I've just discovered Dead to a Dying World's Litany, which is an interesting mix of heavy metal styles. Luminiferous by High on Fire is like being mercilessly pummeled in the face in the best possible way. Only listened to each one twice, but I recommend them. I've also dabbled with the first three albums by October Falls... Atmospheric and somewhat pagan inspired black metal. Good stuff.
Been having a good time wandering in a specific corridor of the past, the EPs of 1982-1985. Loving this gem.
Listening to the new album from The Temperance Movement - White Bear. It's 35 mins of raucous, foot stomping, head bopping bluesy British hard rock n roll. Definitely the artistic step up from their debut that they are marketing it as.
Well done, Mikey. The vocal does sound like it's been through the John Deverill basting machine (that's a good thing, by the way ) but what strikes me is that sound they used to get in the late 70s/early 80s. I thought the same during The Ace Of Spades (full album,) earlier: I mean, even parking track 1 to the side, the rest of it overflows with (a variation on) this very crispness of sound criticality: snarling, raucous yet still defined. Total energy and unconstrained by any sense of overt image creation, other than fealty to Metal itself. It's been a truly wretched few weeks, mortailty-wise; heroes, pets and close friends have all gone down in quick succession so my 'living in the past' (musically speaking) has taken on a renewed momentum. Hell, I even heard 'Gypsies, Tramps and Thieves' followed by 'White Rabbit' in the car today and felt a wave of profound depression in the general, comparative consideration of that which is held up as today's (Pop and Rock) musical peaks; we're talking about performers who really have got "this much talent; this much talent..."
I became cognizant right away when you previously pointed to a difference between original hell blazers and latter-day emulators. Though today you may point to production, it was the freedom of spirit that I imagined immediately. Imagined specifically the original blazers' eyes looking only forward, 100% focused on a point on the horizon, pedal to the metal, whereas the emulators spend so much time looking back, checking the mirror that they rarely reach legendary destinations. Thankfully for me the inevitable fall of those near me has not yet begun. Pure lottery luck I think. As for the giants, a few years ago I thought their time must be coming and now David falls too. It strikes me as more tragic to be cut down by time, which I say because time seems to walk hand in hand with cancer, than to drop due to misadventure or accident as used to be the main way for our rock stars. To be full of one's wits and be handed the expiry notice. To arrange a final album, a final video, Lazarus. Heh, Cher is okay, and I remember the show. I didn't care much for the short guy with Moe haircut and mustache though. I believe it is true the talent bar to leap over was much higher then. At this moment I'm listening to quite forgotten (soft?) rock which may never have graced a radio signal and yet would win any of these present TV singing talent shows. I'm appreciating the soft, high rasp of a Bob James from 1976, whom I've never heard of in my life. I'm certain I have had more past than I will have future and I have as little remorse in finding my musical treasures in the past as I do in knowing that the best recipes for food and drink are age old. Chin up Trill, good things exist.
Freedom of spirit; that, right there. It's no mere coincidence that Lemmy favoured ABBA and Venom's Cronos was partial to a bit o'Bush. Genius needs a bit more 'eureka' and a lot less carefully manicured, facial hair.
I try to spread the word on this group. It's a band called Zior. They are often lobbed in with obscure progressive rock, even psychedelic, but it just rocks so hard and there's so much heaviness going on. I suppose this is in the early years of metal and thereby has little in common with the 1980's thing. But I still think it lasts: This is more or less a Whole Lotta Love ripoff, but their first album has a lot of original, odd occult-y stuff going on. Great stuff. 1st officially released CD released only 18 months ago!
One of my fav's off the new album...I can't stress enough that this is their best disc since Mindcrime (yes, it's better than Empire IMO)
Any day now, DEEP PURPLE begins working in Nashville for their sequel with producer Bob Ezrin. Anyone care to guess if the next Purple album be hard rock...prog rock....heavy rock....heavy metal; or a mix (ie: ROCK)? ...L-R Roger Glover, Ian Paice, Ian Gillan, Don Airey, Steve Morse and producer Bob Ezrin
The new Witchcraft is a very good album, listening to the CD now and I hear tape hiss!!! is it possible this was recorded analog?
Decided to subscribe to Ripple Music on Bandcamp. Got some really cool exclusive tracks and some albums from their back catalog added to my collection, as well as that fuzzy warm feeling that comes with supporting an independent label with some great hard rock bands on their roster. If you feel like doing the same......https://ripplemusic.bandcamp.com/subscribe It'd be great if Small Stone Records offered something similar in the near future.
I just read in Classic Rock mag that one of their members left - think it was the guitarist (I forget now). A shame. Thought they could be the "next big thing" in straightahead hardish rock.
Me too, Curve; there was an occasional waft of Eau de Dire Straits here and there (not necessarily crime of the century) but some of the melodic structures were wondrously complex and the last track was a fitting dive away. These are some of the most absurd musical geniuses not to have worn wigs and tights whilst strutting around late eighteenth century Vienna, being a bit difficult.
No kidding. Not the be all of anything for proficiency, these introductory EPs and debut albums' biggest impact may have been a suds sodden bonding between a half dozen pals on a Saturday night. Grump supreme big B wrote music for "Ode to Joy" and I take that title to pin on these songs. Rough at the hems but tight and true as my best Levis straight from the dryer (on one of those Saturdays). The exuberance of the songs have the joy of youth. That makes me nostalgic for going to the variety store and buying the latest Creem, Circus, Hit Parader or Rock Scene magazine. I'll have to look around to see what's happening in the world of paper mags. I'm a 21st century boy but I love a page that turns.
There was a late night TV programme on recently, repeated for the nth time since first aired in 2013, featuring a small posse of variously credible musos, producers and well known, UK media-luvvie talking heads who were dining out on the full aesthetic realisation of (basically) revelling in (broadly Rock) LPs throughout the 1970s, the format's de facto heyday. Many of the usual suspects were covered for musical reasons ("everyone must kneel before Physical Graffitti" kind of thang) but much time was spent considering the finer aspects of the contemporary LP buyer/collector's creedo, such as imbibing the minutiae of details pertaining to recording studios; locations, personnel, etc, plus complex gatefolds with out-folding, inner maps - all good stuff, fondly perceived. Eventually, they all picked their trio of desert island vinyls and someone chose Sheer Heart Attack by Queen which inspired me to dig out a CD copy I have and head out to the highway with it. I paid close attention the nuances and concluded that at some point in the very late 1960s, The Almighty must have poured an enormous vat of celestial talent goo on the musically disposed 'young people' of the western world, the effect of which was generally wearing thin by 1983. Fortunately, some of those who were suitably doused in this Heavenly Metal effluent continued to feel the effects for decades to come which explains the wholesomeness of Saxon front man, Biff Byford's joyously excessive screaming during segments of 1997's Unleash The Beast. Right, time for a bit of 'Tull; any takers for A Passion Play and Stormwatch?
oh man those names take me back! I was obsessed with the first 3 on your list. I will likely never forget the Circus "US Festival 1983" cover with Def Leppard.
Paul Gilbert's new album is fantastic. I have just about everything he's ever done (solo stuff, Racer X, Mr. Big, the Who/Rush/Mr. Big cover projects with Mike Portnoy, etc) and this has become one of my favorites after just a few spins. Not another instrumental shredder, but rather one with vocals/tunes. Varies between straight hard rock, bluesy stuff, slower stuff, faster stuff. The melodies stick with me which is impt as I've gotten older (I can't just listen to shredding for the sake of shredding anymore). This is the Japanese tracklist: 1. Everybody Use Your Goddamn Turn Signal 2. I Can Destroy 3. Knocking On A Locked Door 4. One Woman Too Many 5. Woman Stop 6. Gonna Make You Love Me 7. I Am Not The One (Who Wants To Be With You) 8. Blues Just Saving My Life 9. Make It (If We Try) 10. Love We Had 11. I Will Be Remembered 12. Adventure And Trouble * 13. My Sugar (bonus track) Paul Gilbert - guitar, vocals Freddie Nelson - guitar, vocals Tony Spinner - guitar, vocals Kevin Chown - bass, vocals Thomas Lang - drums, percussion * with Emi Gilbert - B3 organ & piano Produced by Kevin Shirley US release may be different. I saw a tracklist on the web at one point that showed a cover of Nugent's Great White Buffalo on it. Maybe that will be on the release outside of Japan (?). The title track is not only hilarious (if you know the story behind it - it is about his young son who likes to smash things to bits, and the full title is really I LOVE ANYTHING THAT I CAN DESTROY) and features some mindboggling guitar solos (as does the whole album). I love the thing just as a song though, the chorus is really catchy. I bought the Japanese deluxe version which is another amazing package from WOWOW Entertainment. Think I will actually start a separate thread on it to discuss the package, another beautiful boxset from WOWOW, along the lines of some incredible Mr. Big boxsets they released last year.
Classic Rock is a great mag, I get it online now through the Ipad cuz print is a bit pricey but the articles are very well done and pretty meaty in content.
The only online archive I found was for Rock Scene. Browsing now I think it was the least of the mags and that includes the advertisements. Had me wish to see some good clean Sea-monkeys. I'm going to check it out. I need a mag. Thanks. Zep has an immovable place in my heart that is in part very much nostalgic. The very first extended guitar solo I ever fell in love with was "Achilles Last Stand". With a steady hand lifting and dropping the plastic tonearm and dollar "needle" from Radioshack surely I wore a ditch on the LP. Bron-Y-Aur Stomp was a fav of a friend and mine as kids, and being still friends, we haul it out every five years or so for some clap/stomping (though since he graduated from rehab a year ago and I curtailed on my own we may no longer be joyously carried away. Seriously, alcohol and music were such a glorious and passionate mix. F ***). And Physical Graffiti happened to be discovered in the midst of a seemingly parental free, perfect summer after restrictions were lifted and responsibilities and consequences had not yet arrived. I still remember looking out the window about 4pm on a Saturday as side 3 was sinking in. A wonderful prelude to a summer Saturday night. That every song on this double album was sufficiently different had the exploration an extended reward. Last night I was immersed in the sonic splendor of Rush's "All the World's a Stage". I played it twice in a row and it was on my mind today as reward upon getting home. Completely familiar to me as it was the first Rush album I bought, probably in 1977. Last night I noticed that it forcibly pulls the audiophile hat down upon one's head. It's involuntary, paying attention to the textures of Alex's guitar. So front and centre, dominating without overwhelming. Lovely recording! I didn't even know until recently that it was recorded in Toronto's Massey Hall. I've seen shows there and being acoustically excellent, it must have played a part. I grabbed a pic to show the intimacy of the place. No need to reach out to those a football field away.
Classic Rock Magazine is the only music mag I even get anymore. I religiously read it cover to cover every month. If you are into classic rock/hard rock/old school metal it is the only mag you need. I am a bit disappointed how practically every other issue has main articles on Led Zep, Guns/Roses, or Hendrix, but still, it primarily covers the EXACT kind of music that I like, and has turned me onto numerous bands I never would have heard of otherwise, thanks to their articles, reviews, and free CDs, including many that I have raved about already in this thread, such as these (off the top of my head): The Temperance Movement The Answer The Dead Daisies King King Maverick Audrey Horne The Treatment Winger (yes Winger - a band I THOUGHT I hated - and I do hate their early albums - but their later stuff is amazingly great!) The Union Black Stone Cherry Glyder Airborne '77 Reagan Browne Snakecharmer Free Fall Aynsley Lister (and many more) It's well worth the (steep) cover price, although I am lucky in that I used to buy it every month then share it with a friend who the last couple years has been doing the buying & the sharing with me.
You sold me slip. Email: "Your Classic Rock Print, Digital subscription and TeamRock+ membership order has been successfully submitted."
Nice writing, Mike; conjuring my notion of that mid 70s idyll which sits alongside similar inspiration when drinking in Rush's 'Lakeside Park.' (By the way, I wasn't specifically praising 'Graffiti which I reluctantly confess to finding patchy at best; always have... I know, I know - unacceptable talk - I'll spin it up later and try again but I doubt my feelings will change. ) Oh, superb! This is a live record which gets far too little spinnage in these parts but this recommendation will spur me on (quite in contrast to Exit...Stage Left which sounds like it was taped with a towel over the mics.)
