I thought I’d make a page dedicated to some of my album reviews. Hopefully, this doesn’t come across as pretentious, as it’s mostly to keep my ideas all in one spot, instead of being spread across SHF. Not sure how often it’ll be updated, but you’re welcome to comment on my reviews in the interim. Disclaimer: I’m an album listener, and so higher marks go to albums that I can sit through. Albums with lots of great songs, but also some really bad ones, tend not to rate well.
Yngwie J. Malmsteen’s Rising Force – Odyssey Polydor (1988) Malmsteen first made a name for himself with the band Steeler back in 1983, headed by vocalist Ron Keel (KEEL). After a couple solo albums under the banner "Rising Force" with Jeff Scott Soto (Talisman, W.E.T.) and one with Mark Boals, none of which I found very good, Malmsteen offered up Odyssey, a new slab of metal with ex-Rainbow front man Joe Lynn Turner (and a few choice licks from newly out-of-work Bob Daisley). Malmsteen and co. surprisingly deliver a consistent album of melodic metal. Sure, nothing here is particularly innovative, but most of the songs are short, catchy, and emblazoned with some cool solos. For once I feel Malmsteen put together actual songs rather than excuses for guitar wankery. This development was likely aided by Turner, who had a knack for commercial hooks throughout the 1980s and delivers with conviction here. The standout track is probably “Heaven Tonight,” which reached #86 on the Rock Chart in 1988, Malmsteen’s only charting single. I also like that most of these songs are structured all a bit differently. (Interspersed across the album are three instrumentals, which add to the distinctive flavor of each song). Lyrically, the album doesn’t break any new ground or turn from the typical metal themes, but they still worked for me. I found that the lo-fi (harsh) production unintentionally added an edge to an otherwise pretty glossy effort. Keyboards are present on some of the poppier songs, but I didn’t find them distracting. Had this album come out five or six years earlier, it might have had an artistic impact. As it stands, it’s just an album of effective, but run-of-the-mill pop metal, with more innovative metal released at the time (pop or otherwise) leaving it behind. Odyssey hit #40 on Billboard so this was Malmsteen's commercial peak. Turner left to join Deep Purple the following year, and Malmsteen never again had success in the US market. I rate it 3 and half stars out of 5.
Ratt – Dancing Undercover Atlantic (1986) Ratt returns for their third LP with Dancing Undercover with the classic lineup and famed producer Beau Hill. The album debuted at a lackluster 26 on Billboard (even the tepid Reach for the Sky reached a higher mark) but nevertheless quickly went platinum. The album is notable for prominently featuring guitarist Warren Demartini as a songwriter, contributing here to all but three songs, including the distinctive opening riff to the single “Body Talk.” I have a few things to say about the album. Do you have a moment? 1. Songwriting The album starts out with a volley of memorable, up-tempo rockers – “Dance,” “One Good Lover,” and “Drive Me Crazy.” “Dance” was the biggest hit on the album (reaching 59 on the Hot 100) but didn’t fare as well as “Round and Round” (12) or “Lay it Down” (40). Listeners will note how “Dance” blends seamlessly into the start of “One Good Lover,” keeping up an already strong tempo. (As it happens, many songs here fade into one another on the album. I’m surprised more artists don’t do this). Things slow down (just a shade) for the promo single “Slip of the Lip.” Side one wraps up with the thrashy “Body Talk,” that is easily the band’s heaviest but also catchiest songs. I think it’s the best song they ever wrote. It was not released as formal single in America but gained fame in Eddie Murphy’s The Golden Child. At this point the listener should be struck by the variety in compositions. For all his faults (and he has many, like we all do), Stephen Pearcy is a very talented and accomplished songwriter. Though not exactly prog rock, every song has a distinct song structure, with clever uses of pre-choruses and post-choruses. I’m thinking this was a conscious choice, possibly motivated by Hill. While this makes Dancing Undercover less immediate, it really makes for an engaging listen, especially after repeat plays. My pet peeve are songs of the lazy verse/chorus/verse/chorus/solo/chorus-out variety (I’m looking at you Harem Scarem), and this album has none of them. This is particularly unusual for the genre, and the fact that these are basically three minute songs. 2. Musicianship I hear a lot of maturity in their playing compared to their first couple albums. In particular, Bobby Blotzer really adds some interesting rhythms to otherwise simple 4/4 pop tunes (“One Good Lover” comes to mind), and keeps the proceedings going at an exciting pace. The solos on the album are uniformly excellent and fit the songs well. 3. Dancing Undercover as a Concept Album Side two continues the impressive streak of strong riffs and melodies. “Looking for Love” is probably the simplest tune of the bunch, but marks a lyrical pivot point for the album, which I’ll turn to here. The album tells the about Pearcy fantasizing about a dancer (1, 4, 7), and then having that fantasy come reality (3). Pearcy’s interest starts off a purely skin deep on “picture book” looks (1, 7) and “moves” (2, 4, 5, 7). Despite some initial misgivings about her night life (5), Pearcy opens up about maybe something more serious (6). “Seventh Avenue,” fittingly the seventh track on the album, and the brisk and funky “It Doesn’t Matter,” one of my favorite tracks, both describe Pearcy coming to terms with what that means. Finally, the album finishes with the relationship at a crossroads, where they both contemplate love and commitment (9, 10). Of course, admittedly sleazy lyrics aren't for everyone, but there's nothing here that's coarse or mean-spirited. Dancing Undercover isn’t a perfect album nor their best album - I'd rate it equal with their debut. But to me it’s probably their most “rewarding” album and one I find myself reaching to more than any of the others. Why it didn’t get a little more attention at the time may have more to do with intense competition among rock artists that were all over Billboard, and new trends like thrash. What's maybe more impressive is how, by many reports, the band was beginning to fall apart at this point (something decidedly reaped on Reach for the Sky two years later). The album still goes for a little money on record, but you could probably pick up a decent cd copy for 10 or 15 bucks. I rate the album as excellent, and a classic pop metal album recommended to all listeners of metal and hard rock. 5 stars out of 5. P.S. For my other ratings here on SHF of Ratt’s catalog : Invasion of Your Privacy (4.5 stars out of 5) Reach for the Sky (3 stars out of 5) Infestation (4 stars out of 5)
Wow I just saw Ratt in a Geico ad yesterday. I don't know their music so I can't comment but cool thread. If I see an album I know better maybe I'll stop by-I like hard rock and metal. I'm so-so about the stuff I heard from Ratt though.
Iron Maiden – Fear of the Dark EMI (1992) At the time Fear of the Dark was viewed as a return to form for Iron Maiden with some epic tracks and proggier moments. Nevertheless, it’s the first Maiden album to not go at least gold in the US. The lineup continues with Janick Gers on guitar, filling in for Adrian Smith who left before the last album, No Prayer for the Dying. Here he contributes to about half the songs compared to having no credits on his debut. The album might also be distinctive for being the first to not feature the art of Derek Riggs. At 12 tracks and almost 60 minutes, this was the longest Maiden album up until that point. And it sure feels like it. Fear of the Dark starts off well enough, I suppose. The blistering “Be Quick or be Dead” is a capable opener that captures Maiden looking to carve out new artistic territory in the nineties – Bruce Dickinson’s raspier vocals, a thrashier style, and more explicit political references. This was also the lead single. Next up is “From Here to Eternity,” a fairly catchy, if simple hard rock number. This leads to the more epic “Afraid to Shoot Strangers” that at first blush harkens back to the classic Harris compositions of the past. Yet upon retrospective listening, the track drags a bit before hitting its satisfying climax. It's placement in the track order also interrupts the pace of the album. That’s the good. Up next is a series of six completely forgettable tracks that seek to modernize the band’s sound, including the band’s first power ballad “Wasting Love.” Reviewers often like to call this “experimentation” and “growth,” but it is probably more accurate to call it an album without vision. The sobering reality is that most of these songs lack a good hook, chorus or interesting bridge – usually all three. A good example of a song with potential, but misses the mark is ‘The Fugitive.” After an engaging, chugging riff it dumps the tension with an underwhelming chorus I could have written in five minutes. It's conjecture, but I find Smith's knack for melody is sorely missing on the album. The speedy “Judas be my Guide” tries to right the ship, both lyrically and stylistically, taking the listener back to their 1st golden era (1982-1988). It has probably the best riff and best (Murray) solo on the album but even this song is middling at best. Like some of the tracks here, this one would make for an interesting B-side. The closing title track is the highlight of the album and worthy of its concert worship. But that’s part of the problem, isn’t it? The studio track, while still excellent, almost seems lifeless compared to its live renditions. An unfair comparison, I suppose, but even Maiden management knows it: the compilation album From Fear to Eternity uses the far superior Rock in Rio version. When I first heard Fear of the Dark, I was taken in by its proggier moments and put this album decidedly ahead of No Prayer for the Dying. But I think that assessment doesn’t stand up to time. This is a hard album to sit through and only flashes moments of brilliance, acting a warning to fans who long for Maiden to compose "shorter" songs. Short songs really expose a lack of ideas. Allmusic gives the album 2 stars. I rate it as average. A charitable two and half stars out of 5.
I'll take some exception to this...I think Odyssey was incredibly innovative. It was the first time Yngwie really cut loose on some straight ahead rock tunes and it was spectacular. Add to that JLT doing some hardcore metal tracks (Riot In The Dungeon!) and it was a magical pairing. And the production is top notch!
I read this review and couldn't believe how it unfolded exactly as mine would. First two tracks are pretty good, Afraid to Shoot Strangers seems like it should be awesome but something undefinable is missing and keeps it from taking off. Almost everything else is between forgettable and terrible until Judas Be My Guide. Title track is good if overplayed live; c'mon guys it's not THAT good. This is a poor album and easily the worst one with Bruce. I think No Prayer For The Dying (while a major step down for Maiden) is much better. Adrian Smith is sorely missed in the writing department because Steve had run out of gas.
Nightwish – Oceanborn Drakkar (1998) Symphonic metal has been around for a while, tracing back to the experimental sounds of Celtic Frost in the 1980s, and possibly to even Sabbath back in the 1970s with stuff like “Supertzar.” In any case, Nightwish were really pioneers in the genre and what is laid down here is really its own thing – antiseptic power metal with female operatic vocals (sung by Tarja Turunen) and classically influenced keyboard playing. Nightwish came out around the same time a lot of metal bands were experimenting, trying to find a new place in a changing musical landscape. Bands like Trans-Siberian Orchestra, Faith No More and Limp Bizcuit come to mind, along with nu metal in general. Nightwish’s second album, Oceanborn, was a bit of a departure from their more folksy debut and it did a little business (in Finland). In retrospect, however, the album’s underground appeal ended up, along with the group Within Temptation, laying the foundation for an entire metal sub-genre that now features probably a hundred acts. At the time of its release, the vibe of this album was pretty bold and out there – even today, I can’t help but smirk at the ridiculousness of it all. But if one gets passed the aesthetics, which now seem relatively tame, one will uncover a tune of great hooks. I mean, this is metal after all - it's meant to be silly. The opening track “Stargazers” starts off in blistering fashion with its machine gun drums and aggressive keys. It perfectly sets the tone for the rest of the album, at least thematically. I have heard this song dozens of times and, like the rest of the album, really have no idea what they’re talking about, other than themes of religion, fantasy and legend. (I suppose one can make out the lyrics with some effort, but I just prefer treating it as another instrument). Track two is the interesting “Gethsemane,” with its rather dynamic structure and flute solo. It’s a good, fast-paced number that keeps the proceedings moving along. “Devil and the Deep Dark Ocean” (and later, “The Pharaoh Sails to Orion”) introduces the listener to male vocals. While they might match the lyrical theme, they don’t really work - the comparative advantage here is Tarja’s beauty contrasting over the musical darkness, not Finnish men trying to deliver “death” vocals in a bad English accent. After this road bump, two of the album’s strongest points follow, the first and second singles – the beautiful and ethereal "Sacrament of Wilderness,” and its satisfying synth release, and the equally beautiful “Passion and the Opera," with its extended staccato soprano solo that concludes the track. Side two starts off with a welcomed break in the action, the soothing ballad “Swanheart.” (I probably would have switched the order with the last track, but it’s not so out of place on a cd play.) Much like the rest of the tracks, the beauty of the delivery obscures some of its darker lyrical themes. The instrumental “Moondance” is less impressive (and possibly tiresome) and leads to the “The Riddler.” Nothing too special about this track, but it's a pretty good, uplifting rocker and regains some of the album's momentum. The aforementioned “The Pharaoh Sails to Orion” follows which, despite an uneven beginning that is burdened by a lead male growls, ultimately succeeds in establishing the emotional high point of the album. A pretty mixed result. One of the things I like about Oceanborn is that, at less than 50 minutes in length, it doesn’t overstay its welcome, a rarity for albums released this decade. Depending on what you’ve got, the album concludes with the elegant ballad “Walking in the Air” or the peaceable “Sleeping Sun.” The latter is a slow burn, allowing some of the lyrics to really soak in: Sorrow has a human heart/From my god it will depart/I'd sail before a thousand moons/Never finding where to go. Pretty cool. A couple soft spots aside, Oceanborn is a good album, very listenable even when it doesn't impress, and should appeal to fans of power metal and hard rock, in general. 4 stars out of 5.
Nuclear Assault – Survive I.R.S. (1988) Nuclear Assault played a small, but important role in the nascent trash scene in the mid- to late-1980s. If there’s the Big Four, and the Second Six (Death Angel, Testament, Exodus, Overkill, Kreator and Sodom), then Nuclear Assault settles in as a third tier thrash act. They cut five or six LPs in their up and down career (and about just as many EPs) and Survive was their second highest charting album, peaking at 145 in 1988. Nuclear Assault is made up of Dan Lilker (bass, songwriter and former founding member of Anthrax), John Connelly (vocals, lyrics), Anthony Bramante (lead guitar) and Glenn Evans (drums). To get a copy it will set you back about $50. Is it worth it? All of the 9 original cuts here have something to say: some a little slower, others dispatched incomprehensibly fast (“Equal Rights”). The blistering, opening salvo of “Rise from the Ashes” and “Brainwashed” has to rate among the best in all of thrash. The former is such a juggernaut of a track I once accidentally jumped a red light with it ripping out my windows. The latter is equally gripping. With metal now basically a conservative outlet (by this I mean, establishment and acquiescent to authority), Connelly’s libertarian attitude is shocking as it is refreshing. On “Brainwashed” he barks: Television, the idiot tube/Helps to raise our children as fools/Watch the news, they only want to see/Our awareness is limited by network VP's. Truth that impacts still thirty years later. (This track was issued as a single, and featured a very effective music video). As their name implies, most of the songs here deal with social and political awareness (at least as they see it), including the memorable title track, but they touch on other themes… all scornfully delivered. The good “F#” (pointing to the key the song is written) and “Fight to be Free” are calls to arms, while the more somber “Wired” tackles addiction. “Great Depression” has Connelly rebuking those who try to get into his personal problems. Maybe not the wisest way to live your life, but something we can all relate to at one point or another. Did I mention this song rocks? Connelly once said he’s capable of other musical styles but spitting lyrical venom at breakneck speed is probably the only thing he was "good" at. Maybe he was right. As dramatic as the proceedings on Survive may appear, it is clear the band realizes much of metal is theater and never take themselves too seriously. In that spirit of paradoxes, the album concludes with a cover of Zep’s “Good Times, Bad Times.” An offbeat, but suitable choice. The production sounds very do-it-yourself, with sloppy guitar work in a less-is-better kind of a way. Not every track is a winner, and some of the riffs are not interesting on first listen, but that’s okay - this album is only 30 minutes and so you can listen to it over and over again until they stick. An aggressive, raw, and challenging piece of art that capably reflects the brokenness of life. I even like the artwork. 4 stars out of 5.
yeah...to me Malmsteen's best album by a mile. I don't like the JLT-inspired AOR-isms so much...but as with Rainbow, that was surely what he was brought into provide. But to me Turner is a killer singer, and is at his best when singing over heavier material, which naturally counteracts his smoother tone. I don't think Malmsteen will ever write a better song than "Rising Force". And as much as I generally hate 80s power ballads, "Dreaming" is a great (and rare) example of how to do one well. I realise it's far more important to Malmsteen that he does everything himself and realises "his own vision" (man) but it certainly negatively impacted the quality of his work over time. But hey, what do I know, he's survived in the shark-infested waters of the music biz since the mid-80s, which only few can pull off...
The Organization – The Organization Metal Blade (1993) Thrash upstarts Death Angel disbanded in 1990 - drummer Andy Galleon was critically injured in a tour bus accident, the label ended up dropping the band, and lead singer Mark Osegueda left to go back to school. The rest of the group literally regrouped under a fitting new banner “The Organization” in 1991. After Galleon’s quick recovery, the band released their self-titled debut album in 1993. So basically what you get here is Death Angel without its lead singer, instead the vocals are picked up by that band’s primary songwriter and guitarist, Rob Cavestany. I don’t think I’ve quite heard anything like The Organization – an unholy mishmash of progressive rock, hard rock, heavy metal, funk, pop, and thrash. Cavestany’s vocals are perhaps an acquired taste, but the album features almost Van Halen-esque backing harmonies that might appeal to some. This album drips energy. Calling this an album is a bit of a misnomer. This is a 50 minute live jam with nine water breaks. Death Angel may have been around for eight years before their breakup, but they were only teens when they started.. here, they are still hungry twenty-somethings (Galleon was still just 20 years old when The Organization was released!) looking to take over the world in an ever changing market. The album has almost everything – acoustic numbers (that don’t stay that way for long), an instrumental, pure pop elements, random solos, and some pretty heavy riffs. None of the songs are “standard” in any way. (Death Angel were always one of the more interesting thrash acts, and their legacy after reforming in 2001 testifies to that claim). Perhaps the song that gives the best sense of what the Organization were all about is “Brainstorm,” a song that I have no idea of what they are talking about (pretty much most of them, really), but is five minutes of pure rock ‘n roll, creativity and spontaneity. If you want to rock out, just wait till that bass line kicks in.... I could talk about this album for a week, as there’s so much going on here. An excellent album, and probably my favorite “metal” release in the “grunge” era 1993 -1999. Not all the songs are winners, but what some songs may occasionally lack in melody is more than made up with great production (that you can crank) and style. It is one of the “funnest” and most interesting albums I’ve ever heard, after picking it up in some bargain bin years ago. While their follow-up was disappointing, on The Organization the band is working on all cylinders and the freewheeling attitude is simply infectious. You can find it here for a little more than ten bucks. I think this is literally the first post on the Organization in all of SHF so this take is surely a minority view, but perhaps it’ll turn on some latent metal heads with an open mind. I think a couple listens and you’ll be sold. Fans of Iron Maiden, Van Halen, Rage Against the Machine, Faith No More, and of course, Death Angel, should strongly consider picking it up. 5/5
I’m a big fan of Fear Of The Dark, a massive improvement over No Prayer. And the original cd (or 1995) sounds best. Not a fan of the latest Nightwish at all - way too ...... timid is the only word for it. Oceanborn is great listen, I could do without the cover versions on their early albums but then they are so Euro-Metal.
That was my initial take but my feelings have changed considerably. No Prayer for the Dying is a misunderstood album (and perhaps rightly so). It's not particularly good but it does have some virtues which I'll get into later for a review sometime.
Tokyo Motor Fist – Lions Frontiers (2020) Tokyo Motor Fist is a relatively new supergroup featuring Steve Brown (Trixter), Ted Poley (Danger Danger), and veteran rhythm section in Greg Smith and Chuck Burgi (both ex-Rainbow, ex-Joe Lynn Turner). The group released their debut in 2017, very much in the style of mid-80’s Def Leppard – big hooks and bigger (gang) vocals. After a warm commercial and critical reception, the band returns on Lions, ready to serve up another 11 tracks in the same pop metal spirit. Were they successful? Brown has really been a creative force over the last decade (Trixter’s New Audio Machine, Human Era, and Tokyo Motor Fist), serving up some of the best output in the genre, and this streak of inspiration continues here. What you get, at least on the first four tracks, is excellent, up-tempo, modern melodic rock bliss that heavily reeks of Pyromania but never gives in to all its conventions. Side 1 is marred only by the ho-hum title track, which is a bit out of place as a low energy ballad, made worse by its 7 minute bloat. (It does redeem itself with an uncharacteristic keyboard solo, however). Side 2 is not as immediate, nor as consistent, though “Dream Your Heart Out” is a catchy little anthem (well, most tracks here fit that description). The real surprise is “Sedona.” Reminiscent of the Aerosmith hit “Rag Doll” in more ways than one (similar beat, synthetic horn effects, etc.), but adds enough modern touches and energy that no one will really care. It is pure ear candy, with a huge sing-along chorus and more-Van Halen-than-Van Halen riff. This Frankenstein (that includes a sax solo, no less) goes on for five minutes that you wish would never end. The band loses some gas the rest of the way, but the highlights all over the album are likely strong enough to win over most listeners. An impressive if flawed follow-up to their excellent debut. If this album came out in 1987 it would have sold millions. But here we are thirty years later, where radio has given up on rock and that once youthful audience has mostly moved on. For those that linger, Lions is worth a listen… it will probably find its way onto your shelf. 4.5 stars out of 5
KEEL – Lay Down the Law Shrapnel (1984) Vocalist Ron Keel came onto the metal scene with the band Steeler in 1981, which also happened to feature the debut of guitarist Yngwie Malmsteen. After Steeler disbanded in 1984, Keel auditioned and demoed for Black Sabbath before putting together his own solo act, KEEL. The self-produced Lay Down the Law was released later that year. Some might say that the Gene Simmons-produced The Right to Rock (1985) is the definitive KEEL album. But Lay Down the Law is the stronger listen, and has some interesting qualities that can easily be overlooked. First, its production has aged fairly well – it is fittingly raw, but also clear and huge, with each instrument and vocals occupying a distinct frequency. Second, the album has a cool coda, with the exceptional title track reprised in the finale (a very good cover of "Let's Spend the Night Together"), something one might expect on a progressive rock album, but not pop metal. Finally, it has a very memorable and artistic visual presentation, capturing the spirit of the time. (On top of all this, three of the best songs from The Right to Rock are actually featured here). “Born Ready” and “Metal Generation” are strict metal clichés, with Keel sometimes taking the Judas Priest blueprint a little too literally, but the album contains some more interesting numbers. For instance, “Princess of Illusion” and “Till Hell Freezes Over” are both cautionary tales of love gone bad, with both (at least) starting off as ballads. The latter, however, kicks into a heavy metal storm, with Keel wailing away (as he usually does all over the album) as he laments having to split up and give up. Despite “laying” the foundation for success in the Simmons era, ultimately, this capable debut couldn’t overcome subsequent bad management, predictable singles and intense competition. Honestly, KEEL didn’t really regain its own identity until their self-titled 1987 album, but that was too little too late, as the band never reached anything more than a fourth tier pop metal act. Not released onto CD until 2008, you can pick this up for about $15. A worthy 3.5 stars out of 5.
Motley Crue – Dr. Feelgood Elektra (1989) The band’s fifth, and top-selling, Dr. Feelgood was released at the apex (or depending on your tastes, the nadir) of the 80’s pop metal or hard rock era. Featuring the hits “Without You,” “Kickstart My Heart” and the title track, at the time it looked like the Crue could do no wrong and was poised to dominate for the next decade after a successful “decade of decadence.” Just a couple years later, however, the band broke up with lead singer Vince Neil over personal disagreements and the band never was the same. On the surface, what you get here is an impressive set of hits. Yeah, the title cut is a classic, and “Kickstart My Heart” was something else at the time, but the rest of the album has not aged particularly well. The production here, as most albums in the genre at the end of the decade, is an ultra slick affair, here courtesy of producer Bob Rock, who went on to more fame producing Metallica in the nineties. Playing Dr. Feelgood next to Pearl Jam’s Ten, there is about as much danger here as a Disney film, and so what the band are going for is a having a good time. But does it work? After the face melting “Dr. Feelgood,” we have “Slice of Your Pie,” an uneven, bluesy number that doesn’t reach any emotional high. The lively “Rattlesnake Shake” is no better, with faux horns that badly date the proceedings. After the evocative “Without You” (which actually hit #8 on the Hot 100), the band delivers a song about their “Sticky Sweet” girlfriend, something they remind us many times over. It doesn’t get any better (or more subtle) on next track. I’m not sure I need to hear “She goes down” 31 times. After that awful double-shot, the band bounces back with the offbeat, but effective “Don’t Go Away Mad (Just Go Away).” I particularly liked how they take a typical genre and lyrically turn it upside down. The album concludes with the forgettable (and hilariously out of place) “Time for Change.” Considered a classic album by many, Dr. Feelgood simply has too many lows to make for consistent, enjoyable listen, and its production testifies to the worst of the era’s excesses. I rate it 3 stars.
Lee Aaron – Metal Queen Attic Records (1984) For all intents and purposes, Metal Queen marks the debut album of recording artist Lee Aaron. Her band is made up of guitarist John Albani, who would end up being her lifelong writing partner, co-writer and guitarist George Bernhardt (from her high school band), and a very competent, if unknown rhythm section (Jack Meli, bass, his only recorded appearance, and Frank Russell, uncredited, who was later fired for apparently being too old). Marketed as a sort of female Conan, does this album deliver on its namesake? The guitars on Metal Queen sound razor sharp, loud and aggressive, with a production similar to other “early” eighties metal albums, like W.A.S.P.’s debut album that same year. Make no mistake: this is a metal album, with some obvious pop sensibilities throughout. At just 22, Lee Aaron really goes for it on each track, offering up just enough screams and emotional exuberance to sell lyrics ranging from rape to rocking out. Earning the title of “metal queen,” something she later tried to live down, her performance here is really a career high point. Lee Aaron offers a memorable entrance with the timeless title track, where the metal queen comes to “rock your soul” and “take control.” These lyrical themes are recast in “You’ve Got To Be The One,” a moody track about ensnared by romance: I had a dream, you took me there / If I was blind you'd take me, where I was goin’… Metal clichés to be sure, but never quite done with such conviction, Ronnie James Dio excepting. The track also shows Lee Aaron’s charisma and vocal versatility, drawing the listener in. The second side is even more impressive, with the pile driving “Deceiver” that never lets up, and the dramatic “Breakdown,” featuring a bit of a Led Zeppelin groove. The record fittingly wraps up with the toe-tapping “We Will Be Rockin’,” which points to a poppier, hard rock direction that she would be pursue in her career. The album never quite broke her in the south - Lee Aaron had limited exposure in the US, in part due to restrictive contracts from her Canadian record label. She did go on to have a fairly successful career in Canada with three top 40 records. As it happens, I like some of her more pop tracks (for instance, “Goin' Off the Deep End") on her later output better than much what is on Metal Queen, but those albums don’t measure up to the consistent, quality slab of metal offered here. The album will set you back about $20 but worth a listen for fans of early metal. 4 stars out of 5.
I remember UHF channel U68 played the video for Metal Queen and Rock Me All Over (and maybe Barely Holding On?) so I really liked those songs. At some point I picked up her greatest hits collection and wasn't too impressed. I will have to check out the full Metal Queen album when I have a chance.
Dokken – Breaking the Chains Elekra (1983) [Pop Metal, Hard Rock] Breaking the Chains, originally released on the French label Carrere in 1981, is Dokken’s debut album (in fact, the German release on Carrere was branded as Don Dokken). The lineup has Don on vocals and guitar, George Lynch on lead guitar, Mick Brown on drums, and Juan Croucier on bass. (The latter went on to join Ratt after the album’s release, replaced by Jeff Pilson). Interestingly, between the Carrere and Elektra releases, Don did backing vocals on Scorpions’ Blackout, while the rest of the band worked with Udo Lindenberg. The title track (the only single to be released in America) and “In the Middle” are probably the best cuts here, setting the listener up with some strong expectations. But alas, the quality begins to fade… fast. I reacted negatively to “I Can’t See You” and “Live to Rock,” while Side Two is mostly b-side material: pedestrian riffs, weak melodies overtop riffs that do work, and the lyrics are strict cliché, missing the edge, double entendres, or humor that rivals like Motley Crue and Ratt would feature prominently. Faceless is probably the best way to put them and, if I may, was something the band struggled with their entire career. The best riff is probably on “Young Girls” but that track hasn’t exactly aged well. An excellent live rendition of “Paris” rounds out the album, showcasing Lynch’s great lead work, creativity and charisma, ending the album on a high(er) note. (As it happens, the song has the same drum intro as Ratt’s “Sweet Cheater,” likely not coincidental.) Breaking the Chains is not a good album, but it’s listenable and, as one of the first pop metal albums, Dokken’s debut deserves respect. If nothing else, it ushered in a more prominent (artistic and commercial) era for the band in just one calendar year with 1984’s Tooth and Nail. 2.5 stars out of 5
Comparing the guitar sound on Lee Aaron's Metal Queen with WASP, even remotely, I don't know about that. Dokken's Breaking the Chains is the only Dokken album I find listenable. This is an honest album that doesn't try to push a specific genre or sound. The mix is probably the weakest link, and the popular Dokken albums sound way better. The guy who mixed it (Michael Wagener?) was used to mixing heavy dual guitar attacks (ACCEPT) and pioneered that heavy metal sound. Initially, he floundered with the guitar hero sound, but learned quickly. Maybe it wasn't the engineer's fault at all.
Stryper – Even the Devil Believes Frontiers (2020) [Heavy Metal, Pop Metal] The latest album from Stryper was released this past week, ominously titled Even the Devil Believes after James 2:19. Their eleventh, the album features contributions from the newly recruited Perry Richardson (ex-Firehouse) on bass, replacing the outed (or retired) Tim Gaines. For band leader Michael Sweet, it is album number eleven in the last ten years alone. The album has already received some criticism in the press, but classic metal fans would be wise to check it out. Even the Devil Believes is a focused and generally excellent effort, stylistically following the band’s rededication to heavy metal with 2013’s No More Hell to Pay. The album features an uncanny string of interesting riffs, readily hummable melodies, and uplifting, philosophical (and sometimes, even challenging) lyrics by Sweet, who somehow still finds time to be creative and effective with seemingly endless side projects. The single “Make Love Great Again” is one of the more provocative tracks, as the lyrics mesh the words of controversial politics with a message of hope, joy and change. Sweet makes the non-partisan appeal: There's a culture that's building walls/Just like vultures consuming all/Oh, but there's a fire that's burning bright/It won't expire even in spite of hatred/It's flames they are sacred. One of the major weaknesses here, however, is that every track is composed in almost exactly the same way – common time, with a verse/chorus/verse/chorus/ insert a Sweet scream or vocalization, then guitar solo/chorus out structure. Now, the band happen to do that formula exceedingly well, but it does make for a very predictable listen. I was left wanting even on some of the best tracks. Maybe throw in a bridge next time, okay Mikey? The only song that departs from this blueprint is the excellent “This I Pray,” primed for rock radio circa 1990 (in another life, perhaps their “Mama, I’m Coming Home”). The track’s acoustic, laid back style contrasts effectively with the steady doses of hard hitting metal all around it, and features a fittingly humble message. Probably one of the best tracks in the band’s catalog. The engaging, up-tempo “Invitation Only” follows, quite reminiscent of the Dokken classic “Just Got Lucky.” The unexpected keys in the chorus are a cool touch, and the song is another of the album’s many highlights. Those with a Christian faith may respond more positively, but by now the lyrical message is baked into the proverbial cake. Even the Devil Believes is just a solid collection of old school metal, continuing the band’s (surprising) rejuvenation over the last decade. Recommended. A very solid 4 stars out of 5.
Striker – Play to Win Independent/Record Breaking Records (2018) [Heavy Metal] Play to Win is the sixth album by aspiring Canadian metal outfit, Striker. As outlined in this album-by-album thread, the band has changed its sound over their career, slowly evolving from a retro thrash or speed metal act to more of a classic heavy metal sound. Equally, the band has seen evolution in their lineups with Dan Cleary - the band’s singer, guitarist and main songwriter - remaining as its guiding force throughout. No one said making it as an independent metal act was easy, and most of these guys probably have day jobs. With that said, the band’s lineup here has stayed together over the last four albums and have achieved some awareness, if not commercial success. (After the album’s release, the band would add Pete Klassen and Jono Webster to its rhythm section, replacing longtime bassist William Wallace and drummer Adam Brown, respectively). Play to Win garnered a bit of acclaim in 2020, winning a Juno award (the Canadian version of the Grammy’s) for heavy metal album of the year. The band’s niche these days is straight ahead heavy metal, something they have refined quite skillfully over the past decade. There is little hint of thrash or progressive touches anymore, with much of their simplistic, but effective style being reminiscent of something like W.A.S.P., Stryper, Scorpions, and Accept. Most of the songs here are in a major – such as the single, “Position of Power,” “Hands of Time,” and “On the Run” – and thus have a fairly bright or feel good vibe to them (even though the lyrics sometimes strike a more serious tone). Cleary emphasizes a top-40 approach throughout – affecting riffs, singalong choruses, with none of this being taken particularly seriously. (The one thrashier or dark number here, “Summoner,” is nevertheless a worthwhile change of pace). The twin lead work is especially catchy. As a longtime fan of the band, these artistic decisions play to the band's strengths. After six albums, Striker has their own distinct sound. While there's nothing particularly aspirational or hit making, I like pretty much every note on Play to Win, so that I guess that warrants 5 stars out of 5. Excellent, highly recommended for fans of the aforementioned bands, as well as Maiden, Priest, and Racer X. [If that weren’t enough, the Japanese import features two excellent b-sides – the somewhat unknown “Run for your Life,” from the Friday the 13th: Killer Puzzle soundtrack, and a cover of Judas Priest’s “You Got Another Thing Coming.” You can get it on eBay for about 40 bucks.] P.S. For my other reviews of Striker albums right here on SHF include: Eyes in the Night (a generous 3.5 stars out of 5) Armed to the Teeth (4.5 out of 5) City of Gold (4 out of 5) Stand in the Fire (4.5 out of 5)
I bought a good chuck of their discography but haven't had time to listen...Covid has wrecked havoc with my listening as I did a lot of it on my commute.
