fan will probably be impressed by his work on "Don't Stop Believing" and "Open Arms" but seriously, listen to "Keep On Runnin'" if you haven't already and tell me that this guy doesn't have pipes of fucking gold.
5. Stevie Nicks
The first woman to appear on these Tenology posts although she's not the only one worthy enough to grace this list (hint hint). Fleetwood Mac has had a few vocalists but none as significant as Stevie Nicks. Stevie's stage presence and, most importantly, her voice gave the band a specific image; one of mysticism without going into full weird territory like some Prog Rock bands. Female vocalists like Lizzy Hale and Ann Wilson succeed in bringing power to songs through conventional means but Stevie Nicks achieves that same level of pure Rock through her haunting, raspy vocals that were easily responsible for putting Fleetwood Mac on the map. The whole Rumours album is essential listening if you want to hear some of her best work but there's also signature songs from her solo career, even if you think "Edge Of Seventeen" is a bit dull when it comes to the structure.
6. Phil Lynott
I know I mentioned Phil Lynott in the honourable mentions of the bassist blog post BUT he didn't make the main cut so technically he's still a contender for this one. The main reason I didn't give Phil a proper place in the bassist post is because I believe he was a much greater vocalist than a bassist, hence his inclusion here. I mean, his voice was just so fucking cool! When he sung about "the boys" (and let's face it, he sung about 'em quite a bit!), you got the impression that he was not just one of them but one of the more badass ones. At the risk of sounding repetitive, Phil was also skilled at adapting his voice to suit softer or less powerful Rock songs ("Sarah", "Don't Believe A Word") and heavier, fast paced powerhouses ("Cold Sweat", "Angel Of Death"). His voice was so unique, so irreplaceable that his death effectively killed Thin Lizzy once the rest of the band realised there would be no Thin Lizzy without him. Granted they then formed Black Star Riders but if Phil didn't have his incredible voice, you can bet that they would've stuck with the original band name.
7. Biff Byford
It's no secret that Saxon are one of my favourite bands of all time AND that I feel they're one of the few proper Rock/Metal bands in existence that have only improved with age. If you listen to rerecordings of their classics, they sound so much heavier without losing part of what made Saxon incredible and the main reason for that is Biff Byford's raw vocals. Some of the vocalists here will never be able to recreate the magic they captured in the recording studio all those years ago but to actually surpass it many, many years later is a talent that Biff deserves way more credit for. And yes, his voice is awesome in every single Saxon song that I've heard so far; the perfect Heavy Metal vocals for a band as great as Saxon. I recommend checking out some of the rerecordings on the Heavy Metal Thunder compilation as well as the original recordings to hear how Biff's voice has remained incredible since the early 80s.
8. James Hetfield
Whilst Hetfield may have gone down in my books on a personal level due to his refusal to flat out denounce Trump (claiming that politics separates people and indirectly stating that he's totally OK with Nazis and shitheads getting joy out of his music), he's still right near the top on a professional level. To me, any vocalist who can play an instrument whilst singing without fucking up either task has a great amount of skill but the fact that James can shred out some pretty fucking heavy riffs from Metallica's back catalogue whilst belting out each line is something I will always admire. James Hetfield is also notable for being one of many singers to be affected by puberty in the 90s, as the rage filled vocals from Metallica's first four Thrash albums gradually sunk into a deeper (but still powerful) tone. However, if you listen to live footage, it's clear that James still has the ability to keep up with his past self so at the very least, he's not the worst member of his own band...aaaand that's all I'm gonna say about that on this post!
9. Eddie Vedder
I'll admit, I wasn't sure if I was going to choose Eddie Vedder or Chris Cornell for this post. Whilst I like both vocalists a great deal, I think I had to give it to Eddie purely because I'd rather belt out Pearl Jam tracks than Soundgarden ones. Both vocalists have a similar 90s Grunge style to their voice but to me, Eddie's classic drones make for more pleasurable listening than Chris' passionate shouting. I also admire Eddie for adapting his voice with the band's sound from typical Grunge based vocals to modern Alternative ones without compromising the overall quality. There's something uniquely primal about some of his vocals in tracks like "Animal" and "Jeremy" that encapsulates exactly what Rock is about; releasing the beast. That's why Eddie's here!
10. Bruce Dickinson
If you've been keeping up with these Tenology posts so far, you'll know I've listed at least one member of Iron Maiden in each post so far and with bloody good reason. They are my number one favourite band and I firmly believe that each member brings their own skills to the table to create a unified, incredible sound. However, if you have to single out one driving force behind the band's success (and you don't know about Steve Harris), you'll probably pick Bruce Dickinson due to his operatic, screeching vocals that propelled the band away from the Punk sound they were dangerously close to solidifying with in their first two albums. Bruce has a supreme vocal range, great songwriting talents and knows how to be a top notch (if not slightly outspoken) frontman. Final cherry on top? The guy had throat cancer not long ago and kicked it right in the fucking cunt before releasing a brand new Iron Maiden studio album AND going on tour to promote it. Top bloke indeed.
So those are the ten vocalists I've selected but that's not to say there aren't other great vocalists who leapt to the front of my mind as I was thinking about great voices in the world of Rock/Metal. Here are some slightly fleshed out Honourable Mentions along with reasons why I didn't choose them to be listed up above.
Ronnie James Dio
Arguably the greatest voice in all of Metal and quite possibly one of the most talented, considering he's been in three iconic Rock/Metal bands (Rainbow, Black Sabbath, Dio) along with several smaller outfits. Out of the three main bands he's been a part of, I'd rate his tenure with Black Sabbath at number one simply because his vocals had all the power with none of the...hmmm, how should I put this...pomposity? There's something a bit ridiculous about some of his vocals in Rainbow and Dio tunes as if he took himself a little bit too seriously. It takes me out of the music when I hear him trying to vocally simulate the sound of a door slamming or shouting "NO! NO!" over and over again. He was a great vocalist but a little too absurd at times.
Chris Cornell
I've already gone into a bit of detail about why I chose Eddie Vedder over Chris Cornell for the main list but come on, I couldn't just completely ignore him. I wrote a Rapid Fire post looking at three albums by three bands/projects Chris Cornell sung in after he died where I praised his voice and songwriting abilities as half the reason why Audioslave are worth listening to. The guy's influence is peppered throughout modern Rock (notably Shinedown) and similar to Anthony Kiedis, Chris' vocals are much better when he's singing softer songs. However, since I prefer Soundgarden to his solo work, I feel like I never got the best out of the guy based on what I've heard.
Brad Delp
Boston definitely aren't one of my favourite bands but their debut is easily one of my all-time favourite albums. I've talked about why various times but I feel like I haven't really focused too much on Brad Delp's contributions to it. Sure, he had a sweet sounding voice but there's some genuine talent buried beneath the music. Take "More Than A Feeling" and that section before the final chorus where Brad hits that high "slipped away"; that's fucking impressive, especially with how long he holds it for. The main reason he isn't in the list above is simply that I feel other vocalists deserved it more with their wider selection of records and talents that were showcased, but I still think Brad Delp deserves a shout out here.
Grace Slick
Similar to Fleetwood Mac, Jefferson Airplane also had shared vocalist duties that most people will probably agree was easily dominated by the sheer talent of the female artist. However, whilst Stevie Nicks rocked the mystic, Classic Rock oriented vocals, Grace Slick locked down the psychedelic style and I wouldn't be surprised to learn that she helped inspire Stevie's stage presence too. Overall, I couldn't deny that Stevie was the superior vocalist but tracks like "White Rabbit", "Somebody To Love", "Law Man" and even backing vocals in "Volunteers" showcase an incredible voice at work, I felt like this voice didn't quite match some of the others in the list above.
Roger Taylor
Yeah, I picked one of the OTHER band members who shared vocalist duties from Queen. There are two reasons for this. 1) We all know Freddie Mercury was an amazing vocalist, probably one of (if not THE) best in this list. I didn't feel the need to place him here when I felt like other vocalists deserved more recognition or my personal take on why they're great although yes, I do think Freddie was a fantastic frontman. 2) Some of you may not know that Queen's drummer, Roger Taylor, took the helm for a few tracks and did a pretty fucking great job. Songs like "I'm In Love With My Car", "Rock It (Prime Jive)", "More Of That Jazz" and (my personal favourite) "Fight From The Inside" all feature Roger on lead vocals and whilst Freddie will always be instantly more recognisable as a vocalist and frontman, I personally believe Roger successfully held his own and provided a more aggressive side to the Rock band that Freddie could never quite pull off to the same degree. However, since Roger isn't exactly the band's main vocalist in the same way that everyone else in the post is, I felt Honourable Mention was the best place to shine a light on Roger Taylor's vocal work.
So that's my list of valuable vocalists in Rock/Metal! I hope you enjoyed reading and waiting two months at a time for each Tenology related to band members. Next year, I might revisit these in some format but for now, all four key band members have been accounted for!
COMING SOON: I dunno, maybe something Christmassy. Probably not though.
As I feel obliged to mention whenever I write a Tenology post, this is not the equivalent of posts proclaiming that Vocalists 1-10 are THE best in Rock and/or Metal, nor is it my personal top 10 list of all time. There are almost certainly going to be talented vocalists that I overlook when writing this (I'm still kicking myself for completely missing a fucking awesome bassist in my last post. I might go back and edit it soon) but as the name suggests, this is merely a 10-person list of vocalists whom I would place on a pedestal.
If I've missed any shining stars that you believe deserve a space more than some of my other entries, feel free to let me know in the comments or via Twitter. However, if they've appeared in previous blog posts for their talents as a different musician (e.g. Geddy Lee of Rush) then you won't find them here, although chances are I value them as a vocalist if they can play and sing simultaneously. Also, be aware that there are some vocalists I have intentionally left out because I personally believe that when it comes to singing, they're a bit shit (or at best, overrated). Here are some of them!
Ozzy Osbourne
Mick Jagger
Bruce Springsteen
Janis Joplin
Bob Dylan
Serj Tankian
Blaze Bayley
Axl Rose
Right, now that we've got that unpleasantness out of the way, let's look at the valuable vocalists!
1. Paul Rodgers
Largely responsible for one of the best live shows I've ever been to
I don't usually write these posts in order of personal ranking but I felt like I had to start this list off on a strong note, so to speak. Paul Rodgers has been in quite a few groups over the years (notably Free and Bad Company, although he also recorded an album with Queen) but I'm mostly counting Paul's contributions as the Bad Company frontman for his placement here. The man's voice is simply incredible; smooth and soulful but able to fully Rock at the drop of a hat. Some of the bands big hits such as "Feel Like Makin' Love" and "Electricland" showcase his ability to flawlessly flip between two different singing styles but if you need even more proof, go and see him perform live. The fact that the man can still belt out the classics after four decades as if he were in the studio laying them down for the first time is the sign of an incredible vocalist.
2. Klaus Meine
No, this isn't Ronnie James Dio
Compared to some vocalists, Klaus Meine probably isn't the first choice for a list of undeniably talented Rock/Metal frontmen but to me, there is no Scorpions without Klaus Meine. His raw vocals are synonymous with the band's own blend of Heavy Metal, whether it's in the band's iconic anthems ("Rock You Like A Hurricane", "Wind Of Change") or lesser known deep cuts ("Catch Your Train", "Another Piece Of Meat"). To me, the sign of a strong Rock/Metal vocalist is the ability to use the sound of their singing voice as its own instrument unique to that band. Some of the vocal melodies sung by Klaus give the songs that extra push that separates them from generic material by other 70s/80s Metal bands, hence his inclusion here.
3. Sean Harris
In an alternate universe, this guy is as popular as everyone else on this list
It's hard to compare the works of former Diamond Head vocalist Sean Harris to the rest of the entries on this list when you factor in that most iconic and well respected Rock/Metal vocalists have had many, many albums to hone their ability and make a splash on the music scene. However, the fact that Sean's only had a couple of albums worth of decent material to show how great he is only adds to my admiration of the man. There was a time when he was hailed as the next Robert Plant and after listening to such tunes as "It's Electric" and "Trick Or Treat", I can understand why. I'm hesitant to describe his singing as "wailing" because it sounds like criticism but if you've ever listened to the band, you'll know what I mean. His vocal work isn't as harsh or aggressive as you'd expect from a Metal band but it still works incredibly well. It's a shame these guys didn't get a bigger break as I imagine we only scratched the surface of what Sean Harris would've been truly capable of.
4. Steve Perry
Not sure if this guy counts as "underrated" but if there's a tier just behind that, this guy's in it
Whilst I'm not the biggest Journey fan on the planet, I would defend Steve Perry's inclusion on this list for one song and one song alone. Naturally he's a great vocalist on a wide range of Journey's material but whenever I think of his work, I always find myself drawn to one clear example of what I would consider his finest hour: "Keep On Runnin'". It's the kind of song that would inspire me to learn to sing just so I could blast it out without sounding like a completely tone-deaf wannabe although I doubt any amount of practise would make me capable of matching his vocals. The verses Rock extra hard because of his singing and the chorus is driven by the sheer power of his voice alone. Your average music fan will probably be impressed by his work on "Don't Stop Believing" and "Open Arms" but seriously, listen to "Keep On Runnin'" if you haven't already and tell me that this guy doesn't have pipes of fucking gold.
5. Stevie Nicks
From Steve to Stevie. If Aerosmith were a bit better, I could've had the hat trick
The first woman to appear on these Tenology posts although she's not the only one worthy enough to grace this list (hint hint). Fleetwood Mac has had a few vocalists but none as significant as Stevie Nicks. Stevie's stage presence and, most importantly, her voice gave the band a specific image; one of mysticism without going into full weird territory like some Prog Rock bands. Female vocalists like Lizzy Hale and Ann Wilson succeed in bringing power to songs through conventional means but Stevie Nicks achieves that same level of pure Rock through her haunting, raspy vocals that were easily responsible for putting Fleetwood Mac on the map. The whole Rumours album is essential listening if you want to hear some of her best work but there's also signature songs from her solo career, even if you think "Edge Of Seventeen" is a bit dull when it comes to the structure.
6. Phil Lynott
Photography 101: black and white makes everything better
I know I mentioned Phil Lynott in the honourable mentions of the bassist blog post BUT he didn't make the main cut so technically he's still a contender for this one. The main reason I didn't give Phil a proper place in the bassist post is because I believe he was a much greater vocalist than a bassist, hence his inclusion here. I mean, his voice was just so fucking cool! When he sung about "the boys" (and let's face it, he sung about 'em quite a bit!), you got the impression that he was not just one of them but one of the more badass ones. At the risk of sounding repetitive, Phil was also skilled at adapting his voice to suit softer or less powerful Rock songs ("Sarah", "Don't Believe A Word") and heavier, fast paced powerhouses ("Cold Sweat", "Angel Of Death"). His voice was so unique, so irreplaceable that his death effectively killed Thin Lizzy once the rest of the band realised there would be no Thin Lizzy without him. Granted they then formed Black Star Riders but if Phil didn't have his incredible voice, you can bet that they would've stuck with the original band name.
7. Biff Byford
Now THAT's a name and a half!
It's no secret that Saxon are one of my favourite bands of all time AND that I feel they're one of the few proper Rock/Metal bands in existence that have only improved with age. If you listen to rerecordings of their classics, they sound so much heavier without losing part of what made Saxon incredible and the main reason for that is Biff Byford's raw vocals. Some of the vocalists here will never be able to recreate the magic they captured in the recording studio all those years ago but to actually surpass it many, many years later is a talent that Biff deserves way more credit for. And yes, his voice is awesome in every single Saxon song that I've heard so far; the perfect Heavy Metal vocals for a band as great as Saxon. I recommend checking out some of the rerecordings on the Heavy Metal Thunder compilation as well as the original recordings to hear how Biff's voice has remained incredible since the early 80s.
8. James Hetfield
Ugh, Metallica. Right? Am I cool yet?
Whilst Hetfield may have gone down in my books on a personal level due to his refusal to flat out denounce Trump (claiming that politics separates people and indirectly stating that he's totally OK with Nazis and shitheads getting joy out of his music), he's still right near the top on a professional level. To me, any vocalist who can play an instrument whilst singing without fucking up either task has a great amount of skill but the fact that James can shred out some pretty fucking heavy riffs from Metallica's back catalogue whilst belting out each line is something I will always admire. James Hetfield is also notable for being one of many singers to be affected by puberty in the 90s, as the rage filled vocals from Metallica's first four Thrash albums gradually sunk into a deeper (but still powerful) tone. However, if you listen to live footage, it's clear that James still has the ability to keep up with his past self so at the very least, he's not the worst member of his own band...aaaand that's all I'm gonna say about that on this post!
9. Eddie Vedder
I'm usually the first to criticise vocalists with an acoustic guitar and stool on stage but I'll make an exception here
I'll admit, I wasn't sure if I was going to choose Eddie Vedder or Chris Cornell for this post. Whilst I like both vocalists a great deal, I think I had to give it to Eddie purely because I'd rather belt out Pearl Jam tracks than Soundgarden ones. Both vocalists have a similar 90s Grunge style to their voice but to me, Eddie's classic drones make for more pleasurable listening than Chris' passionate shouting. I also admire Eddie for adapting his voice with the band's sound from typical Grunge based vocals to modern Alternative ones without compromising the overall quality. There's something uniquely primal about some of his vocals in tracks like "Animal" and "Jeremy" that encapsulates exactly what Rock is about; releasing the beast. That's why Eddie's here!
10. Bruce Dickinson
Nearly made it to the end without mentioning Iron Maiden...but that was never gonna happen
If you've been keeping up with these Tenology posts so far, you'll know I've listed at least one member of Iron Maiden in each post so far and with bloody good reason. They are my number one favourite band and I firmly believe that each member brings their own skills to the table to create a unified, incredible sound. However, if you have to single out one driving force behind the band's success (and you don't know about Steve Harris), you'll probably pick Bruce Dickinson due to his operatic, screeching vocals that propelled the band away from the Punk sound they were dangerously close to solidifying with in their first two albums. Bruce has a supreme vocal range, great songwriting talents and knows how to be a top notch (if not slightly outspoken) frontman. Final cherry on top? The guy had throat cancer not long ago and kicked it right in the fucking cunt before releasing a brand new Iron Maiden studio album AND going on tour to promote it. Top bloke indeed.
So those are the ten vocalists I've selected but that's not to say there aren't other great vocalists who leapt to the front of my mind as I was thinking about great voices in the world of Rock/Metal. Here are some slightly fleshed out Honourable Mentions along with reasons why I didn't choose them to be listed up above.
Ronnie James Dio
No, this isn't Klaus Meine
Arguably the greatest voice in all of Metal and quite possibly one of the most talented, considering he's been in three iconic Rock/Metal bands (Rainbow, Black Sabbath, Dio) along with several smaller outfits. Out of the three main bands he's been a part of, I'd rate his tenure with Black Sabbath at number one simply because his vocals had all the power with none of the...hmmm, how should I put this...pomposity? There's something a bit ridiculous about some of his vocals in Rainbow and Dio tunes as if he took himself a little bit too seriously. It takes me out of the music when I hear him trying to vocally simulate the sound of a door slamming or shouting "NO! NO!" over and over again. He was a great vocalist but a little too absurd at times.
Chris Cornell
"Come at me, bruh"
I've already gone into a bit of detail about why I chose Eddie Vedder over Chris Cornell for the main list but come on, I couldn't just completely ignore him. I wrote a Rapid Fire post looking at three albums by three bands/projects Chris Cornell sung in after he died where I praised his voice and songwriting abilities as half the reason why Audioslave are worth listening to. The guy's influence is peppered throughout modern Rock (notably Shinedown) and similar to Anthony Kiedis, Chris' vocals are much better when he's singing softer songs. However, since I prefer Soundgarden to his solo work, I feel like I never got the best out of the guy based on what I've heard.
Brad Delp
Another great vocalist who took his own life
Boston definitely aren't one of my favourite bands but their debut is easily one of my all-time favourite albums. I've talked about why various times but I feel like I haven't really focused too much on Brad Delp's contributions to it. Sure, he had a sweet sounding voice but there's some genuine talent buried beneath the music. Take "More Than A Feeling" and that section before the final chorus where Brad hits that high "slipped away"; that's fucking impressive, especially with how long he holds it for. The main reason he isn't in the list above is simply that I feel other vocalists deserved it more with their wider selection of records and talents that were showcased, but I still think Brad Delp deserves a shout out here.
Grace Slick
Get it? "GRACE this list"???
Similar to Fleetwood Mac, Jefferson Airplane also had shared vocalist duties that most people will probably agree was easily dominated by the sheer talent of the female artist. However, whilst Stevie Nicks rocked the mystic, Classic Rock oriented vocals, Grace Slick locked down the psychedelic style and I wouldn't be surprised to learn that she helped inspire Stevie's stage presence too. Overall, I couldn't deny that Stevie was the superior vocalist but tracks like "White Rabbit", "Somebody To Love", "Law Man" and even backing vocals in "Volunteers" showcase an incredible voice at work, I felt like this voice didn't quite match some of the others in the list above.
Roger Taylor
Just give me a paragraph to explain myself, that's all I ask!
Yeah, I picked one of the OTHER band members who shared vocalist duties from Queen. There are two reasons for this. 1) We all know Freddie Mercury was an amazing vocalist, probably one of (if not THE) best in this list. I didn't feel the need to place him here when I felt like other vocalists deserved more recognition or my personal take on why they're great although yes, I do think Freddie was a fantastic frontman. 2) Some of you may not know that Queen's drummer, Roger Taylor, took the helm for a few tracks and did a pretty fucking great job. Songs like "I'm In Love With My Car", "Rock It (Prime Jive)", "More Of That Jazz" and (my personal favourite) "Fight From The Inside" all feature Roger on lead vocals and whilst Freddie will always be instantly more recognisable as a vocalist and frontman, I personally believe Roger successfully held his own and provided a more aggressive side to the Rock band that Freddie could never quite pull off to the same degree. However, since Roger isn't exactly the band's main vocalist in the same way that everyone else in the post is, I felt Honourable Mention was the best place to shine a light on Roger Taylor's vocal work.
So that's my list of valuable vocalists in Rock/Metal! I hope you enjoyed reading and waiting two months at a time for each Tenology related to band members. Next year, I might revisit these in some format but for now, all four key band members have been accounted for!
COMING SOON: I dunno, maybe something Christmassy. Probably not though.
Thursday, 21 September 2017
Tenology: Brilliant Bassists In Rock/Metal
Continuing my series of Tenology posts looking at skilled musicians, this week's list focuses on bass players who stand out as being particularly memorable or talented at their profession. The bassline in your typical Rock song is usually fairly straightforward, designed to add a bit of extra weight to the music by thudding out a steady rhythm without really contributing anything special. However, some artists choose to shoot for the stars, boasting the technical skill to play bass solos or play bass whilst simultaneously singing.
This opinion based list will look at ten bassists whom I admire for doing more than just...well, playing the bass. As always, this isn't a "Top 10 Greatest/Favourite Bass Players" piece; it's just a sample of ten bassists I would personally rate highly. If there are any bass players that you believe deserve to be here over others who are absent from this list, feel free to let me know in the comments or via Twitter although keep in mind that their absence doesn't necessarily mean I think they're not worthy of recognition.
1. Billy Sheehan
Whilst there are some famous examples of great bassists who'll be making an appearance a bit later on in the list, Billy Sheehan's technical skill probably surpasses every entry on this list combined. His tapping techniques and all-round versatility even rival most guitarists but sadly, he's one of those musicians who's immense talent never fully made it to the studio. Sure, you've got songs like "Addicted To That Rush" - Mr. Big with exceptional bass but most of Mr Big's better known tracks are usually driven by guitar or vocals. Compare this to live covers of "Burn" - Deep Purple and "Baba O'Riley" - The Who where Billy flawlessly shreds out the organ and violin solos respectively and you'll ask yourself why they never truly utilised his skills off-stage.
2. Cliff Burton
Whilst Metallica songs are generally known for their epic guitar riffs and diminishing quality over time, their first three albums also contain tracks with surprisingly prominent bass. There's "Orion", a track named due to the spacey bass solo, "For Whom The Bell Tolls" with the creepy bass riff in the intro and of course "(Anesthesia)--Pulling Teeth", a four minute fuzzy bass solo off the debut that could damn near be confused for guitar if not for the vocal intro. Cliff also proved to be capable of keeping up with Hetfield and Hammett, matching and occasionally improving on their guitar riffs for most of their signature songs. Unfortunately, Cliff passed away in 1986 after the tour bus they were travelling in skidded out of control and crashed, crushing him in the process. His riffs may not have stood out in the same way as the guitar melodies but it's fair to say the band's music was never quite the same after his passing.
3. Steve Harris
Steve's been regarded as the greatest bass player of all time and whilst I don't know if I'd personally agree with that, he definitely deserves a spot on this list. He's the soul of Iron Maiden, not just in his bass playing but in his songwriting and musical knowledge too. He's usually the driving force behind each musical decision the band has made and thankfully, he's still going strong to this date. Whilst Iron Maiden's success is down to a team effort rather than any one member of the band standing out, Steve's bass is always present among the guitars, adding the final puzzle piece to songs like "The Trooper" and "Run To The Hills" that wouldn't be complete without him.
4. Chris Squire
I'm not the biggest fan of Yes but if you listen to some of their better tracks, one thing's for certain; the bass stands out like a DVD in a game collection. Tracks like "Roundabout" and "Starship Trooper" contain basslines almost as complex as the guitar melodies and even though their Pop-Prog phase focused a bit more on the guitar hooks and vocals, you can still hear Chris keeping things steady. His aggressive, dynamic playing style has gone on to influence several of the bassists on this list and even though he sadly passed away in 2015, his work across all Yes albums lives on as a gold standard for Prog Rock (and indeed standard Rock) bassists for the rest of time.
5. Geezer Butler
From one of Prog Rock's most influential bassists to Heavy Metal's, Geezer Butler is responsible for giving Black Sabbath the weight it needed to be one of the biggest Metal bands on the planet. His heavy riffs and lyrical influences ranging from religion to dystopian science fiction gave the band the apocalyptic doom vibe that would go on to form the cultural perception of Heavy Metal for years to come. Geezer stuck with Black Sabbath through the Dio years and took part in their recent farewell tour, also contributing to some of Ozzy Osbourne's solo albums in the 90s but nobody really cares about that. The main thing is his work with Black Sabbath, giving us excellent songs such as "Children Of The Grave", "War Pigs" and of course "N.I.B" to inspire generations of bassists for decades.
6. John Entwistle
Generally regarded as one of Rock's greatest bass players, John Entwistle truly knew how to turn bass up to 11. With full treble and thundering dynamics, every riff and lick laid down by John sounded like a distant roar and when he wanted to shred, boy could he shred. The most common example of his exceptional skills is probably "My Generation" with its iconic bass solo but tracks on the Live At Leeds album showcase his ability to keep up with Townshend and Moon on guitar and drums respectively. Once again, this incredible musician is no longer with us, dying in 2002 due to a drug overdose.
7. Geddy Lee
The other great Prog Rock bassist on this list and probably the go-to example of everyone's favourite Rock bassist in general. Rush songs are known for their great bass melodies and Geddy's unique vocals that he flawlessly pulls off whilst playing the relatively complex basslines. Not only that but he's also responsible for the keyboard and synth for each track, something the band is equally reliant on for some of their signature hits. Songs like "Fly By Night" and "Tom Sawyer" showcase Geddy's supreme multi-tasking abilities whilst tracks such as "Freewill" and "YYZ" contain multiple bass solos, sometimes underneath the guitar one. He's probably one of my top bassists and there's a strong chance he's one of yours too.
8. John Deacon
When it comes to the best members of Queen, John Deacon tends to be at the bottom of most conventional rankings (especially when you consider Roger Taylor's vocal work on News Of The World, arguably providing better Hard Rock vocals than Freddie). However, when you actually listen to the bass in most Queen songs, there's a lot to be admired. It may not be technical or balanced with complex vocals but there's something to be said for simplistic yet permanently catchy basslines. Some of Queen's best known tracks like "Another One Bites The Dust" and "Under Pressure" are built entirely around John Deacon with the rest of the band members following his lead. Unfortunately, after Freddie Mercury's death and subsequent tribute show, John retired from music and hasn't played with Queen or been involved in any of their post-Freddie projects for about 20 years now. Fair play, I suppose.
9. John McVie
For the most part, this post has basically consisted of fairly obvious choices that you'd find populating the higher end of most great bass player lists. However, rather than going for one of the bigger Rock/Metal names that everyone already admires, I thought I'd dedicate a slot to classic Fleetwood Mac bassist, John McVie. He deserves a place for co-writing and performing on "The Chain" alone, a song containing one of the greatest bass riffs ever written, but he's also shown off his talents for other great Fleetwood Mac tracks too such as "Oh Well", "World Turning" and "Tusk". All in all, John's probably the most underrated bassist on this list so feel free to blast some Fleetwood Mac with the bass turned all the way up to show him some extra love.
10. Flea
As always, the last musician on the list is something a bit special. Flea (real name Michael Balzary) has played bass with the Red Hot Chili Peppers since their debut in 1984 and also acted in a few films such as The Big Lebowski and the Back To The Future sequels. However, his work as the RHCP bassist will always reign supreme as his blend of funky licks and heavy riffs have helped put the band on the musical map. You can always tell it's a RHCP song when you hear his soulful, often dominant bass melodies but if you want a few prime examples to check out over the course of their career...well, aside from practically every song they've ever written, I'd recommend "By The Way", "Higher Ground", "Soul To Squeeze", "Walkabout" and "Dreams Of A Samurai".
Even though these are ten bass players whom I've deemed worthy enough to focus specific paragraphs about, there are still some bassists that deserve honourable mentions:
Paul McCartney
John Myung
Phil Lynott
Lemmy
Every Funk bassist
Did I miss anyone out by focusing too much on big name bass players? Let me know who ranks on your personal list with some samples of their work to check out.
COMING SOON: The Salentino Cuts - UFO, an album review or showdown post; I haven't decided yet.
This opinion based list will look at ten bassists whom I admire for doing more than just...well, playing the bass. As always, this isn't a "Top 10 Greatest/Favourite Bass Players" piece; it's just a sample of ten bassists I would personally rate highly. If there are any bass players that you believe deserve to be here over others who are absent from this list, feel free to let me know in the comments or via Twitter although keep in mind that their absence doesn't necessarily mean I think they're not worthy of recognition.
1. Billy Sheehan
This is the guy The Beatles sung about in "With A Little Help From My Friends"...don't look it up
Whilst there are some famous examples of great bassists who'll be making an appearance a bit later on in the list, Billy Sheehan's technical skill probably surpasses every entry on this list combined. His tapping techniques and all-round versatility even rival most guitarists but sadly, he's one of those musicians who's immense talent never fully made it to the studio. Sure, you've got songs like "Addicted To That Rush" - Mr. Big with exceptional bass but most of Mr Big's better known tracks are usually driven by guitar or vocals. Compare this to live covers of "Burn" - Deep Purple and "Baba O'Riley" - The Who where Billy flawlessly shreds out the organ and violin solos respectively and you'll ask yourself why they never truly utilised his skills off-stage.
2. Cliff Burton
The first of several great bassists who are sadly no longer with us
Whilst Metallica songs are generally known for their epic guitar riffs and diminishing quality over time, their first three albums also contain tracks with surprisingly prominent bass. There's "Orion", a track named due to the spacey bass solo, "For Whom The Bell Tolls" with the creepy bass riff in the intro and of course "(Anesthesia)--Pulling Teeth", a four minute fuzzy bass solo off the debut that could damn near be confused for guitar if not for the vocal intro. Cliff also proved to be capable of keeping up with Hetfield and Hammett, matching and occasionally improving on their guitar riffs for most of their signature songs. Unfortunately, Cliff passed away in 1986 after the tour bus they were travelling in skidded out of control and crashed, crushing him in the process. His riffs may not have stood out in the same way as the guitar melodies but it's fair to say the band's music was never quite the same after his passing.
3. Steve Harris
Obligatory Iron Maiden
Steve's been regarded as the greatest bass player of all time and whilst I don't know if I'd personally agree with that, he definitely deserves a spot on this list. He's the soul of Iron Maiden, not just in his bass playing but in his songwriting and musical knowledge too. He's usually the driving force behind each musical decision the band has made and thankfully, he's still going strong to this date. Whilst Iron Maiden's success is down to a team effort rather than any one member of the band standing out, Steve's bass is always present among the guitars, adding the final puzzle piece to songs like "The Trooper" and "Run To The Hills" that wouldn't be complete without him.
4. Chris Squire
I could've used a picture of a younger Chris but come on, look at that fucking bass!
I'm not the biggest fan of Yes but if you listen to some of their better tracks, one thing's for certain; the bass stands out like a DVD in a game collection. Tracks like "Roundabout" and "Starship Trooper" contain basslines almost as complex as the guitar melodies and even though their Pop-Prog phase focused a bit more on the guitar hooks and vocals, you can still hear Chris keeping things steady. His aggressive, dynamic playing style has gone on to influence several of the bassists on this list and even though he sadly passed away in 2015, his work across all Yes albums lives on as a gold standard for Prog Rock (and indeed standard Rock) bassists for the rest of time.
5. Geezer Butler
Real name Terence Michael Joseph Matthew Mark Luke John Napoleon Ulysses Hank "Geezer" Butler
From one of Prog Rock's most influential bassists to Heavy Metal's, Geezer Butler is responsible for giving Black Sabbath the weight it needed to be one of the biggest Metal bands on the planet. His heavy riffs and lyrical influences ranging from religion to dystopian science fiction gave the band the apocalyptic doom vibe that would go on to form the cultural perception of Heavy Metal for years to come. Geezer stuck with Black Sabbath through the Dio years and took part in their recent farewell tour, also contributing to some of Ozzy Osbourne's solo albums in the 90s but nobody really cares about that. The main thing is his work with Black Sabbath, giving us excellent songs such as "Children Of The Grave", "War Pigs" and of course "N.I.B" to inspire generations of bassists for decades.
6. John Entwistle
The Who's secret weapon
Generally regarded as one of Rock's greatest bass players, John Entwistle truly knew how to turn bass up to 11. With full treble and thundering dynamics, every riff and lick laid down by John sounded like a distant roar and when he wanted to shred, boy could he shred. The most common example of his exceptional skills is probably "My Generation" with its iconic bass solo but tracks on the Live At Leeds album showcase his ability to keep up with Townshend and Moon on guitar and drums respectively. Once again, this incredible musician is no longer with us, dying in 2002 due to a drug overdose.
7. Geddy Lee
Give me some credit, I made it this far without mentioning him
The other great Prog Rock bassist on this list and probably the go-to example of everyone's favourite Rock bassist in general. Rush songs are known for their great bass melodies and Geddy's unique vocals that he flawlessly pulls off whilst playing the relatively complex basslines. Not only that but he's also responsible for the keyboard and synth for each track, something the band is equally reliant on for some of their signature hits. Songs like "Fly By Night" and "Tom Sawyer" showcase Geddy's supreme multi-tasking abilities whilst tracks such as "Freewill" and "YYZ" contain multiple bass solos, sometimes underneath the guitar one. He's probably one of my top bassists and there's a strong chance he's one of yours too.
8. John Deacon
For ages, I always confused John Deacon and Roger Taylor
When it comes to the best members of Queen, John Deacon tends to be at the bottom of most conventional rankings (especially when you consider Roger Taylor's vocal work on News Of The World, arguably providing better Hard Rock vocals than Freddie). However, when you actually listen to the bass in most Queen songs, there's a lot to be admired. It may not be technical or balanced with complex vocals but there's something to be said for simplistic yet permanently catchy basslines. Some of Queen's best known tracks like "Another One Bites The Dust" and "Under Pressure" are built entirely around John Deacon with the rest of the band members following his lead. Unfortunately, after Freddie Mercury's death and subsequent tribute show, John retired from music and hasn't played with Queen or been involved in any of their post-Freddie projects for about 20 years now. Fair play, I suppose.
9. John McVie
He's got it all, from the facial hair to the first name John
For the most part, this post has basically consisted of fairly obvious choices that you'd find populating the higher end of most great bass player lists. However, rather than going for one of the bigger Rock/Metal names that everyone already admires, I thought I'd dedicate a slot to classic Fleetwood Mac bassist, John McVie. He deserves a place for co-writing and performing on "The Chain" alone, a song containing one of the greatest bass riffs ever written, but he's also shown off his talents for other great Fleetwood Mac tracks too such as "Oh Well", "World Turning" and "Tusk". All in all, John's probably the most underrated bassist on this list so feel free to blast some Fleetwood Mac with the bass turned all the way up to show him some extra love.
10. Flea
"Flea? He's not Lemmy!"
As always, the last musician on the list is something a bit special. Flea (real name Michael Balzary) has played bass with the Red Hot Chili Peppers since their debut in 1984 and also acted in a few films such as The Big Lebowski and the Back To The Future sequels. However, his work as the RHCP bassist will always reign supreme as his blend of funky licks and heavy riffs have helped put the band on the musical map. You can always tell it's a RHCP song when you hear his soulful, often dominant bass melodies but if you want a few prime examples to check out over the course of their career...well, aside from practically every song they've ever written, I'd recommend "By The Way", "Higher Ground", "Soul To Squeeze", "Walkabout" and "Dreams Of A Samurai".
Even though these are ten bass players whom I've deemed worthy enough to focus specific paragraphs about, there are still some bassists that deserve honourable mentions:
Paul McCartney
John Myung
Phil Lynott
Lemmy
Every Funk bassist
Did I miss anyone out by focusing too much on big name bass players? Let me know who ranks on your personal list with some samples of their work to check out.
COMING SOON: The Salentino Cuts - UFO, an album review or showdown post; I haven't decided yet.
Saturday, 8 October 2016
Rapid Fire: Black Sabbath, AC/DC, Megadeth
Have you worked out the theme of this month's Rapid Fire post? Don't feel bad if you haven't, it's not the most obvious one. Aside from all being heavy rocking bands around the 70s/80s, they're all bands that have released new albums I've reviewed on this blog. Rather than talk about more great/shit albums by the band, I've decided to reverse the polarity and choose great albums by bands I slammed and not-so-great albums by bands I praised.
As well as discussing the highs and lows of the three "classic" albums, I'll also be writing a short comparison of those albums and the ones I previously reviewed. If you want to read my reviews of 13 - Black Sabbath, Rock Or Bust - AC/DC and Dystopia - Megadeth, follow the links provided. If you want to read my short reviews of three different albums by those bands...well, keep scrolling. Be warned that I will be spoiling my verdicts on each of those linked albums in the new album write-ups so I'd recommend reading those full reviews first, unless you don't really care and just want to know what I think about these albums.
1. Heaven And Hell - Black Sabbath
The first album I reviewed on this blog featured the closest thing to the classic Black Sabbath line-up since the actual classic Black Sabbath line-up, so I decided to choose an album featuring an even better line-up than both albums combined. If you listen to Black Sabbath tracks with Ozzy on vocals, the guitar sounds very restrained due to Tony Iommi playing most of his riffs on the lower frets (yes, I know about the factory incident and his fingertips). It also sounds a lot sludgier, arguably boasting the heaviest Metal riffs in all of the genre. Aside from the change in vocalists, the biggest difference between 70s-era Sabbath and early 80s-era Sabbath is the evolution of Tony's guitarwork.
Straight away, album opener "Neon Knights" bolts from the starting line with a much welcomed mix of old and new, something that remains the album's strongest factor from start to finish. Gone are the sluggish drumbeats from Paranoid and Master Of Reality and gone are Ozzy's oozing vocals, dripping off each line and more often than not blending with the guitar. In their places are faster rhythms courtesy of troubled drummer Bill Ward and new vocal melodies separate from the music carrying lyrics about mythology by Ronnie James Dio, apparently the driving force behind the band's improvements.
Whilst there are slower tracks on the album, they were complimented by more exciting music from Tony Iommi and Geezer Butler on guitar and bass, respectively. Tony would play his most complex riffs that he'd ever produced up until that point whilst Geezer would do what he does best and lay the bassline down thick and juicy, giving Metal fans something to sink their teeth into even if they preferred the faster tracks that were beginning to gain popularity due to the rise of Hard Rock. Overall, this album is well worth a listen to fans of Hard Rock and Heavy Metal, especially those who like classic Black Sabbath and Rainbow.
After listening to Heaven And Hell, you'll understand why I consider Dio the best thing that could've happened to the band and why I would call 13 a massive step backwards for Black Sabbath in terms of quality Metal.
1. Neon Knights
2. Children Of The Sea
3. Lady Evil
4. Heaven And Hell
5. Wishing Well
6. Die Young
7. Walk Away
8. Lonely Is The Word
ALBUM RATING - 8/10
2. Highway To Hell - AC/DC
An absolute classic and definitely my favourite AC/DC album with Bon Scott on vocals...hell, it's my favourite AC/DC album period! Much like Queen and The Beatles, AC/DC are a band that have been blessed and cursed with the ability to create several iconic hits. Everyone, and I mean EVERYONE, knows the album opener/title track "Highway To Hell" for its simple yet epic riff and anthematic chorus. However, even though it's worthy of the fame it's accrued over almost 40 years, I wouldn't place it anywhere near the top ranking of tracks on the album.
There's a steady variety of slower rockers that the band are best known for and a couple of faster tracks thrown in too for good measure. However, the main difference between an album like this and an album like Rock Or Bust is the energy put into each track. Each song packs a punch and, in my eyes (or should that be ears?), "rocks". Rock Or Bust had a lot of mediocre material that felt tired and uninspired and whilst I'll admit that a couple of songs have grown on me over time, I still wouldn't rate it highly. Also, Angus Young was the riff-master. Even on Black Ice, he was pumping out riffs as strong as ones on this album.
The only track that lacks the same energy the rest of the album harnessed is "Night Prowler" but even that isn't a total flatline. Fans of the band's Bluesy material will probably enjoy it and if only one out of ten solid Rock tracks is a dud, I would call that a decent album. However, when the majority of those nine tracks are awesome, I would call that a great album. If there's one AC/DC album you feel like listening to, make it this one.
1. Highway To Hell
2. Girls Got Rhythm
3. Walk All Over You
4. Touch Too Much
5. Beatin' Around The Bush
6. Shot Down In Flames
7. Get It Hot
8. If You Want Blood (You've Got It)
9. Love Hungry Man
10. Night Prowler
ALBUM RATING - 7/10
3. Super Collider - Megadeth
OK, maybe this isn't the best album I could've picked to discuss a "bad" Megadeth album but it's definitely not the worst or even a choice that many fans would dispute. It was critically panned for sounding too generic and more like a Hard Rock album than a Thrash Metal one. Not only that but loyal fans took a virtual dump on it too with the usual accusations of selling out by going too commercial, only this time their arguments had a bit of weight to them. First though, before I delve into those murky waters some more, let's look at the positives as there definitely are some.
Megadeth have a history of absolutely nailing their album openers and whilst "Kingmaker" maybe paints the album to be something it isn't, it's a hell of a track! They could've rewritten and rereleased that song ten more times and the album probably would've been better received. However, critics would then pick on the absolute lack of variety the album would contain, something that you can't do with Super Collider. "The Blackest Crow" provides a bit of respite from the slog of Hard Rock/Soft Metal presented so far, opting for a welcomed Southern-fuelled twang instead.
Unfortunately, even though the tracks are sturdy and technically there's nothing wrong with them, bland Rock isn't what you expect to hear when you listen to a Megadeth album. Thank Christ Dave Mustaine realised this and remedied his mistake with Dystopia, creating an album that is well and truly Metal at its finest. Not only that but it's Metal clearly inspired by the band's back catalogue, whereas Super Collider sounds more inspired by American Hard Rock bands from the 00s. I would recommend this album if you like bands like Nickelback, Audioslave and Stone Sour. If you want (Thrash) Metal, listen to Dystopia...or Rust In Peace, that album is a timeless Metal masterpiece.
1. Kingmaker
2. Super Collider
3. Burn!
4. Built For War
5. Off The Edge
6. Dance In The Rain
7. Beginning Of Sorrow
8. The Blackest Crow
9. Forget To Remember
10. Don't Turn Your Back...
11. Cold Sweat
ALBUM RATING - 5/10
If you have any requests for albums/bands/genres/decades/anything else to cover in Rapid Fire posts, let me know in the comment section or via Twitter. I'll also take general feedback and opinions about any albums/bands I cover.
Coming soon (probably): a video games post.
Saturday, 9 April 2016
Tenology: Inferior Signature Songs
Every band worth their salt has at least one signature song, one track that you automatically think of when someone mentions that band. Signature songs don't necessarily or exclusively mean "most popular tracks" or "highest selling singles", they're just songs that are closely associated with that band for any variety of reasons.
Sometimes, the signature song is a perfect representation of the band's material and generally does contain riffs, solos or lyrics regarded as some of the band's finest, e.g. "Free Bird" - Lynyrd Skynyrd or "Highway To Hell" - AC/DC. However, there are instances where a band's signature song divides opinion and fans of the band will happily list a string of tracks they believe to be greater or more deserving of critical acclaim.
This blog post will take a look at ten signature songs I believe have been wrongfully assigned, as well as tracks I would consider more noteworthy or better suited when compared to the rest of the band's back catalogue. Naturally, some of you are bound to disagree with my opinions on these songs so feel free to correct/educate me in the comment section if there are signature songs you believe need adjusting.
1. "Smells Like Teen Spirit" - Nirvana
I don't think I've ever liked this song but I would feel more confident arguing that it's a poor signature song over a poor song in general. Nirvana are widely regarded as the signature band for the entire Grunge genre so you'd think their signature song would be a Grunge staple, right? Wrong. It's basically Alternative with a mainstream Rock riff, not to mention a shitty solo that copies the vocal melody. It sounds like a song that was deliberately written to be top of the charts, flying in the face of the Grunge movement.
If I had to pick a Nirvana track that should be their signature song over this...hmm, tricky choice. Tracks like "Lithium" or "Heart Shaped Box" sound more like Nirvana classics that reflect the rest of their music to me. On a personal level, I prefer songs like "Breed" or "Very Ape" but I know they're poor choices for signature songs.
2. "Cat Scratch Fever" - Ted Nugent
Fuck me, this riff is boring. Not only that but everything else sounds fatigued and dull too, from the simple drumbeat to the tired vocals. Say what you want about The Nuge's wacky personality and asshole politics but if there's one thing he can do properly, it's write killer guitar licks. Songs like "The Great White Buffalo" - Ted Nugent's Amboy Dukes or "Just What The Doctor Ordered" from his first solo album are perfect for lovers of guitar-based Hard Rock, the polar opposite of this song that sounds like it was hastily cobbled together so Ted could clock in some extra hours at the shooting range instead.
Which songs are superior to this one? Well, most of them, if I'm honest. However, I reckon "Stormtroopin'" is a perfect signature song. Great riff? Yup. Tidy structure? Check. Passable solo perfect for casual listeners? Three for three! You could argue "Stranglehold" is one of Ted's signature songs too but I wouldn't rate that song highly either, as I tend to nod off after the third minute of listening to it.
3. "I Want You To Want Me" - Cheap Trick
I'm pretty sure Cheap Trick aren't huge fans of this song either, considering how much they've changed it since originally recording it. Compare the tame Beatlesque sound to the rougher edged live version from At Budoken or recent live performances and you can tell the band weren't happy with the song. To me, it doesn't seem right that a band's signature song is one they weren't happy with (note that this is different to when a band gradually falls out of love with their signature song, such as Led Zeppelin's "Stairway To Heaven"), especially when said song doesn't showcase the band at their best.
Want some great Cheap Trick tunes? "Stiff Competition" and "He's A Whore" are underrated should-be Rock classics but I reckon "Surrender" is a far better signature song, even if I don't personally like it that much. It's catchy, it's more of a Rock song and it's one of their biggest hits, if not THE biggest.
4. "Jump" - Van Halen
I've talked about this song on the blog before and I still believe it's an "upbeat, Hard Pop poster child for the Disney generation's definition of "Rock"" that barely begins to reflect the band's music. It's too clean and friendly to represent Van Halen, not to mention the fact that the main riff and half of the solo is played on a fucking synth. I'd be curious to hear what the song actually sounds like played entirely on guitar, although I reckon it wouldn't sound much better anyway.
To be honest, you could pick practically any of Van Halen's singles and choose a more appropriate signature song than "Jump" but to save you some time, I'd vote for either "Runnin' With The Devil", "Hot For Teacher" or "Ain't Talkin' 'Bout Love". I guess "Eruption" would also fit the bill, if you can call that a song. Signature solo, easily. Signature song, doubtful.
5. "Wheels Of Steel" - Saxon
I personally believe Saxon's lack of success when compared to other British Metal bands is due to this song being so popular. It's a mediocre Metal track designed to be played on the radio and destined to be used on Hard Rock compilation albums, nothing more or less. The riff is simple, the solo is basic and the song's structure gets repetitive pretty fast. The average Metal fan wanting to learn more about Saxon would probably write them off as a generic outfit if this was the first song they listened to.
However, anyone who's given the band a fair chance will tell you that they have much, MUCH better material that truly represents their sound and aggression. Songs like "Princess Of The Night" and "Power And The Glory" (even if the latter is a little similar to "2 Minutes To Midnight" - Iron Maiden) should come straight to mind when you think of Saxon, even "747 (Strangers In The Night)" would do.
6. "Don't Stop Believin'" - Journey
Another song I've discussed before and another song that is too "Disney" to be reflect this Arena Rock band. I'm aware the show Glee shot this song back into mainstream popularity but it was hardly a B-side before that fucking show or even before Family Guy used it once. What I can't understand is why this track became Journey's signature song. It's not based around an epic riff or solo (in fact, the song's chord sequence has been recycled throughout Rock since Pachelbel's Canon) and the lyrical themes are pretty trite, even for 80's Arena Rock standards.
Compare this to tracks such as "Wheel In The Sky" with better overall guitarwork or "Any Way You Want It" with much more of an upbeat sound. Hell, even "Stone In Love" from the same album would've been more enjoyable to listen to, although probably less enjoyable to sing along to.
7. "Master Of Puppets" - Metallica
Don't get me wrong, I like this track! It's loaded with awesome riffs and the first section of the song is a perfect example of Metal done right. However, I would argue that this is a poor signature song for the band. Most Metallica songs start with a soft section before getting more aggressive, whereas this track starts fast and slows everything down in the middle. Also, I still maintain the controversial opinion that this song has a pretty weak solo. It takes ages to build up and then it's over before you know it, unlike other Metallica songs that get the balance between song and solo spot on.
It's tricky to nail which songs would be better suited, as the band has two distinct sounds. If you want a signature song to reflect the band's Thrash Metal material across their first four albums, something like "Battery" would probably be more suitable. However, if you want a signature song for the band's music that softened into plain old Metal, "Enter Sandman" is the only track to choose.
8. "Aqualung" - Jethro Tull
Again, I can't fault the track from a standalone viewpoint. Perfect solo, decent riff, great structure, a top notch song. However, anyone who's listened to more than about four Jethro Tull songs will tell you that "Aqualung" is the odd one out. For starters, it actually has a proper guitar solo. It's also pretty fast paced during the middle section. Oh, and then there's the matter of the missing flute! Ian Anderson's flutework is a staple of Jethro Tull's music in itself so a track that lacks it seems like an odd choice for the band's signature song, even if it is a great song.
When it comes to Prog Rock, signature songs aren't really commonplace unless it's one of those Prog-Gone-Pop bands such as Genesis or Yes. Jethro Tull never really went as Pop as other bands in the same genre but if I had to pick some replacement signature songs, I'd probably go with "Living In The Past" or "Locomotive Breath".
9. "Since You Been Gone" - Rainbow
After Richie Blackmore left Deep Purple and formed Rainbow with Ronnie James Dio, he essentially created another Deep Purple but with more fantasy-inspired lyrics and complex music. This wouldn't be a problem except for the fact that "Since You Been Gone" is the band's most well known song among casual Rock fans. This song is as basic as they come with a simplistic riff and catchy chorus, likely written due to the departure of Ronnie James Dio. It's not a bad song but it's nowhere near as awesome as the average Rainbow song.
Even tracks written after this had better riffs and solos more appropriate for Rainbow. Songs such as "Stargazer", "Kill The King" and "Long Live Rock & Roll" should spring to mind when you think of Rainbow, not this track.
10. "Paranoid" - Black Sabbath
Much like other songs/bands on this list, this is one of several signature songs belonging to the group. However, unlike those entries, I've started to run out of ideas by number 10 on this list so stick with me through this and we can make it to the end together. I like "Paranoid" and Black Sabbath but when you listen to this track in comparison to the rest of the band's material, I would argue that it isn't as representative of their pioneering Heavy Metal music.
Obviously "War Pigs" and "Iron Man" are regarded as some of the other signature songs but if I had to rank them in any order, "Paranoid" would either be right at the bottom or not at all. Superb track but not as heavy as better known tunes by the band.
Once again, let me know if there are any inferior signature songs you believe I've missed either on the comment section or via Twitter.
Sometimes, the signature song is a perfect representation of the band's material and generally does contain riffs, solos or lyrics regarded as some of the band's finest, e.g. "Free Bird" - Lynyrd Skynyrd or "Highway To Hell" - AC/DC. However, there are instances where a band's signature song divides opinion and fans of the band will happily list a string of tracks they believe to be greater or more deserving of critical acclaim.
This blog post will take a look at ten signature songs I believe have been wrongfully assigned, as well as tracks I would consider more noteworthy or better suited when compared to the rest of the band's back catalogue. Naturally, some of you are bound to disagree with my opinions on these songs so feel free to correct/educate me in the comment section if there are signature songs you believe need adjusting.
1. "Smells Like Teen Spirit" - Nirvana
I don't think I've ever liked this song but I would feel more confident arguing that it's a poor signature song over a poor song in general. Nirvana are widely regarded as the signature band for the entire Grunge genre so you'd think their signature song would be a Grunge staple, right? Wrong. It's basically Alternative with a mainstream Rock riff, not to mention a shitty solo that copies the vocal melody. It sounds like a song that was deliberately written to be top of the charts, flying in the face of the Grunge movement.
If I had to pick a Nirvana track that should be their signature song over this...hmm, tricky choice. Tracks like "Lithium" or "Heart Shaped Box" sound more like Nirvana classics that reflect the rest of their music to me. On a personal level, I prefer songs like "Breed" or "Very Ape" but I know they're poor choices for signature songs.
2. "Cat Scratch Fever" - Ted Nugent
Fuck me, this riff is boring. Not only that but everything else sounds fatigued and dull too, from the simple drumbeat to the tired vocals. Say what you want about The Nuge's wacky personality and asshole politics but if there's one thing he can do properly, it's write killer guitar licks. Songs like "The Great White Buffalo" - Ted Nugent's Amboy Dukes or "Just What The Doctor Ordered" from his first solo album are perfect for lovers of guitar-based Hard Rock, the polar opposite of this song that sounds like it was hastily cobbled together so Ted could clock in some extra hours at the shooting range instead.
Which songs are superior to this one? Well, most of them, if I'm honest. However, I reckon "Stormtroopin'" is a perfect signature song. Great riff? Yup. Tidy structure? Check. Passable solo perfect for casual listeners? Three for three! You could argue "Stranglehold" is one of Ted's signature songs too but I wouldn't rate that song highly either, as I tend to nod off after the third minute of listening to it.
3. "I Want You To Want Me" - Cheap Trick
I'm pretty sure Cheap Trick aren't huge fans of this song either, considering how much they've changed it since originally recording it. Compare the tame Beatlesque sound to the rougher edged live version from At Budoken or recent live performances and you can tell the band weren't happy with the song. To me, it doesn't seem right that a band's signature song is one they weren't happy with (note that this is different to when a band gradually falls out of love with their signature song, such as Led Zeppelin's "Stairway To Heaven"), especially when said song doesn't showcase the band at their best.
Want some great Cheap Trick tunes? "Stiff Competition" and "He's A Whore" are underrated should-be Rock classics but I reckon "Surrender" is a far better signature song, even if I don't personally like it that much. It's catchy, it's more of a Rock song and it's one of their biggest hits, if not THE biggest.
4. "Jump" - Van Halen
I've talked about this song on the blog before and I still believe it's an "upbeat, Hard Pop poster child for the Disney generation's definition of "Rock"" that barely begins to reflect the band's music. It's too clean and friendly to represent Van Halen, not to mention the fact that the main riff and half of the solo is played on a fucking synth. I'd be curious to hear what the song actually sounds like played entirely on guitar, although I reckon it wouldn't sound much better anyway.
To be honest, you could pick practically any of Van Halen's singles and choose a more appropriate signature song than "Jump" but to save you some time, I'd vote for either "Runnin' With The Devil", "Hot For Teacher" or "Ain't Talkin' 'Bout Love". I guess "Eruption" would also fit the bill, if you can call that a song. Signature solo, easily. Signature song, doubtful.
5. "Wheels Of Steel" - Saxon
I personally believe Saxon's lack of success when compared to other British Metal bands is due to this song being so popular. It's a mediocre Metal track designed to be played on the radio and destined to be used on Hard Rock compilation albums, nothing more or less. The riff is simple, the solo is basic and the song's structure gets repetitive pretty fast. The average Metal fan wanting to learn more about Saxon would probably write them off as a generic outfit if this was the first song they listened to.
However, anyone who's given the band a fair chance will tell you that they have much, MUCH better material that truly represents their sound and aggression. Songs like "Princess Of The Night" and "Power And The Glory" (even if the latter is a little similar to "2 Minutes To Midnight" - Iron Maiden) should come straight to mind when you think of Saxon, even "747 (Strangers In The Night)" would do.
6. "Don't Stop Believin'" - Journey
Another song I've discussed before and another song that is too "Disney" to be reflect this Arena Rock band. I'm aware the show Glee shot this song back into mainstream popularity but it was hardly a B-side before that fucking show or even before Family Guy used it once. What I can't understand is why this track became Journey's signature song. It's not based around an epic riff or solo (in fact, the song's chord sequence has been recycled throughout Rock since Pachelbel's Canon) and the lyrical themes are pretty trite, even for 80's Arena Rock standards.
Compare this to tracks such as "Wheel In The Sky" with better overall guitarwork or "Any Way You Want It" with much more of an upbeat sound. Hell, even "Stone In Love" from the same album would've been more enjoyable to listen to, although probably less enjoyable to sing along to.
7. "Master Of Puppets" - Metallica
Don't get me wrong, I like this track! It's loaded with awesome riffs and the first section of the song is a perfect example of Metal done right. However, I would argue that this is a poor signature song for the band. Most Metallica songs start with a soft section before getting more aggressive, whereas this track starts fast and slows everything down in the middle. Also, I still maintain the controversial opinion that this song has a pretty weak solo. It takes ages to build up and then it's over before you know it, unlike other Metallica songs that get the balance between song and solo spot on.
It's tricky to nail which songs would be better suited, as the band has two distinct sounds. If you want a signature song to reflect the band's Thrash Metal material across their first four albums, something like "Battery" would probably be more suitable. However, if you want a signature song for the band's music that softened into plain old Metal, "Enter Sandman" is the only track to choose.
8. "Aqualung" - Jethro Tull
Again, I can't fault the track from a standalone viewpoint. Perfect solo, decent riff, great structure, a top notch song. However, anyone who's listened to more than about four Jethro Tull songs will tell you that "Aqualung" is the odd one out. For starters, it actually has a proper guitar solo. It's also pretty fast paced during the middle section. Oh, and then there's the matter of the missing flute! Ian Anderson's flutework is a staple of Jethro Tull's music in itself so a track that lacks it seems like an odd choice for the band's signature song, even if it is a great song.
When it comes to Prog Rock, signature songs aren't really commonplace unless it's one of those Prog-Gone-Pop bands such as Genesis or Yes. Jethro Tull never really went as Pop as other bands in the same genre but if I had to pick some replacement signature songs, I'd probably go with "Living In The Past" or "Locomotive Breath".
9. "Since You Been Gone" - Rainbow
After Richie Blackmore left Deep Purple and formed Rainbow with Ronnie James Dio, he essentially created another Deep Purple but with more fantasy-inspired lyrics and complex music. This wouldn't be a problem except for the fact that "Since You Been Gone" is the band's most well known song among casual Rock fans. This song is as basic as they come with a simplistic riff and catchy chorus, likely written due to the departure of Ronnie James Dio. It's not a bad song but it's nowhere near as awesome as the average Rainbow song.
Even tracks written after this had better riffs and solos more appropriate for Rainbow. Songs such as "Stargazer", "Kill The King" and "Long Live Rock & Roll" should spring to mind when you think of Rainbow, not this track.
10. "Paranoid" - Black Sabbath
Much like other songs/bands on this list, this is one of several signature songs belonging to the group. However, unlike those entries, I've started to run out of ideas by number 10 on this list so stick with me through this and we can make it to the end together. I like "Paranoid" and Black Sabbath but when you listen to this track in comparison to the rest of the band's material, I would argue that it isn't as representative of their pioneering Heavy Metal music.
Obviously "War Pigs" and "Iron Man" are regarded as some of the other signature songs but if I had to rank them in any order, "Paranoid" would either be right at the bottom or not at all. Superb track but not as heavy as better known tunes by the band.
Once again, let me know if there are any inferior signature songs you believe I've missed either on the comment section or via Twitter.
Friday, 16 August 2013
13 - Black Sabbath
For my first "review", I thought it'd be a good idea to revisit an album I really enjoyed so I can bring that same enthusiasm for the music to my critique. But then I had another idea and decided to do the opposite of that, going against something I'd previously told myself and write about an album I strongly disliked. And in keeping with the theme of going back on my word like a prick, what better album to kick us off than 13 - Black Sabbath.
First, a bit of context.
Black Sabbath are widely believed to be the inventors of Metal. They started off very heavy in the 70's (in comparison to what was on the radio at the time), gradually speeding up and developing their sound as more bands altered the genre with their own efforts. Ten years later, when Dio took over from Ozzy as the vocalist, they were a lot faster and more appropriate for the angrier Metal that the 80's gave birth to. However, this album is the first album to have the complete original lineup since the 70's...at least it would be if not for one person.
Bill Ward.
Bill fuckin' Ward. The drummer.
Apparently, something pissed him off and the sand in his vagina resulted in him throwing a paddy, deciding that he didn't want to go to the birthday party after all...so to speak. In reality, he didn't agree with the contract he was signing so stayed out of the affair. I've been quite harsh about him here but I guess his actions were understandable. Considering the band members used to fucking set him on fire (yeah, you read that right), I'd be one to hold a grudge as well and wouldn't want to see them again unless they already had their lips puckered for an hour of passionate ass-kissing. If he felt they were gonna dick him about again, maybe he was well in his right to tell them to jog on.
So why did the band announce that everyone was getting together?
Did Bill agree at first and then change his mind like a wanker?
Or did someone jump the gun and promise something that they couldn't deliver?
Either way, this album isn't the original line-up. It's the original line-up minus Bill Ward but plus the guy from Rage Against The Machine & Audioslave, Brad Wilk.
The album kicks off with an 8 minute song entitled End Of The Beginning. Immediately, it strikes you as a return to form. Sabbath have resurrected and they're still heavier than Shrek's ballsack. If you love songs that sound like they're being dragged through mud and tar, you'll enjoy this one. However, it's all a bit dull if you ask me. Album openers are supposed to grab you by the short & curlies, screaming "Listen to this until the end or else!", giving you a glimpse of what's gonna come through the next hour. Granted this track nails the latter of those two but it certainly doesn't fill me with hope for the rest of the album.
Luckily, close to the 3 minute mark, the song picks up a little. Tony Iommi gives us a funky riff and Wilk changes up the tempo to more of a foot-tapping beat. Unfortunately, it's still very bland and uninteresting. To be perfectly honest, the song could've been a lot shorter. An 8 minute album opener is very ambitious and unless you're bringing a hell of a good tune to the table, it's unlikely you're gonna leave a long lasting impression.
Meanwhile, Iommi is giving us some damn fine guitar work with his solos akin to Dio era shredding and Ozzy is reintroducing us to the sound of his voice paired with sludgy Metal. Since a good 40 years has passed since Ozzy was originally belting out lyrics about war and religion, he's lost some of the raw edge he originally had and now his voice sounds a bit more artificial, possibly enhanced by studio effects to give him more of a powerful sound.
Next up is their single, entitled God Is Dead? with a question mark, yeah? So it's, like, all deep and stuff. As soon as the song starts, you can be forgiven for assuming it's just a continuation of the last track, since the riff is equally as dark, evil, mysterious and dreary. Have to say though, this song has a good balance between softer sections and harder moments where Wilk puts the hammer down along with the rest of the band. And yes, there is another tempo change where the plodding music is replaced by a funkier section that is almost identical to the last song...again.
Not only in the style of drumming but also in that it feels very flat and soulless in comparison to some of their other songs with tempo changes. If you listen to this song again, try and keep an ear out for Geezer Butler's bass work during the faster part of the song. The album is mixed in a way that bass is well hidden but when you can make it out, it's pretty sweet. Track 3 is Loner and thankfully it's not a dull plodder. In fact, it sounds like an attempt at revisiting some of their more pleasant riff-making, reminiscent of songs like N.I.B.
By this point, it should be clear that the band are still fresh after being out of the packet for nearly half a century and can still deliver decent Metal. It might not be to everyone's tastes (particularly those who have grown accustomed to faster, more aggressive Thrash Metal) but you can't deny the solid quality of the finished product.
More creepy riffs, more chilling vocals and more mysterious melodies come with Zeitgeist, although the heavy drumming takes a rest on this one. Butler's bass is a bit more prominent and Iommi's acoustic playing sounds a hell of a lot more soothing than his hard riffing. So far, this album feels like it would make better background music than the sort of one you can go out of your way to listen to. It's not bad but it's not really accessible unless you like music that plods along like a lumbering giant such as the next track, Age Of Reason.
If you bought this album expecting more modern versions of Paranoid or Children Of The Grave, you're most likely going to be disappointed. This album definitely fits in with the heavier Metal they were creating for their first album than the songs that your average casual listener may know them for. But at least they're trying to pump a bit of life into a few of their songs, even if tempo changes sound as awkward and sloppy as the one in this track.
By track 6, listening to the album is starting to feel like work. Live Forever makes me wish for the exact opposite, even when yet another funky rhythm starts. I have to say, Wilk's drumming comes across as overused and dull through the majority of this album. He might mix up his style throughout a single song but as an entire album effort, it sounds like he's just putting different riffs and vocals to exactly the same beats. Ah well, at least this song isn't too boring although it should've been bumped up the track list to the 2nd or 3rd song.
Back to the near 8 minute songs with Damaged Soul and we're "treated" to yet another sludgy riff with a lot of weight and subdued bass. Nothing on this album is making me want to play any tracks again so far. I'm sure there are some wankers out there who'd argue "Oh but the good thing about this album is that it grows on you over time!" Why the fuck is that a good thing? If I like something and then it gets better, that's great. If I dislike something and I need to expose myself to it repeatedly until I learn to tolerate just how crap it is, that's not good at all. That's fucking Stockholm Syndrome!
I'd much rather hear a song I like, then start to get tired of it only to leave it a while before I hear it again when it sounds fresh after so long. Anyway, back to the review. The last track on the basic album is Dear Father. Are they gonna go out on a bang or are they gonna churn out the same song I've been trying to enjoy for the last 50 minutes? Oh, they're going with the same heavy riff and plodding rhythm again. Thankfully the funky tempo change has been altered into a gallop around the 4-minute mark.
Doesn't change the way over half the album sounds like a Black Sabbath tribute-band trying to create an originally inspired composition as good as their old material and failing miserably. Rather than leaving listeners with something halfway decent, the song ends on a long drawn out thunderstorm that fades out in a puff of self-indulgence. Now come the 3 bonus tracks that you might find on Spotify or iTunes! Oh goody, more sludge! How refreshing! Hold on...this isn't sludge. What the fuck is this? Something that I want to listen to again?!
The 3 bonus tracks are as confusing as they are catchy. Methademic may start off like your typical song on this album but soon kicks it up a few gears and is the first song on the entire album that has energy. Peace Of Mind pulls a similar trick and starts off slow only to improve towards the end in a way that isn't generic funk or overly heavy blues. Finally, Pariah closes the special addition with more of a modern Hard Rock/Metal sound, relying on a decent riff and more American sound...after another slow & solemn intro.
These tracks are all less than 6 minutes long and they would've been far better on the album than half the shit that made the final cut. So that's where the confusion comes from. What the fucking fuck happened? Instead of opting for a hint of diversity and variety on the album, the band and producer clearly decided that the same track over and over again would've been more appropriate for an album people have been waiting for for decades. But either way, that's the album. I won't talk about the live song, Dirty Woman, but now it's time to look at the album overall.
13 is definitely not disappointing if you expected Black Sabbath. It still has the same soul of their past efforts but sadly the body it's been transferred into lacks what made the band so awesome in the first place. It never really peaks and every song remains at exactly the same level with a series of interchangeable melodies and lyrics. Many songs go on longer than ads at the cinema and sell me the finished product half as effectively, dragging along at a frustratingly tedious rate. In short, these songs have a lot of power but no fucking energy.
Now for the band. Brad Wilk is mediocre at best. His drumming works for a couple of songs but when you start hearing exactly the same beat over and over again, you've got to wonder exactly what he brought to the table when they were writing these songs (although drummers aren't exactly known for their out-of-this-world songwriting ability). As I said earlier, Butler's bass is quite hard to isolate unless you really try but when you do hear it, it's decent stuff. That's all about him really.
Iommi's guitar is the highlight of the album for me. His riffs may not completely satisfy my taste but they certainly give the songs power needed to carry the whole album. Decent riffs from Ozzy's era but fantastic solos from Dio's era; the best of both worlds. Finally, Ozzy. The lyrics still ooze out of his mouth like they did 40 years ago and the actual sound of his voice still sounds preferable to the words he's singing. All in all, this album isn't their best. I imagine it's probably better to sample individual tracks rather than listen to it start to finish but nevertheless, it's a hell of a slog to suffer through the entire thing if you aren't struck by the sound of heavy sludge.
If I had to rate it....I dunno, I'd say 4/10, if only because I'm rounding up 3.5.
Normally, I'd recommend songs that you might enjoy if you liked this album but since I didn't like it, I can't give an accurate example of songs that are just as good. Maybe some 90's Grunge/Hard Rock like Alice In Chains? They're about as dreary as this album.
So, there it is. My first review. A right barrel o'laughs, huh. Next time I'll try to talk about something I liked more than 4/10 but I can't promise anything. If you have any thoughts about this album, go ahead and share them in the comments. Be seeing you!
First, a bit of context.
Black Sabbath are widely believed to be the inventors of Metal. They started off very heavy in the 70's (in comparison to what was on the radio at the time), gradually speeding up and developing their sound as more bands altered the genre with their own efforts. Ten years later, when Dio took over from Ozzy as the vocalist, they were a lot faster and more appropriate for the angrier Metal that the 80's gave birth to. However, this album is the first album to have the complete original lineup since the 70's...at least it would be if not for one person.
Bill Ward.
Bill fuckin' Ward. The drummer.
Apparently, something pissed him off and the sand in his vagina resulted in him throwing a paddy, deciding that he didn't want to go to the birthday party after all...so to speak. In reality, he didn't agree with the contract he was signing so stayed out of the affair. I've been quite harsh about him here but I guess his actions were understandable. Considering the band members used to fucking set him on fire (yeah, you read that right), I'd be one to hold a grudge as well and wouldn't want to see them again unless they already had their lips puckered for an hour of passionate ass-kissing. If he felt they were gonna dick him about again, maybe he was well in his right to tell them to jog on.
So why did the band announce that everyone was getting together?
Did Bill agree at first and then change his mind like a wanker?
Or did someone jump the gun and promise something that they couldn't deliver?
Either way, this album isn't the original line-up. It's the original line-up minus Bill Ward but plus the guy from Rage Against The Machine & Audioslave, Brad Wilk.
The album kicks off with an 8 minute song entitled End Of The Beginning. Immediately, it strikes you as a return to form. Sabbath have resurrected and they're still heavier than Shrek's ballsack. If you love songs that sound like they're being dragged through mud and tar, you'll enjoy this one. However, it's all a bit dull if you ask me. Album openers are supposed to grab you by the short & curlies, screaming "Listen to this until the end or else!", giving you a glimpse of what's gonna come through the next hour. Granted this track nails the latter of those two but it certainly doesn't fill me with hope for the rest of the album.
Luckily, close to the 3 minute mark, the song picks up a little. Tony Iommi gives us a funky riff and Wilk changes up the tempo to more of a foot-tapping beat. Unfortunately, it's still very bland and uninteresting. To be perfectly honest, the song could've been a lot shorter. An 8 minute album opener is very ambitious and unless you're bringing a hell of a good tune to the table, it's unlikely you're gonna leave a long lasting impression.
Meanwhile, Iommi is giving us some damn fine guitar work with his solos akin to Dio era shredding and Ozzy is reintroducing us to the sound of his voice paired with sludgy Metal. Since a good 40 years has passed since Ozzy was originally belting out lyrics about war and religion, he's lost some of the raw edge he originally had and now his voice sounds a bit more artificial, possibly enhanced by studio effects to give him more of a powerful sound.
Next up is their single, entitled God Is Dead? with a question mark, yeah? So it's, like, all deep and stuff. As soon as the song starts, you can be forgiven for assuming it's just a continuation of the last track, since the riff is equally as dark, evil, mysterious and dreary. Have to say though, this song has a good balance between softer sections and harder moments where Wilk puts the hammer down along with the rest of the band. And yes, there is another tempo change where the plodding music is replaced by a funkier section that is almost identical to the last song...again.
Not only in the style of drumming but also in that it feels very flat and soulless in comparison to some of their other songs with tempo changes. If you listen to this song again, try and keep an ear out for Geezer Butler's bass work during the faster part of the song. The album is mixed in a way that bass is well hidden but when you can make it out, it's pretty sweet. Track 3 is Loner and thankfully it's not a dull plodder. In fact, it sounds like an attempt at revisiting some of their more pleasant riff-making, reminiscent of songs like N.I.B.
By this point, it should be clear that the band are still fresh after being out of the packet for nearly half a century and can still deliver decent Metal. It might not be to everyone's tastes (particularly those who have grown accustomed to faster, more aggressive Thrash Metal) but you can't deny the solid quality of the finished product.
More creepy riffs, more chilling vocals and more mysterious melodies come with Zeitgeist, although the heavy drumming takes a rest on this one. Butler's bass is a bit more prominent and Iommi's acoustic playing sounds a hell of a lot more soothing than his hard riffing. So far, this album feels like it would make better background music than the sort of one you can go out of your way to listen to. It's not bad but it's not really accessible unless you like music that plods along like a lumbering giant such as the next track, Age Of Reason.
If you bought this album expecting more modern versions of Paranoid or Children Of The Grave, you're most likely going to be disappointed. This album definitely fits in with the heavier Metal they were creating for their first album than the songs that your average casual listener may know them for. But at least they're trying to pump a bit of life into a few of their songs, even if tempo changes sound as awkward and sloppy as the one in this track.
By track 6, listening to the album is starting to feel like work. Live Forever makes me wish for the exact opposite, even when yet another funky rhythm starts. I have to say, Wilk's drumming comes across as overused and dull through the majority of this album. He might mix up his style throughout a single song but as an entire album effort, it sounds like he's just putting different riffs and vocals to exactly the same beats. Ah well, at least this song isn't too boring although it should've been bumped up the track list to the 2nd or 3rd song.
Back to the near 8 minute songs with Damaged Soul and we're "treated" to yet another sludgy riff with a lot of weight and subdued bass. Nothing on this album is making me want to play any tracks again so far. I'm sure there are some wankers out there who'd argue "Oh but the good thing about this album is that it grows on you over time!" Why the fuck is that a good thing? If I like something and then it gets better, that's great. If I dislike something and I need to expose myself to it repeatedly until I learn to tolerate just how crap it is, that's not good at all. That's fucking Stockholm Syndrome!
I'd much rather hear a song I like, then start to get tired of it only to leave it a while before I hear it again when it sounds fresh after so long. Anyway, back to the review. The last track on the basic album is Dear Father. Are they gonna go out on a bang or are they gonna churn out the same song I've been trying to enjoy for the last 50 minutes? Oh, they're going with the same heavy riff and plodding rhythm again. Thankfully the funky tempo change has been altered into a gallop around the 4-minute mark.
Doesn't change the way over half the album sounds like a Black Sabbath tribute-band trying to create an originally inspired composition as good as their old material and failing miserably. Rather than leaving listeners with something halfway decent, the song ends on a long drawn out thunderstorm that fades out in a puff of self-indulgence. Now come the 3 bonus tracks that you might find on Spotify or iTunes! Oh goody, more sludge! How refreshing! Hold on...this isn't sludge. What the fuck is this? Something that I want to listen to again?!
The 3 bonus tracks are as confusing as they are catchy. Methademic may start off like your typical song on this album but soon kicks it up a few gears and is the first song on the entire album that has energy. Peace Of Mind pulls a similar trick and starts off slow only to improve towards the end in a way that isn't generic funk or overly heavy blues. Finally, Pariah closes the special addition with more of a modern Hard Rock/Metal sound, relying on a decent riff and more American sound...after another slow & solemn intro.
These tracks are all less than 6 minutes long and they would've been far better on the album than half the shit that made the final cut. So that's where the confusion comes from. What the fucking fuck happened? Instead of opting for a hint of diversity and variety on the album, the band and producer clearly decided that the same track over and over again would've been more appropriate for an album people have been waiting for for decades. But either way, that's the album. I won't talk about the live song, Dirty Woman, but now it's time to look at the album overall.
13 is definitely not disappointing if you expected Black Sabbath. It still has the same soul of their past efforts but sadly the body it's been transferred into lacks what made the band so awesome in the first place. It never really peaks and every song remains at exactly the same level with a series of interchangeable melodies and lyrics. Many songs go on longer than ads at the cinema and sell me the finished product half as effectively, dragging along at a frustratingly tedious rate. In short, these songs have a lot of power but no fucking energy.
Now for the band. Brad Wilk is mediocre at best. His drumming works for a couple of songs but when you start hearing exactly the same beat over and over again, you've got to wonder exactly what he brought to the table when they were writing these songs (although drummers aren't exactly known for their out-of-this-world songwriting ability). As I said earlier, Butler's bass is quite hard to isolate unless you really try but when you do hear it, it's decent stuff. That's all about him really.
Iommi's guitar is the highlight of the album for me. His riffs may not completely satisfy my taste but they certainly give the songs power needed to carry the whole album. Decent riffs from Ozzy's era but fantastic solos from Dio's era; the best of both worlds. Finally, Ozzy. The lyrics still ooze out of his mouth like they did 40 years ago and the actual sound of his voice still sounds preferable to the words he's singing. All in all, this album isn't their best. I imagine it's probably better to sample individual tracks rather than listen to it start to finish but nevertheless, it's a hell of a slog to suffer through the entire thing if you aren't struck by the sound of heavy sludge.
If I had to rate it....I dunno, I'd say 4/10, if only because I'm rounding up 3.5.
Normally, I'd recommend songs that you might enjoy if you liked this album but since I didn't like it, I can't give an accurate example of songs that are just as good. Maybe some 90's Grunge/Hard Rock like Alice In Chains? They're about as dreary as this album.
So, there it is. My first review. A right barrel o'laughs, huh. Next time I'll try to talk about something I liked more than 4/10 but I can't promise anything. If you have any thoughts about this album, go ahead and share them in the comments. Be seeing you!
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