Guitar Hero & Rock Band: A History Lesson part 1

Well this is a new one! I've had a request!
Fortunately, I'm a big fan of the Guitar Hero & Rock Band series and can talk about them for bloody hours. However, since they've been around for nearly ten years each, I'm splitting this retrospective look at the series into two parts.
Part One will look at the following games: Guitar Hero, Guitar Hero 2, Guitar Hero Encore: Rocks The 80's, Guitar Hero 3: Legends Of Rock, Guitar Hero Mobile, Guitar Hero Carabiner, Rock Band.
For all the others, check out Part Two.

Guitar Hero started off as a simple PS2 title with an even simpler premise developed by Harmonix and published by RedOctane. Inspired by Guitar Freaks, the game contained over 30 popular Rock songs ranging from iconic riffs of the 70's (e.g. "Smoke On The Water", "Iron Man", "Frankenstein") to popular songs for fans of contemporary Rock (e.g. "Fat Lip", "Take Me Out", "Cochise") that you would play with a five fretted plastic guitar. Notes would travel down a fretboard on screen and the aim is to hold the appropriate coloured fret down whilst hitting the strum bar as the note crosses the strike line in time to the music.

In the early days, this was considered challenging

At the time (2005), it was a fantastic game. A relatively diverse soundtrack for a debut title, easy to learn yet hard to master gameplay and clear sequel potential. Of course, now we've got dozens of games that have been refined and perfected, we can look back on this one and say "Christ, it was terrible".
Between the arguably dodgy covers of Rock and Metal hits like "Bark At The Moon" or "Godzilla" and the absolutely terrible game-engine that made it incredibly difficult to play in-game hammer-ons without strumming, Guitar Hero was a bad game with amazing potential.
It was a game that caught on pretty damn quickly though and introduced new generations to fantastic music. It just needed a bit of fine tuning. Enter Guitar Hero 2.

A new way to piss off your experienced gamer friend

Guitar Hero 2 hit the shelves the next year and landed with a power chord...sorry, let me have another go at that sentence...

Guitar Hero 2 arrived a year later with a confident bang, boasting more Rock anthems ("Sweet Child O' Mine", "Carry On Wayward Son", "Message In A Bottle") and fairly modern hits ("Beast And The Harlot", "Woman", "Monkey Wrench") for the same audience...but this time, plus one! One of many additions to the series was the ability to have someone rocking either rhythm or bass guitar along with you.
This allowed for the addition of competitive and co-op game modes, along with a slightly more diverse soundtrack that didn't require bass to be rewritten and recorded by WaveGroup Sound. More importantly, the game was a lot easier to play but Harmonix accounted for this by adding songs with even more furious solos and introduced future GH fans to insane staples of the series ("Hangar 18", "Free Bird", "Jordan").
The series was also expanding beyond PS2 and an XBox 360 port was released that allowed players to download not only new material but also the tracks from the original GH, albeit on the superior game engine. However, it was at this point that some would say the series began to descend into mediocrity as Activision took over as publisher and the lawsuits arrived in their plenty. Cut to 2007 and the series' first expansion disc, Guitar Hero Encore: Rocks The 80's.

Hope you like Hair Metal!

Aside from a title with bizarrely incorrect grammar, Guitar Hero Encore: Rocks The 80's features a soundtrack with a slightly reduced quantity and, depending on personal taste, quality. The setlist boils down to Hair Metal ("Metal Health (Bang Your Head)", "I Wanna Rock", "Round And Round"), Pop Rock ("We Got The Beat", "I Ran (So Far Away)", "Turning Japanese") and awesome Metal ("Wrathchild", "Caught In A Mosh", "Electric Eye") so if you're not into any of that, this game would be one to avoid as it doesn't add anything new to the series except music and snazzy outfits.
This was the last game in the Guitar Hero series that was developed by Harmonix and many fans jumped ship at this point. Personally, the next game to be released is one of my personal favourites although this might be because it was the first GH title I bought. Either way, Guitar Hero 3: Legends Of Rock shot the series into the mainstream.

Confession time: South Park got me into this

Released in the same year, GH3 returned some of the glory back to the series thanks to years of popularity and Neversoft taking over as developers. On top of an enhanced soundtrack aimed to gently introduce newbies and relentlessly challenge seasoned pros, this title also introduced online play, battle modes, monthly DLC (unless you owned a Wii), multi-console availability, improved graphics, more master recordings instead of WaveGroup covers and playable avatars of Slash and Tom Morello. If you ignore all of those features, the game is technically not as good although in doing that, you'd be a complete fucking idiot.
These are things that Activision could actually advertise but beneath the surface layer, the notes were also slightly easier to hit and the charts for songs were considered pretty damn fun, even if some of them were a bit power-chord heavy (looking at you, "Before I Forget"!). I would say that this game contained songs that were fucking amazing to play for the HOPO sequences alone ("My Name Is Jonas", "Cities On Flame With Rock And Roll", "The Metal") and after years of practising until I was good enough to easily five star the top tier tracks ("Cult Of Personality", "Cliffs Of Dover", "Knights Of Cydonia"), the title earned a top spot in my all-time favourite GH games list...yes, I have a list. I'm a fan.
Around the time of this game's release, two things were happening. The first was that Activision essentially started to whore out the series with releases like Guitar Hero Mobile, a portable expansion so players could experience GH away from homes and annoy the shit out of commuters simultaneously, and Guitar Hero Carabiner, a toy for the uber fan and casual plonker. The second was that Harmonix teamed up with the other evil games company, EA (also MTV Games), to create a contender in the rhythm music game genre. This new IP was given the simplistic yet easily memorable name Rock Band.

"I actually think the rectangular notes are easier to read" said the Fool

Whilst GH3 was enticing people who sort of knew who Slash was, Rock Band went in a different direction and focused on the music aspect of the gameplay. Harmonix achieved this by adding two new instruments, drums and vocals. As well as this, they adjusted several smaller aspects about the gameplay in order to clearly set it apart from Guitar Hero such as special solo sections that allowed for extra points, character customisation, a star gauge and a soundtrack that was aimed for a full band instead of just one instrument.
The setlist is focused less on action-packed music like the GH series and more on all-round great Rock ("Blitzkrieg Bop", "(Don't Fear) The Reaper", "Here It Goes Again"). For fans of guitar-based gameplay, you're more likely to enjoy GH3 as it offers more of a challenge with fun charts (unless you prefer the soundtrack for RB, as music taste pretty much always governs your opinion on the game). If you've been dying for drums or enjoy karaoke games, the new instruments will help you fall in love with the series. Luckily, the series also has fantastic DLC with plenty of variety for everyone.
Overall, Rock Band is definitely more of a mature game but that doesn't mean it's not as good, nor does it mean it takes itself completely seriously. I also hesitate to call it "realistic" as there's still so much about it which is completely different to actually playing music. However, despite all the differences I've highlighted, there are similarities between the games too. Both have a good difficulty progression, both feature of mix of master recordings and WaveGroup covers, both end on an epic Southern-based note ("The Devil Went Down To Georgia" and "Green Grass And High Tides") and both are well crafted titles that earned their place in living rooms across the world.

So in the tweet requesting this post, I was asked to review the games even though I review albums instead of games on this blog, so here are my basic verdicts on each of the titles that I actually played.
Guitar Hero: Good idea with a great soundtrack but needed a bit more work in order to make it actually playable. 4/10.
Guitar Hero 2: Excellent sequel that fixed the worst issues with the first game & improved things you didn't know needed improving. 8/10.
Guitar Hero Encore: Rocks The 80's: Decent expansion pack but not to everyone's taste. 6/10.
Guitar Hero 3: Legends Of Rock: Personal bias aside, this is both a perfect introduction and continuation of the series. 9/10.
Rock Band: Definitely more of a multiplayer experience but still fun for the single player and/or gamer who has money to throw about on plastic instruments. 7/10.

Next time, I'll be covering 2008-2010.

Rock Productions presents...

A while ago, I wrote a blog post about various popular genres of Rock as if they were members of a family, picking similar aspects from both parties and comparing them for shits and giggles. I enjoyed writing it and had a think about similar posts I could write with a familiar theme without just relying on the same observations from the first post.
In the end, I decided to move from using Rock genres to actual Rock bands. However, I won't be comparing bands to family members. Nope, I'll be turning well known bands into films! Not specific films, though. Rather official and unofficial film genres that I would list to give you some examples of what I mean but that'd be silly, considering I have the content underneath this paragraph.
So without further waffling, here's another attempt at music humour that you shouldn't take too seriously (especially the last one, even I know I'm pushing an analogy a bit too far there)!


COMING SOON!

AC/DC
From the makers of "Action Films"

A guns-blazing production with plenty to keep men and young adults entertained. There are plenty of scenes that are memorable and a talented cast who know how to deliver an explosive bundle of action. However, whilst they know how to write a solid fight scene or car chase, you'd be hard pressed to find a fan of their recent work over their classics from the 80's and early 90's. Sure, the new films have their moments but nowadays the majority of their material feels repetitive. With so many other directors making action-packed movies that challenge the viewer with new stunts and visual effects, perhaps it's time for these films to reach their conclusion...especially since the key actor integral to the band's popularity has quit due to age-related poor health and their latest picture is dull as fuck.


Uriah Heep
From the makers of "Sci-Fi Films"

A bizarre genre with stories that might turn the casual cinema-goer off with all the strange creatures on the poster but if you like complexity in your art, these are the movies for you. That being said, there are more complex films from that time and genre that more passionate fans will most likely prefer. Over time, they've become a bit more mainstream and the improved budget has allowed for a stronger quality of production, even if the script has suffered slightly. At the end of the day, both the perplexing films from the 70's and the simpler movies from the 10's are entertaining in their own ways, even if they're not as popular as other flicks.


Foo Fighters
From the makers of "Comedy Films"

Everyone loves a good comedy and time after time, these filmmakers have created a solid hit with lots of quotable moments. It's hard to name the most iconic comedy as there are plenty of contenders for the title but everyone has their own personal favourite which they'll treasure over someone else's. However, for every laugh out loud scene, there's usually a dud moment that will be easily forgotten. There are also comedies that have been repeated in the media too much and are starting to bore viewers...well, most viewers. There'll always be people laughing at the same mediocre jokes out there. Sadly, their latest movie reeks of self-indulgence and whilst it is well made and clearly inspired by early material, I doubt there'll be many more films like this one. I hope not, anyway.


Aerosmith
From the makers of "Romantic Comedy Films"

The wussiest, softest, most wimpy yet simultaneously popular genre of film out there. OK, there are some great ones out there. Ones with balls that aren't all about romantic platitudes but there are way too many soft movies out there to ever consider this an aggressive, cool or even rebellious type of film. To clarify, this isn't a bad genre nor is there anything wrong with liking this genre or enjoying one of these films. They're great filmmakers and all but they also seem like the kind of artists who'd cry during sex or send roses on Valentine's Day. There's just so much that makes you groan with these films that whenever I see a trailer for a new one (or any movie news to do with the individual filmmakers), my mind automatically conjures feelings of fatigue and irritation.


Slipknot
From the makers of "Horror Films"

It'd be very easy to look at trailers for these and think "Ugh, who'd want to see that? Anyone who enjoys this kind of entertainment is stupid" but once you get past all the prosthetic masks and shocking moments, the films are often quite good. The classics are imaginative and well written, occasionally tackling issues other than death in an educated but dynamic manner. Much like other genres, they have scenes that stand out more than others and are renowned in the Horror Film community but these are the kind of movies that you probably need to watch from start to finish to get the most out of. Personally, I'm not into this kind of genre but I have total respect for it and the people who make it...provided they continue to challenge viewers by subverting the tropes surrounding their appearance.


The White Stripes
From the makers of "Buddy Cop Films"

Meet Jack White! He's a stern, serious cop with strong opinions about the justice system and a knack for what he does.
Meet Meg White! She's a lazy, talentless cop who's only there because she has family connections to the station and can just about do what any basic officer would master on day one of training.
Both cops are different...but what happens when you put them both together to solve a series of cases that seem strange on the surface but are actually incredibly basic when you watch them?
Together, these two wild cards will take you on a fun and dynamic journey as one of the officers does all the legwork and the other just shows up.
Jack and Meg star in...White Stripes! Rated PG-13.


Queen
From the makers of "Pixar, Aardman Animations & Occasionally Dreamworks Family Films"

These are your all-round well-made movies that can be enjoyed by pretty much anyone with a brain. There's something for young audiences who like memorable scenes they can tell their friends and repeat to themselves for weeks, there's something for old audiences who want non-aggressive, unoffensive material to sit back and enjoy and there's something for everyone in between who appreciates the occasional mature reference and poignant statement about life or politics without hammering it down their throat. Despite the appearance of some of their most popular pieces, these films are indisputably works of art and deserve all the acclaim they're getting.


My Chemical Romance
From the makers of "Every Other Mainstream Animated Family Film"

These are just aimed at children, overly emotional teens, simpletons or all of the above. This wouldn't be a problem & once in a blue moon there's a decent one of these that breaks the mould but this triumph is often cancelled out by the legion of idiots spouting off about a new movie that's just been/will be released for fucking months. Even if you want to avoid these loud and predictable films, it'll be impossible as everywhere will be playing adverts or rapidly tiresome sound bites from this packaged shite. People might defend these films and try to add intellectual meaning to them, claiming that there's actually more to it than superficial shouting about romance problems but chances are they're the target audience and they'll see whatever they want to see in these, regardless of whether it's there or not.


So that's what's on at the cinema for now. I'm unsure if we'll see another preview of upcoming films (as it took bloody months to put these together) but never say never! After all, if Spider-Man can end up in The Avengers, many other bands can end up on this blog!

Man Of Miracles - Styx

Since I haven't listened to any new albums this week & can't think of an opinion post to write at the moment, it's time to review another old album! This time, I've gone for one that's probably been forgotten by the average fan of this band or genre.

If I asked you to give me a list of songs by Styx, it's unlikely any of your picks would come from the four albums they produced with Wooden Nickel. Many of their big hits such as "Come Sail Away", "Renegade" and "Mr Roboto" were from albums produced with A&M but before they made the big record label switch, Styx gave us one last gift in the form of Man Of Miracles.
Whilst the cover conjures the appearance of a long-winded Prog Opera, the album's content is mostly good old fashioned Rock. In fact, with an upbeat album opener called "Rock & Roll Feeling", you'd be a bit dim not to realise this straight away. From there, the album swings between footstomping guitar driven Rock and mystical, moody Prog. Ultimately, the entire album is one you can listen to from start to finish or pick & choose tracks from after enjoying it the first time, giving it decent repeat value.
Whether you're into your grandiose Uriah Heep Hard Prog material ("A Song For Suzanne", "Man Of Miracles") or your rousing Doobie Brothers Classic Rock ("Havin' A Ball", "A Man Like Me"), this album is one for fans of 70's AOR everywhere, although it's the kind of album that's best enjoyed through headphones instead of speakers. You're more likely to get the best out of it if you're listening to it privately out of social situations like parties, as the material on here isn't quite as accessible as the music of bands such as Queen.

However, that doesn't remove any of this album's value and whilst it hasn't stood the test of time with "Iconic Albums To Listen To Before You Die" lists, Man Of Miracles is an unearthed gem that ranks highly on my personal tier. I love the well-oiled combination of each instrument adding their own touch to all the songs, I love the fact that the album doesn't accidentally use the wrong drumbeat or chord progression in several tracks (which happens surprisingly often in Blues based Rock) and I love the way it not only opens but closes on a perfect note, rather than fading out with a whimper.
Despite my gleaming praise, music journalists from yesteryear didn't quite agree with me. When Man Of Miracles was released in 1974 (and recently reviewed by music websites), critics called out Styx's inability to settle on a style and claimed that the album was bipolar in its sound. I can understand this point but I definitely wouldn't call that a negative observation. Yes, a record should be relatively self-contained within the genre so that it doesn't sound like a band desperately trying to please everyone but this album doesn't spread itself thin, at least not from the perspective of a 21st century listener.
As I mentioned, it covers two distinct sounds but there's an even split between the styles. The record finds the right balance between devoting the first and second halves to the respective subgenres and ricocheting from Rock to Prog like a musical pinball. In the same way a well-written story deals with a plot and subplot before having both come together in a satisfying conclusion, this album takes periodic breaks from one genre by spending a bit of time on a subgenre until the final track where both come together spectacularly.

I'll be the first to admit that tastes change over time and music certainly can grow on you. Music can also lose the magic it first had when you listened to it over the course of months to years (see Ted Nugent's discography or the entire Punk genre) and whilst there are albums I've harshly reviewed on this blog that will probably get a higher score if I revisited them now*, I can't see Man Of Miracles falling far below the 9/10 I'm awarding it on this post.
Styx are a band that have divided the tastes of Rock enthusiasts over time. Some see them as a solid Arena Rock band and some perceive them as a bit of a pompous joke. If everyone who had an opinion on Styx listened to this album, I think the general consensus would change overnight...or maybe I just really like this album. Feel free to listen to it if you haven't already & share your judgement in the comment section!


* Now there's an idea for an anniversary blog post!

Shout Out: Studio Albums 1978-1984 - Van Halen, part 2

We're back!
So in part 1, I gave you the basics of Van Halen, Van Halen II and Women And Children First, three great albums of the Hard Rock genre. Following the same formula, this post will give you my verdict on the remaining albums from the original Van Halen lineup of David Lee Roth, Michael Anthony, Alex and Eddie Van Halen.
Continuing right where we left off, we arrive at 1981's Fair Warning.

If you like their slower, riff-heavy music with a nice groove to it, this album is definitely one to check out. "Mean Street" is a solid album opener boasting both a classic EVH solo in the intro and a head-nodding tune to introduce another great album. Overall, this album feels like the one where Michael Anthony's simple yet effective bass playing is put on display the most, as we get many tracks where Eddie temporarily takes a step back and lets the bass shine through ("Dirty Movies", "So This Is Love?" and "Push Comes To Shove").
Despite this, there are still guitar driven tracks for purists ("Unchained") and full band efforts for fans who liked to listen to each component of the music ("Hear About It Later"), along with some experimental synth material ("Sunday Afternoon In The Park") acting as a "Next Time..." teaser for their follow-up album and career.

1. Mean Street

2. "Dirty Movies"

3. Sinner's Swing!

4. Hear About It Later

5. Unchained

6. Push Comes To Shove

7. So This Is Love?

8. Sunday Afternoon In The Park

9. One Foot Out The Door

ALBUM RATING - 7/10

Next up is Van Halen's closest thing to a covers album, Diver Down.

Considering that about half of the album involves songs written by other artists and the other half are the band's equivalent of padding for the rest of the covers, I can't say I'm overly fond of this album. Opening track "Where Have All The Good Times Gone!" is another Kinks cover and even though they've certainly beefed up the sound to transform it from Garage into full-on Hard Rock, whether the track has been improved is still open to debate.
Many tracks clock in at a time between one and two minutes a piece such as the gothic "Cathedral" solo and the introductions to "(Oh) Pretty Woman" ("Intruder") and "Little Guitars", neither tracks worth shouting about. When I revisited these albums, the only tracks I found myself wanting to listen to again was "Secrets", a softer foot-tapping tune similar to the popular works of Wishbone Ash. Whilst it's not necessarily a bad album by general standards, it's easily the worst one of the original lineup and unless you're a fan of the songs they're covering, you're likely better off skipping it.

1. Where Have All The Good Times Gone!

2. Hang 'em High

3. Cathedral

4. Secrets

5. Intruder

6. (Oh) Pretty Woman

7. Dancing In The Street

8. Little Guitars - Intro

9. Little Guitars

10. Big Bad Bill (Is Sweet William Now)

11. The Full Bug

12. Happy Trails

ALBUM RATING - 5/10

After that lull in quality, Van Halen managed to bring it back around with quite possibly their best album of their original lineup. Unfortunately, 1984 was also their last.

As I mentioned during the Fair Warning write-up, synths would go on to play a heavy part in Van Halen's career and this album probably marks the beginning of their use in the spotlight. Title track and album opener "1984" starts off as a grim dystopian overture before the tone does a complete U-turn with "Jump", clearing away any musical storm clouds with the band's iconic Arena Rock hit.
Despite this upbeat, Hard Pop poster child for the Disney generation's definition of "Rock", the rest of the album delivers a veritable buffet of fantastic music. Whether you like your riffs simplistic and catchy ("Panama" and "Drop Dead Legs") or your songs frantic and full of fury ("Hot For Teacher" and "Girl Gone Bad"), this is the other Must-Listen Hard Rock album the band have produced.
Aside from a slightly unnecessary intro and an album closer that fades out, there isn't a duff note in the entire album and to this date remains one of my all-time favourites. Even though the band would make many more albums over the next few decades (including one with David Lee Roth back behind the mic in 2012 and rumours of another coming in the next year or so), 1984 was the end of an era and my God, was it a strong ending.

1. 1984

2. Jump

3. Panama

4. Top Jimmy

5. Drop Dead Legs

6. Hot For Teacher

7. I'll Wait

8. Girl Gone Bad

9. House Of Pain

ALBUM RATING - 9/10

Whilst Van Halen aren't my favourite or even one of my favourite Rock bands, they knew how to put out a top quality album and definitely earned their place in Rock history...or did they? If you have any conflicting views on the band or even if you agree with what I've said over the last two posts, feel free to comment or message me on Twitter...I'd probably prefer a comment though.
Anyway, that's it for June! I've no idea what July will hold but since I can clearly do it, I'll be putting out post(s) each week. If you have any albums or anything you'd like me to discuss/review, let me know. Be seeing you!

Shout Out: Studio Albums 1978-1984 - Van Halen, part 1

If you started reading the occasional post on this blog way back in 2013 when I started it, you may recall a post where I briefly discussed a collection of Queen compilation albums consisting of deep cuts and lesser known fan favourites (if not, feel free to peruse after reading this). Well, combining my desire to review older albums with how I've recently revisited Van Halen's back catalogue, what better way to dust off that post format than with the band arguably closest to America's Queen.
If you hadn't read the title properly, I'll be talking about the original line-up and their material here (sorry Van Hagar fans). Since there are six albums to discuss, I'm going to split this post into two parts (both posted in the same week). The first will include Van Halen, Van Halen II and Women And Children First whilst the second will be about Fair Warning, Diver Down and 1984.

Van Halen released six albums with their first lineup, featuring David Lee Roth on vocals, Michael Anthony on bass and brothers Alex Van Halen and Eddie Van Halen on drums and lead guitar respectively. Unlike bands of the time such as Led Zeppelin and Queen, Van Halen were less about releasing instantly classic Rock tunes and more about incredibly solid albums that included the occasional iconic track across their career. However, unlike other Arena Rock bands who can be described the same way, Van Halen most likely owe their success to one main factor; Eddie's tapping.
Whilst he didn't invent the technique or even use it first in Rock music, Eddie Van Halen's use of two-handed tapping was definitely the one that fired it into the mainstream. From there, he would go on to inspire a selection of talented guitarists such as Steve Vai, Joe Satriani and Randy Rhoads whilst continuing to innovate & adapt the style himself. However, to say Eddie is the only reason to listen to the band is ignorant. Whether it's the opening drum solo in "Hot For Teacher", the simplistic yet catchy bass riffs from songs such as "So This Is Love?" or the banshee-like screeches from...well, a load of tracks, the rest of the crew definitely held their own and weren't just a backing band for Eddie.

First up, we have the explosive eponymous debut released in 1978.
This album is a must-listen for any Hard Rock fans, regardless of which flavour you prefer be it modern Hard Rock, older Hard Rock or Hard Prog. From start to finish, it's a collection of instantly catchy riffs, furious solos and bluesy vocals all working together in perfect harmony. Rather than blowing listeners away with full speed shredding, album opener "Runnin' With The Devil" takes a slower, more restrained tone. Presumably, this was to gently introduce listeners to an easily accessible Rock anthem before blowing them away with faster, wilder songs such as "I'm The One", "Atomic Punk" and signature solo "Eruption".
Van Halen (album) balances these with casual Riff-Based-Rock tracks like "Feel Your Love Tonight", "Little Dreamer" and "Ain't Talkin' 'Bout Love". Overall, the album may not be perfect and chances are you'll favour several tracks over others but as I mentioned, there's plenty for fans of the genre without spreading itself too thin in order to please everyone. Here's the full track listing with my personal favourites underlined:

1. Runnin' With The Devil

2. Eruption

3. You Really Got Me

4. Ain't Talkin' 'Bout Love

5. I'm The One

6. Jamie's Cryin'

7. Atomic Punk

8. Feel Your Love Tonight

9. Little Dreamer

10. Ice Cream Man

11. On Fire

ALBUM RATING - 8/10

Initially, I'd always regarded the next album as a bit of a letdown as I wasn't entirely fond of the tracks I knew off it. However, after a proper listen of Van Halen II, my views quickly changed.

Van Halen's 1979 follow-up succeeds in building on the sound of the first album without changing too much. After all, both albums open with a slow bass intro ("You're No Good"), both albums contain clear Blues influenced tracks ("Bottoms Up!") and both albums include a fair deal of Riff-Based-Rock with Eddie Van Halen allowed free reign over his fretboard ("Somebody Get Me A Doctor" and "Beautiful Girls").
However, some of the best parts of this album lie in the small differences the band have made to keep material from going prematurely stale, such as swapping electric for acoustic in "Spanish Fly", the short shredder that acts as a counterpart to "Eruption" or trying out some new guitar tones ("Women In Love...").
Also, there are definitely more tracks with a slower rhythm than the first album so I'd recommend Van Halen II to fans of songs they can listen to whilst relaxing, as opposed to fans of driving music. Either way, both albums are great examples of Hard Rock done right, provided you can forgive generic lyrics and song subjects.

1. You're No Good

2. Dance The Night Away

3. Somebody Get Me A Doctor

4. Bottoms Up!

5. Outta Love Again

6. Light Up The Sky

7. Spanish Fly

8. D.O.A.

9. Women In Love...

10. Beautiful Girls

ALBUM RATING - 8/10

The final album for this part continues the theme of developing smaller areas of the band's sound whilst sticking with staples proven to succeed over the last couple of years.

Don't be mistaken by the cover, Women And Children First is generally regarded as the band's first step towards heavier music with songs like "Everybody Wants Some!!" and "Romeo Delight" delivering high powered uncompromising riffs to an audience that had become accustomed to the band's typical sound. Whilst the album is devoid of a standalone solo, the guitarwork across the album takes a leaf out of the pages of the debut and returns the fury from 1978 in tracks such as "Loss Of Control" and "Fools".
Unfortunately, the album also introduces song intros ("Tora! Tora!"), an unwelcome Rock trait which will return in Diver Down some years later and is a worrying sign that the fame and popularity of a band is starting to affect their ego. Despite this, Women And Children First is one for fans of the first album, as there are a couple of acoustic and Bluesy numbers too ("Could This Be Magic?" and "Take Your Whiskey Home").

1. And The Cradle Will Rock...

2. Everybody Wants Some!!

3. Fools

4. Romeo Delight

5. Tora! Tora!

6. Loss Of Control

7. Take Your Whiskey Home

8. Could This Be Magic?

9. In A Simple Rhyme

ALBUM RATING - 7/10

That's it for part 1! I'll post part 2 covering Fair Warning, Diver Down and 1984 at some point this week, although I'll probably tweet a link to it because I'm like that.

Radio DJs: Dos & Don'ts

With services like Spotify taking over, it's unlikely that radio is the best way to discover music now. However, just because it's being usurped by new technology doesn't mean it's dead or even dying. In fact thanks to technology, the number of radio stations has increased since the early days, allowing dedicated stations for various genres. Whether you're into Pop, Rock, Hip-Hop, Free-Form Jazz or a mixture, there's bound to be at least one or two stations out there for you.
However, with each station, there are a band of DJs in charge of the music you get to hear and how you get to hear it. Sometimes, this adds extra entertainment and keeps you hooked long after you intended to turn the radio off. Unfortunately, it can also do the exact opposite and send you crawling back to whatever activity you were doing before you tuned in. With that in mind, here's a blog post for any aspiring radio DJs and avid radio listeners. Before you go in expecting a serious list of rules for broadcasting, I've left some of the genuine Dos & Don'ts out such as "DO speak clearly" and "DON'T swear".
As always with the Dos & Don'ts posts, this is a collection of opinions but I'd be interested to hear yours. Yes, you. Person reading now. If you agree with the majority of this post, let me know. If you think I'm talking out my arse, still let me know (although it'd be more helpful to know why I'm talking out my arse as well). Anyway, let the content commence!

DO play a variety of music
Nobody tunes into a radio station to hear one band or one song over & over. I'm not saying play a variety of genres on specific genre stations, but do pick a wide selection of tunes to play throughout your show. If you've played a lot of older songs, throw some new ones in there. Likewise, if you've played a load of songs from the last couple of decades, stick something from the 60's or 70's in there to attract people who perhaps aren't into modern music. Same for subgenres too, if you've played a lot of generic Hard Rock, maybe spice it up with the odd Punk or Prog tune.
I'm aware some shows are centred around specific decades or genres but even in those same categories, there's always an element of variety to be found if you search hard enough. Tom Petty and Queen are both Classic Rock bands with popular tunes from the 70's and 80's. Do they sound exactly the same? Nope! So with that in mind, pick music that doesn't homogenise your timeslot.

DO give us the name of the song and band you've just played
I feel like I shouldn't even have to say this as it's painfully obvious but the number of times radio DJs have forgotten this basic rule proves otherwise. Always, always, ALWAYS reveal the song and band after the song has finished or if you're playing several tracks in a row, list them when you start talking again. Keeping quiet makes it unnecessarily difficult to find the song afterwards and unless the listener has Shazam, they have to do that thing where they remember a certain lyric in the song & Google the phrase when they're in a place with an Internet connection. If you've ever made a listener do that, you lose 50 DJ points.
Sometimes DJs just do that cryptic shit ("Coming up, we've got a song by a band formed in the 90's and was released when I bought a new car and used in phone adverts the following years and rhymes with my favourite fruit..."), which only benefits people who know that piece of useless trivia, and sometimes they just give you the band. Notice I've said "name of the song AND band". It's not enough giving us one or the other, it has to be both!

DO more than just play music
There's a reason specific DJs and personalities have been hired to lead a show. Whether it's down to their encyclopedic knowledge of music facts, their personal well of stories regarding bands they'll be playing or their winning charisma and ability to speak in a way that's pleasing to listen to, they've been asked to do this job above any random bloke on the street. Any idiot can list their favourite songs and press 'shuffle', literally fucking anyone. It takes a bit more talent to mix humour & maybe some food for thought into the recipe without stumbling over repeated "Ummms" and "Uhhhs", like your average prick propped up against a bar telling his mates about last night's Game Of Thrones.
If you've been given a timeslot, you better find some anecdotes or interactive sections for the listeners to get involved in. Contests, opinion polls, even gimmicks like Simon Mayo's "Middle-Aged Mid-Week Mosh" on BBC Radio 2 (which also throws some variety in for good measure), it makes a difference. Playing music alone is fine but it also means your job can be done by an intern or other DJ, which means it WILL be done by an intern or other DJ at some point down the line. Make your show unique & give people a reason to want you in charge. With this in mind, just make sure you don't go overboard, bringing us neatly onto...

DON'T put your ego above the music
A good show includes great music and contributions from the DJ, although music should always take priority. About 90% of the time, the chat should be based around the music and not the other way around. This is why DJs who think they're the star and people only want to hear them are complete wankers. DJs who stroke their dick by only reading out letters/texts praising them unconditionally, DJs who only ever play their favourite music or the same song by a band with a wealthy back catalogue, DJs who have an entourage of dipshits with them in the studio purely tasked with the job of making said DJ seem funny, these are all signs of a typical shit DJ.
However, the worst thing they can do which trumps all those previous sins? Talking over a song.
If you've ever cut a song short just to chat over it or played a good chunk of the intro underneath your own voice, you are a Lord of shit DJs. In case you're wondering when it's OK to talk, wait until a song starts to fade. Once you can clearly hear the music getting quieter (and it's not a false fade, otherwise talking then makes you look like you don't know shit about music), feel free to chatter away...provided you remember to name drop the song and band.

DON'T play too much live music
Similar to compilation albums, live music should mostly be used as a last resort on the radio. If you can't acquire the original version of a song or perhaps you've dedicated part of your show to live music/covers, choosing a live song is acceptable. However, not tipping a delivery boy who's only driven round the corner to bring you your dinner is also acceptable, but that doesn't mean he's happy about it. For the most part, live songs are for specific fans and unless you enjoy the sound of applause/cheering peppered throughout, they're often alternate versions of tracks that already exist in much greater quality.
The only live song I can think of which is generally considered by all to be superior to the studio recording is "Do You Feel Like We Do" - Peter Frampton but you'd have to be fucking high to play all 13 minutes of that on the radio. Live songs can be better than or equal to studio recordings which is why I've written "Don't PLAY TOO MUCH" of it. The odd live song here & there (as in one or less per show) if it's a particularly good recording isn't worth getting annoyed over. However, DJs repeatedly playing live songs because either a) they were at the gig(s) or b) they personally prefer those recordings are worth your irritation.
In fact, I'd go so far as to say they're worth turning the radio off and tuning in again once their show has finished.

DON'T be a whore
"That was the latest track from Muse off their new album that's still at the top of the charts, and with good reason too. God, those guys are fantastic live. Definitely one of the best modern bands touring at the moment. If you want to get tickets to see them, they go on sale this weekend and pre-sale on Friday. I definitely recommend it as they've done some fantastic shows in the past!"
See that dialogue up there? Yeah, that's what a whore sounds like.
We get it, you like a band. Talk about how their albums are great and maybe pepper it with some song or artist trivia, that's all fine as long as it's related to the actual music on their CDs. But when you start plugging stuff that the radio station isn't affiliated with like tour dates, merchandise, even solo stuff from members of the band ranging from autobiographies to exotic drinks, you start to sound like a whore (or worse, a gushing fanboy).
I know radio stations occasionally have agreements with the band to plug their tour dates if the band is doing something special for the station, e.g. one of the members is taking over as a DJ for a week, the band are being interviewed on air, etc, and in those cases, mentioning things that the band are trying to sell has to happen. It's advertising, plain and simple, and I'd rather the ads relate to music than fucking PPI claims. With that in mind, if the band have asked you to give shout outs to their new line of bath soaps and towels in exchange for an exclusive play of their new single, that reflects poorly on the band as sell-outs, not the DJ.
However, plugging a new workout DVD from Brian May or brand of pain relief medication from Rob Halford when those musicians have no involvement with the station makes it look like the DJ is either taking a bit of extra cash on the side for the odd mention here & there or is trying to brown nose artists for any of several reasons. In other words, it makes them a whore and nobody wants to listen to one on the radio...unless it's during Howard Stern's show.

One more post this month and then we'll be onto July. So far, so good with the weekly updates!

Showdown: Deep Purple Vs. Whitesnake

I've decided to introduce a new feature that I may or may not use more often. In a few of my reviews, I've compared the albums I'm discussing to albums from decades before or artists I'm reviewing to their obvious influences. Rather than write a review of a new album if it's just going to be me talking about how it's better or worse than another band's efforts, I reckon I might as well just do a blog post running through the tracks on a new album & weigh in on whether I think they can go toe-to-toe with something else.
In this post, I'll be talking about the new Whitesnake covers album, called The Purple Album:

Basically, it's the modern incarnation of Whitesnake tackling a bunch of well & lesser known tracks from the Coverdale era of Deep Purple. Namely songs from Burn, Stormbringer & Come Taste The Band.

So now the fighters have been introduced, time to ring the bell & get this match started!

ROUND ONE: Burn
Deep Purple - OK, this was always gonna be a tough one for Whitesnake to win in my eyes. I'll categorically go on record & say that this song is literally my all-time favourite song. I love everything about it & will always stop to listen to it if it's playing on the radio or my iPod shuffles its way onto it. Everything about this song is epic from the apocalyptic organwork of Jon Lord to Ritchie Blackmore's instantly badass riff.
Whitesnake - I had high expectations for this as Whitesnake have previously blown this song out of the water when played live. There are some improvements, e.g. David Coverdale no longer doing that "AH-AH-AH" screaming before the solos, but there are also a couple of downgrades, e.g. the extended bridge during the guitar solo, as it bloats an already perfected song.
VERDICT - If you like more technical guitar and an overall heavier sound, I'd probably recommend the Whitesnake cover if you haven't heard either of them. However, if I had to say which I think is the superior recording then hands down, it's Deep Purple.

ROUND TWO: You Fool No One (interpolating "Itchy Fingers")
Deep Purple - Definitely not sold on this track. There's something about Ian Paice's drumming and the vocal harmonies that give it a Caribbean cruise ship vibe, in a very bad way. However, once Blackmore's let loose on his fretboard and the rest of the band take a step back, it twists from Cabana Club to Santana. Not enough to make me love it but easily enough to make me not hate it.
Whitesnake - Every issue I had with the Deep Purple original has been sorted out. Tommy Aldridge's drumming is more powerful and the verse vocals feel less like they're part of a variety act & more like they belong to a Hard Rock outfit. The obvious complaint would be the harmonica intro, as about 99% of harmonica playing in Rock is completely unnecessary.
VERDICT - Both tracks are kinda flat compared to more iconic DP tunes but I'm awarding this win to Whitesnake, as they turned a mediocre number into a Hard Rock song as it should be.

ROUND THREE: Love Child
Deep Purple - Whilst it pains me to speak of the great Jon Lord's work in a critical tone, there's some very questionable synth about midway through this song. Otherwise, it's a bit of a slow rocker with Tommy Bolin taking the six-stringed helm instead of Blackmore. Admittedly, he does an acceptable job but aside from a few cool riffs, he doesn't show off much talent here.
Whitesnake - The guitar tone has definitely improved thanks to Reb Beach & Joel Hoekstra (not sure who took lead on this track) & the overall sound is a lot heavier, but I get the feeling that'll be the case with most of these songs. The song has been fleshed out a bit more with some rapid soloing so if that's your kinda thing, you'll probably prefer this version.
VERDICT - Again, I wasn't particularly impressed either track and feel that both bands handled this one in their own way. However, I also kinda feel like Blackmore may have done a slightly better job so I'm giving this one to Whitesnake.

ROUND FOUR: Sail Away
Deep Purple - The funk is strong with this one! We've got a drumbeat you can dance to, more synth-quacking and some eerie guitar soloing towards the end of the track which Blackmore liked so much he ended up repeating almost note for note across the next couple of years. I know Coverdale was probably going for the whole mystical sound with his vocals but sadly, he just sounds bored. Mind you, listening to this song, I can't really blame him.
Whitesnake - Out of the songs I've listened to so far, this track has probably been changed the most. Rather than trying to recreate the Funk Rock sound, Whitesnake have turned this into a far more sombre, soulful tune. Presumably this is because it's been done in tribute to Jon Lord (hence the "Elegy For Jon" addition) but it's good to hear this band actually making the songs their own and, depending on your taste, vastly improving them.
VERDICT - Yeah, no contest. Whitesnake all the way.

ROUND FIVE: The Gypsy
Deep Purple - Unlike the previous track, this song takes influences from Soul music & doesn't make it sound like a disco abortion. Instead, we get a slow but haunting track with some nice guitar layers that manages to feel imposing in size without relying on volume or dynamic bursts from any of the instruments. I like this one!
Whitesnake - One thing I'm noticing with all these covers is that they've been changed to a lower key to accommodate Coverdale's deeper vocals that have changed with age. I think I probably prefer most of the new riffs as a result but with this song, I also like the added power that Aldridge's drumming brings to the table, along with Michele Luppi's keyboard in the background.
VERDICT - It's a tough one. Whilst I think I would listen to the Whitesnake cover for reasons down to personal taste, I'm gonna say Deep Purple on this one as their original is still as good as the cover but for different reasons. They've clearly tried different styles of music across these tracks (some good, some bad) which I feel deserves at least one merit, whereas Whitesnake are arguably over-reliant on a standard modern Hard Rock sound.

ROUND SIX: Lady Double Dealer
Deep Purple - About time we had another song with a fast rhythm! It doesn't last too long & every instrument has its place. The only thing I'd change would be vocals, as they come across a bit weak on this track. I'm not entirely sure if it's Glenn Hughes or David Coverdale steering the ship on this one but it could've done with a better vocal mix. Other than that, great stuff!
Whitesnake - Likewise, vocals are a bit off on this track too. They have the right amount of attention in the mix but Coverdale sounds kind of screechy in this recording. However, it's still a mighty fine track that Whitesnake have faithfully recreated with some wellied up guitar solos.
VERDICT - Both are equally serviceable as a fast-paced rocker destined to be blasted from a car stereo as you're hurtling down roads at 70mph. You'll probably prefer one due to personal taste but since they're both adequate in their own right, I award both Deep Purple and Whitesnake the win for this one so they'll both get a point on the final score. Yes, I can do that, deal with it. Double deal with it (fnar fnar).

ROUND SEVEN: Mistreated
Deep Purple - Personal opinions aside, this bluesy track has some pretty sweet bass from Glenn Hughes (although I still think he's an epic tosser) and gradually builds up to a dynamic guitar solo aided by Ian Paice's drumming. There's not much to say other than it's a very long track with a lot of emotion put into it.
Whitesnake - You know those moments in songs that make you cringe because they've just missed the mark and end up sounding fucking awful? When Coverdale comes in with "I've been mistreated", it just sounds wrong. Combine this with the seven minute slog that is the rest of the song and you've got something that's easily forgettable.
VERDICT - I'm not fond of either song but I have to say Deep Purple played the more tolerable version.

ROUND EIGHT: Holy Man
Deep Purple - Starting off with a soft intro, this tune clearly takes influence from respectable peers of the time whilst still retaining some Deep Purple elements. I'd argue that perhaps Jon Lord's organ could've been a bit more involved but upon reflection, it's nice to hear Deep Purple that isn't overloaded with synth or keyboards for a change.
Whitesnake - Solid intro that seems to have transformed the Led Zeppelin sound into a beefed up Rod Stewart one. Again, it's nice to hear the odd track on an album that doesn't just follow the same formula as all the others and I think this is probably the closest to "different" out of the previous Whitesnake covers.
VERDICT - Once again, I'm in two minds over which version I prefer. They're both great for different reasons so I'll have to give a point to Deep Purple and Whitesnake again, as they both show that sometimes it works to poke a toe out of your musical comfort zone.

ROUND NINE: Might Just Take Your Life
Deep Purple - Another great driving song, although not one for tearing down the motorway. Blackmore's guitar is complimented by Lord's organ, or vice versa depending on whom you prefer, and the vocal harmonies work very nicely indeed. I'm surprised this song isn't played more on Rock radio, if I'm honest!
Whitesnake - I'm liking that slide guitar intro! That's one advantage to this cover although sadly, the drums in the verse are a bit of a let down. Technically, they're fine, but something about them just makes it sound like the steady rhythm is being interrupted. I'm aware Ian Paice does the same thing in the original but the heavier sound in Whitesnake's cover just makes the rhythmic disruption sound more obvious. Other than that though, great cover!
VERDICT - If not for the drumming, Whitesnake would've taken this one. However, I'm gonna go with Deep Purple this time. However, I also recommend Whitesnake's for the intro alone.

ROUND TEN: You Keep On Moving
Deep Purple - A simple but effective bass refrain introduces us to a song also sung by Mr Hughes. Admittedly, it's not bad. Not amazing but also not terrible, which also serves as a very complimentary description of Glenn Hughes in general too. I probably should've mentioned something along these lines during "Holy Man" but it was way better musically than it was vocally.
Whitesnake - The bass is still clear and deep thanks to Michael Devin so at least they got the most important part right. Coverdale's vocals are easily as strong as the original version's and the rest of the band are able to work as a cohesive unit.
VERDICT - Neither version stands out as being a clear winner but I think I'll give the point to Whitesnake as their recording has the benefit of sounding heavier through modern recording technology.

ROUND ELEVEN: Soldier Of Fortune
Deep Purple - More soulful vocals from Coverdale & another Soft Rock ballad for the collection. This one is a bit of a fan favourite and is easily a departure from their typical material. Personally, I can't listen to it without hearing "We are sailing" during Blackmore's guitar riffs (you know the ones) but this track sets the bar very high if Whitesnake wanted to cover it without losing some of the soul.
Whitesnake - Fortunately, the band can easily reach that bar. The synth isn't overpowering and the vocals are still well delivered. The track has definitely been polished but rather than trying to outdo or copy exactly what Deep Purple did, Whitesnake have added little elements like an acoustic guitar instead of the electric one for the "We are sailing" bit.
VERDICT - Fans will obviously prefer the Deep Purple original for several reasons but my point goes to Whitesnake for the change in guitar. It sounds more appropriate for the song overall, but maybe that's just me. On a side note, with the number of slow ballads I've been listening to, I'm not surprised that few of these tracks are considered iconic Deep Purple songs.

ROUND TWELVE: Lay Down, Stay Down
Deep Purple - OK, time for a small confession. This is one of the few songs I'd listened to before The Purple Album was announced. However, that doesn't affect my opinion of the song. It's got a great riff, a footstomping beat and Jon Lord on piano instead of organ. It adds less of a Prog Rock feel which is perfect for fans of Deep Purple's harder material.
Whitesnake - The short piano intro from the original has been replaced by Beach or Hoekstra shredding it before the song starts properly. Nothing much has changed apart from the more technical solos and heavier sound though.
VERDICT - As I said, both songs are great and the differences mostly come down to the date they were released. If you prefer the sound of modern Hard Rock, go with Whitesnake. If you prefer the sound of 70's Classic Rock, go with Deep Purple. I'm gonna give the win to Deep Purple on the principle that sometimes simpler is better. Songs can lose some of their touch if they go overboard on the hollow shredding and I think the Whitesnake cover pushed it just a little bit too far.

ROUND THIRTEEN: Stormbringer
Deep Purple - The first time I heard this song, it was played live during Whitesnake's aforementioned cover of "Burn". They only played up to the first chorus but they completely crushed it, so I decided to check this song out. Once the initial shock of more dodgy synth passed, the rest of the song was alright. Solid riff, meh solo that would be improved and worked into Rainbow's "Stargazer" a couple of years later and some decent vocals too. Unless you're fully sold on the main riff, it's a pretty average track.
Whitesnake - This was the first cover they released from the album and my God, did they choose wisely! First up, dodgy synth intro has gone. Next, some echo has been added to the vocals to make the song sound raw and fierce. Combine this with the lowered key on guitar and you've got a massively improved sound that suits the title "Stormbringer" far more than the original. Only complaint is maybe they could've shaved a couple of seconds off the end so I don't have to listen to five seconds of silence before the track officially ends, and that goes for every artist too!
VERDICT - What's interesting to note is that both Blackmore and Beach/Hoekstra have held back on the soloing. It would've been easy for both artists to just wail on the guitar but there's actually a bit of restraint from Deep Purple and Whitesnake here. However, if you couldn't tell from my write-up, it's easily a win for Whitesnake.

ROUND FOURTEEN: Lady Luck (Bonus Track)
Deep Purple - If you're only interested in the standard package, you can probably skip down to the score at the bottom. However, since there are only two extra songs, I figure I may as well include them. I can see why this was picked as a bonus track, as it's pretty unremarkable. A short but sort-of-sweet filler song that's been played quite well but without anything that stands out.
Whitesnake - Definitely not one of the stronger covers but if it's anything, it's faithful. One for fans of the original but unlikely to win anyone over if you weren't struck down by Deep Purple's version.
VERDICT - As I've said before, neither version is particularly fantastic or rubbish but I'm going with Deep Purple for this one, purely because their version is slightly shorter so you don't have to listen to it as long as you would with Whitesnake.

ROUND FIFTEEN: Comin' Home (Bonus Track)
Deep Purple - A great album opener in the same fast-paced vein as "Highway Star" and "Burn", although less heavy than either. I can't say I'm in love with Coverdale's performance on this as I feel like it's a song Ian Gillan would've mastered but the rest of the band are on top form, especially Tommy Bolin who had the difficult task of assuming the mantle from Blackmore after he departed. This song is a great way to introduce him to the fans concerned over whether DP could last without Mr Smooth Dancer.
Whitesnake - I expected more of an explosive intro but expectations aside, Coverdale disappoints in the vocal department again by going all screechy. However, the rest of the band deliver a great closing track (if you bought the deluxe edition) and I'm glad I stuck around to listen to them if only to introduce myself to this tune.
VERDICT - Both have the same strengths and the same weaknesses so I'm torn once more. You know what? Deep Purple and Whitesnake take this one together. There's not enough to place one song above the other so I recommend them both to respective Hard Rock fans.

FINAL SCORES:
Deep Purple - 7 (9 including Bonus Tracks)
Whitesnake - 8 (9 including Bonus Tracks)

Well, there you have it! It's both a win for Whitesnake and a draw!
With scores that close, Whitesnake's victory over Deep Purple could arguably be down to the refined sound that they achieved through upgraded recording technology. Their music sounds a lot heavier and clearer at the same time, giving them the edge on this one. However, in regards to contextual advantages, Deep Purple can also claim some triumph.
The original albums were recorded over the course of about two years, allowing the band time to experiment with different styles and inspirations, whereas Whitesnake's covers were all recorded for the same album so their efforts have less musical variety. As a result, most of the tracks contain the same modern Hard Rock sound, which may be a downside if you like an album to take you all over the place as opposed to just one or two locations.

If you like 80's Hard Rock that's been revamped with a modern touch whilst still staying true to the classic sound, definitely pick up "The Purple Album". I wouldn't recommend the deluxe edition, as you can buy the two songs online for a lot less if you really want them.
If you're a fan of the original Deep Purple tracks, they'll always have something that these Whitesnake covers won't be able to recreate. However, if you're able to give covers of your favourite songs a try, I think you'll be in for a treat. There are more good songs than bad ones so I reckon it'd translate into a 7/10 if I reviewed it properly.
Stay tuned for more posts throughout the month!

Last Of Our Kind - The Darkness

You'd think I'd love this band, as they were instrumental in bringing about a revival of Riff-Based-Rock that Indie/Alternative bands were progressively killing at the time. However, even when I first discovered proper Rock music, these guys weren't on my radar. I acknowledged their talent but just couldn't quite get into them personally.
Anyway, after hearing the first two songs off this album, I decided to check their latest material out as I was very impressed and felt they deserved another chance. So here it is!

Oh wait, hang on...
Sorry, my mistake. This isn't the cover for their new album.
This is the face of Megadeth mascot, Vic Rattlehead, easily recognisable by his bald head and metal plates/locks covering his eyes, ears and mouth (to exaggerate the phrase "see no evil, hear no evil, speak no evil").
Ah, here we go.
THIS is the album cover for Last Of Our Kind.

Easy mistake to make, I guess. I mean, this has a real Ed Repka vibe about it, to say the least.
However, I wouldn't be surprised if that was intentional. As well as being pretty fucking awesome, this cover could easily be the band's way of saying they're departing from their standard Arena Rock sound to a heavier style branching between Hard Rock and Metal.
After all, album opener "Barbarian" definitely shows a side of the band that's more feral than the chaps who released "I Believe In A Thing Called Love". Hell, it's even heavier than the entirety of Hot Cakes, their last album from 2012 which was in turn a step up from Permission To Land. Between frontman Justin Hawkins' supersonic vocals and their inability to keep a drummer, there's always been a sort of Spinal Tap feel to this band. They made good music but they were undeniably facetious, which is part of their charm. One thing that drew me to this album was the way the band have subtly toned down their sillier aspects in favour of cranking up the music quality in a similar way Tenacious D have done with Rize Of The Fenix.
For those concerned that one of their favourite bands has lost their way, fear not! There are still plenty of tunes older fans will enjoy such as "Sarah O'Sarah", "Conquerors" and title track "Last Of Our Kind", all featuring Hawkins' falsetto gimmick. As well as these, there are more tracks with riffs that wouldn't sound out of place on a Slash album such as "Mudslide", "Roaring Waters" and first single "Open Fire", a boss of a song that sounds like a merger between "Hooks In You" - Marillion and almost every mid-80's song by The Cult with a healthy sprinkling of 'badass'.

On top of album staples, we have a few odd ones out such as Rolling Stones inspired "Hammer & Tongs", Synth-Metal master "Mighty Wings" and arguably the most mainstream sounding track "Wheels Of The Machine". All in all, it's a package with something for everyone who would ever consider picking up the album in a record store. On a personal note, I am disappointed that there weren't more songs like "Open Fire" and felt that the album gradually declined in quality until it practically became a standard Darkness album by the penultimate track.
Of course, if that's your thing, you're in for a treat. Taking into account their previous albums, this band have only improved so I give it a 6/10, since there are still a few moments where the band intentionally include messy moments which disrupt the flow of the music (the alternating gallop in the "Roaring Waters" middle eight, for example). Also, if they chose the more appropriate "Last Of Our Kind" to be the album closer, I may have rated it slightly higher for starting and ending on a strong, well rounded note.
Granted "Conquerors" does work as a good closing song, just not the one that this album should've had. However, I definitely feel more open to music of The Darkness now and if there's ever an album that helps me grow accustomed to vocals I previously found irritating, I'm quite happy with it being this one.