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Our 2nd go at this. So, lists below list votes of albums by individual artists.
Full details: Albums By Artists Page.
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | Rush Album |
|---|---|
| 37 | Moving Pictures |
| 23 | 2112 |
| 20 | Rush |
| 16 | Permanent Waves |
| 15 | Hemispheres |
| 12 | Presto |
| 11 | Fly By Night |
| 11 | Power Windows |
| 11 | Snakes & Arrows |
| 10 | A Farewell To Kings |
| 8 | Clockwork Angels |
| 7 | Hold Your Fire |
| 7 | Counterparts |
| 7 | Grace Under Pressure |
| 7 | Signals |
| 3 | Roll the Bones |
| 2 | Test for Echo |
| 1 | Vapor Trails |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Rush | 3 | ST | Jan20. 1st listen. Okay, this was not what I was expecting; more of a hard rock sound with moments of Led Zeppelin. I liked opener, Find My Way and it even had an ACDC-like riff in there. Need Some Love is everything I love about Led Zeppelin, all wrapped up in under 3 minutes. :) Take a Friend is cool and the vocal style reminds me of Slaughter. Here Again has some good guitar highlights and What You're Doing has a cool groove to it. I love the solo in In the Mood too. The distorted and short riffing in Before and After must have been some odd guitar-playing for its time? So, I enjoyed this a lot more than I expected. Anyone that liked the big rock of the early 70s would find something here. A good start. 4/5 |
| Rush | 1 | Counterparts | Jan20. After being uninspired by the last few albums by this band, I was very excited with the opening track here. Animate is very good. A cool riff and a rhythm section sounding like Canadian counterparts, I Mother Earth (who released one of my favourite albums this year… and yes, it is not lost on me that it is Rush that inspired IME, not the other way around :)). The riff to Stick It Out takes me right back to their early stuff and is almost Black Sabbath in execution. Even the cheesy 80s chorus is fun. Oh, and the chugging riff that kicks in just before the minute mark of Cut to the Chase could be my favourite Rush riff. Nobody's Hero is not a standout track, but I like the sentiment. Between Sun & Moon is quite upbeat and it and the next song, Alien Shore, even have moments that remind me of a band like Hoodoo Gurus. I have read a lot of reviews on previous albums that stated each was the return to a more guitar-driven sound; I think this is the album where it truly happened. Any keys are buried and used for backing, not the 4th prominent instrument. The last couple of songs didn't do a lot for me and a few songs could have been trimmed a little, but that is just me I am sure. Lots of cool riffs, and man, if people like this, they should check out Dig by I Mother Earth. 3.5/5 |
| Rush | 2 | Snakes & Arrows | Feb20. 1st listen. I got to admit, after Far Cry on the first listen of this, I felt they were trying too hard to capture their old sound. A pretty good idea when I guess mortality is kicking in and the acoustic guitar is a welcome return. But it just sounded a little corny, classic rock to me. Until the instrumental, The Main Monkey Business. The bombastic sound really suited this. Very rare for me to say I enjoyed the instrumentals the best. The other two were awesome too. Malignant Narcissism was short, bass-heavy and punchy, whilst Hope was slow, acoustic and dreamy. Unlike the last album that dragged, this one just kept getting better. We Hold On is a cracking finish. The squealing guitars deep in the mix are awesome. I loved the distorted guitars in a lot of the second half. There were several riffs that sounded very Stone Temple Pilots to me (and I admire the DeLeo brothers as music writers). On a second listen, I heard a lot more of these sounds in the first half too. I have a feeling this album is one I would really like with repeated listens. 3.5/5 |
| Rush | 1 | Test for Echo | Feb20. 1st listen. I have noticed that since Rush were not constrained to the length of LPs they seem to have pushed all song lengths out, despite getting rid of the really long songs. A little more variety in song length would be good and we get that for the first 3 tracks here. Opener & title track is a solid song with some good 90s guitar sounds. How cool is the bass in Driven? Half the World is a little cheesy, but ultimately a pretty good song. It seems to be in the vein of fellow Canadians, The Tragically Hip. The music to Time & Motion just seems to suit the title so well. What a journey. And yes, I did like the punchy Dog Years. Resist sounds like old school Rush and shows how keys can be added in a cool way. A nice song. Limbo well named - I felt a little like I was there near the end. I know I may be against Rush fans, but I enjoy this sound era more than anything since their debut. 3.5/5 |
| Rush | 1 | Presto | Jan20. 1st listen. The first song, Show, Don't Tell is pretty good but quite repetitive - something I have not associated with this band up to this point in their discography. Chain Lightning not a bad song with Lifeson's solos and underlying riff the highlights. I think The Pass is a song liked by many, but it did not do much for me. War Paint is pretty good; even the keys are those quirky ones I don't mind. But overall, I am glad to see less reliance on the technology and a return to more of a guitar sound on this album. The bass sounds so much better than on the last album; evident in songs like Scars, which also has a cool drum beat. Presto is okay, but it is probably wedged between the two best songs on here. Superconductor is a standout song, even with its 80s cliches. Even the slower Anagram and Red Tide do 80s soft-rock better than most. I can't explain why I like this so much more than the previous album, but it is certainly one I would be happy to listen to more. 3.5/5 |
| Rush | 1 | Power Windows | Jan20. 1st listen. From the opening lines, it is clear this was heavily influenced by other 80s sounds; the keys, the guitars and even Geddy's voice. Still, there is something I like about the overall sound of opener, Big Money, and it has some cracking bass in there. The 'outro' riff could be the best part though - sounds like a Bob Mould sort of style. Grand Designs sounds like it should have been a huge hit in its day (yet was not one of five singles)! I am not sure if that is a good or bad thing, but it is certainly a very accessible song… and I kinda like these quirky keys ;). Manhattan Project is a pretty epic track, but also has its very catchy moments. Marathon was appropriately named; it seemed to go forever and it is where they return to adding unnecessary sound elements, like bells. Territories is more awesome than awful. The last three songs are okay but not standouts for me. So, whilst this may be another album where I liked some parts and not others, there seemed to be a lot more here I liked. I would cut some of the keyboards in places, but at least they are not the annoying 'futuristic'/lame synthesizer sounds of late 70s/early 80s albums. There are still some solid, distinct songs here. In fact, I am liking this more than most of their albums. 3.5/5 |
| Rush | 1 | Vapour Trails | Feb20. 1st listen. The first two songs are very good rockers. Some of the drum sounds on One Little Victory reminded me of Therapy?. The length of Ceiling Unlimited is worth the wait; what a finish to the song. Ghost Rider sounds like a very cool, reflective song, Peart obviously put together from his notes on his long motorcycling journey across America. Peaceable Kingdom failed to grab me, as did The Stars Look Down except for the cool guitars that kicked in around 2/3s of the way in. The cool, upbeat parts of How It Is remind me of fellow Canadians, I Mother Earth, especially the bass. Same in the title track where I can also hear Edge (of U2) tones in the guitars. Secret Touch takes the rhythm comparisons to I Mother Earth even further, which means I really like this song. Things drop off from here, other than the riffing part of Nocturne. It was cool to see these guys return to a power trio without keyboards - even though they were using the keys much better on recent albums (once they ditched the shitty synthesizer sounds effects). Whilst I liked the overall sound here, this album drags somewhat. Had it cut a few numbers (back to the 10 they were aiming for), this may have been in my top few Rush albums. 3/5 |
| Rush | 0 | Permanent Waves | Jan20. 1st listen. Spirit of the Radio is a decent opening track with a cool underlying riff and a reggae into wailing guitar finish. Freewill has some brilliant parts, but also some not so good; some of the vocals annoy me. Jacob's Ladder has some very good playing on it, but does not strike me as a memorable song and I don't like the synthesizers in the second half. It could have been wrapped-up in half the time. Strangely, the 9 minute Natural Science appealed to me more than most of this album. 3/5 |
| Rush | 1 | Caress of Steel | Jan20. 1st listen. Bastille Day opens the album with a cool riff and solid sound, along with interesting subject matter, but the song just fails to really grab me after the start. I Think I'm Going Bald is a fun little number with a fair bit of swagger. Lakeside Park is a nice little song paying homage to the town where Peart grew up. I think most people can relate to songs like this and the simple music accompanying it suits the song. Then we hit 2 songs of several parts to finish the album. So, 5 songs total. I am not usually a fan of songs in parts. I did love the building nature of the first part of The Necromancer; the guitar interplay is pretty cool. The story-telling element did not do a lot for me, despite being a big fantasy fan. I tuned out a lot during the 20 minute epic that finishes this. Still, some very cool moments throughout. Maybe more listens needed. It's hard to attach to lyrics on first listens. Especially on such long songs. Although there are few actual songs to take away from this album, I think I enjoyed it more overall than the previous album. 3/5 |
| Rush | 3 | 2112 | Jan20 1st listen. Despite my aversion to long songs (especially those needing parts) I admire the members of Rush's determination here. After finishing their last album with a 20 minute song and fearing they might be done, they stick to their guns and open their next album with another 20 minute epic. It will take many listens to fully understand the narrative in this track. I read about it; that helped, but it is obviously made for repeated listens. There are some great moments in this epic track and the parts are quite distinct, but I can't select these parts as songs to put in lists. The first 2 of the other songs did not do a lot for me, but I really liked Lifeson's Lessons - it has some Credence-like moments. Something from Nothing is a good rocker to finish the album. With repeated listens, I feel this could jump several spots, but it is my least favoured of their LPs so far. Once I 'get' this album, I am sure I will understand why people rate this album, I am just not there on an initial listen. To me, that probably makes this a very good album - one where you have to come back for repeated listens. So, in time, I am sure my rating will only rise. 3/5 |
| Rush | 1 | Clockwork Angels | Feb20. 1st listen. Strangely, the first track here, Caravans seems to serve as an appropriate swan song for this band. It is just such a Rush songs and captures a little bit of everything they have brought to music in its 5 1/2 minutes. BU2B is not far behind, but with a more modern, driving riff behind it. The music and driving bass on the title track had me tapping along (if not outright air-drumming like a mad man). I love songs that have sudden changes of pace. The next few songs did not really hold my attention. I did not pick up on the concept/narrative of the album. I guess I would if I was carefully listening to the lyrics a few times through. The riff opening Seven Cities of Gold got me back in. The Wreckers is a slowish track and as about as commercial as I have heard the band sound. Headlong Flight ups the ante. A solid rocker based on a cool riff with distinct bass and of course great drum fills. Wish Them Well could have been a good goodbye song. Not sure they needed another one after this. Some good songs here, but just felt many of them could be trimmed, as could the album. 3/5 |
| Rush | 2 | Signals | Jan20. 1st listen. Despite being rather synth heavy, I don't mind opening song, Subdivisions. The keys aren't really annoying 'futuristic' sounds and the guitars kick in for the chorus. Analog Boy is a solid rocker with a cool solo. Digital Man starts well and is a good companion piece to Analog Kid - I'm not sure why the forgettable Chemistry is wedged between them. New World Man is a pretty good track too. Despite the abundance of keys, they weren't all bad, and I felt the songs were pretty distinct on this album. Some could have been trimmed, but that is my usual complaint :P 3/5 |
| Rush | 3 | Grace Under Pressure | Jan20. 1st listen. I liked the first track, Distant Early Warning. 2nd song, Afterimage did nothing for me (yet I see it was a single). They have certainly taken the commercial sound further here with very 80s keyboards prominent. Red Sector A has a cool driving beat and some guitar moments/tones that reminded me of The Edge from U2, but could have been shorter and lost a lot of the synthesizers and keys. The Enemy Within has a fun, ska-like rhythm, but also too many moments of the stuff I do not like about the 80s. The Body Electric is also a decent song at its heart, but suffers from same pitfalls. I was about to write Kid Gloves off too, but then the guitars kick in at the 2 1/2 minute mark. This is the best part of the song though. Red Lenses is hard to describe; it seems to have odd timing and lots of short sharp sounds coming and going. Not sure it is gelling with me, but next listen it might be my favourite? It certainly finishes well with some cool bass. These Rush albums are getting hard to rate. There's no doubting their musicianship and I appreciate the try new things, it's just I like the sound of some of it but not all of it. 3/5 |
| Rush | 1 | Fly by Night | Jan20. 1st Listen. Despite being a pretty straight forward rock album, not much here grabbed my attention, except the run of Beneath, Between & Behind into the title track and Making Memories. I really like the interplay of the acoustic and electric guitars in the latter. Despite my love for Tolkien, and fantasy in general, I am often not inspired by how such topics are presented in song, and Rivendell here did little to change that perception. This version of album was missing the 8-part song. 2.5/5 |
| Rush | 4 | Moving Pictures | Jan20. 1st listen. This is probably my first full play through this iconic album, but I have given Tom Sawyer a few spins in the past. It has never done much for me, but I liked it more on this listen. Remove the synthesizers and it is a pretty good song with some amazing drumming. In fact, the drumming really seems to be a feature of this album. YYZ has some funky moments with cool guitars and drums, but the synthesizers come in to ruin it in parts too. I like the guitars of Limelight but not much else. Witch Hunt also has some interesting distorted guitars, and of course, fantastic drum fills. Overall, I can see why musos might love this, but for me it needed trimming and some good songs had too much going on - especially synthesizers that were not needed. 2.5/5 |
| Rush | 5 | A Farewell to Kings | Jan20. This seems to have been influenced by the big productions of bands like Pink Floyd. Like some of their stuff, this just has too much going on in parts for me. Especially in Xanadu - it has some dumb synthsizer sounds that probably sounded state of the art at the time. Closer to the Heart is an okay slow song that takes off about half way through in a Led Zeppelin sort of way. Some very fun guitar work towards the end of Cinderella Man despite most of the song being average to good. Cygnus… also starts with annoying 'sci-fi' voice and sounds. Skip the first 2 minutes and you get to some pretty good playing. Then they start singing about halfway through (5 minutes in). I did like this one more than the other 10 minute song. And a reference to a ship called The Rocinante. Is this where tThe Expanse writers got the idea? With so many albums released in this year that rebelling against this sort of music with its high production and use of everything in the studio from bird sounds to tubular bells, I quite clearly sit on the other side of the fence. Not that this is bad; just not my thing. 2.5/5 |
| Rush | 1 | Roll the Bones | Jan20. 1st listen. I did not think I would be tuning out of this band for being mediocre; I thought it would just be because it is not my thing, but still great playing. The first few songs here just sound tired to me. It could be me who is tired, trying to get through their discography, but it wasn't until Face Up where I was tapping along. The funky bass was cool and continued into the instrumental Where's My Thing. I did catch on to the 'theme' of this album. The idea of taking your chances appealed to me. Big Wheel quite sappy. Heresy would have made a great early 80s anthem alongside songs like Solid Rock. I skipped through the last three songs. Nothing about them appealed to me. When this album is played up against some of the massive albums of this year, it just sounds so 'behind'; odd for a band called 'progressive', but it is mired in 80s sounds. Not their worst of 80s sounds, but not brilliant either. 2/5 |
| Rush | 1 | Hemispheres | Jan20. Gotta give it to these guys, when they are on to something they don't back down. After finishing the last album with a 10 minute 'Part 1', they open this album with the 18 minute Cygnus X-1 Book II. Wow. Once I tune into the story more, I am sure I will like these songs a lot more. There are some very good parts in there and it opens quite well. There are only two 'normal' length songs on here and they were okay but not enough. Then comes a 12 part instrumental! At least it has the most appropriate subtitle of An Exercise In Self-Indulgence. I like the story behind its creation and again, there are some very good parts, but this sort of stuff is made for other people. ;) 1.5/5 |
| Rush | 1 | Hold Your Fire | Jan20. 1st listen. I know a lot of people group their 80s albums together, but I went from not minding Power Windows to not enjoying this at all. Force Ten is not a bad opener, but there is not much progression from there. This is very 80s, and not the best of it. I could have been listening to a Whitesnake album here. I found the lyrics cheesy, the keys the same and little to grab me other than the odd brilliant solo. The bass sounds like it has been put through Ferris Bueller's synthesier 'sickness program' or aliens communicating in some 'burble' language. Why would you do this when you have such a good player? Anyway, if I go back to listen to Rush albums in the future, this one will not be among the first I recall. 1/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
Pretty much my thoughts as well, though I have Caress and Fly around the other way. This is going to be trek to get a complete 7 order done
Chaotic Good: Governments should be afraid of their people.
I would normally have Caress and Fly By the other way around too, as I liked 3 actual songs on the latter :P
I guess I just felt better about Caress overall in sounds, as an album, but this is next to impossible after one listen through. I won't be doing any of the albums justice and several seem like 'growers' - ones you need repeated listens to. Still, I like recording my first impressions to; it is good to come back to them when I listen to album again :)
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | The Offspring Album |
|---|---|
| 57 | Smash |
| 38 | Ixnay on the Hombre |
| 26 | Americana |
| 13 | Days Go By |
| 12 | Rise and Fall, Rage and Grace |
| 12 | Conspiracy of One |
| 11 | The Offspring |
| 11 | Ignition |
| 6 | Splinter |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| The Offspring | 7 | Smash | Jan20. This album changed everything for independent music. It was such as buzz to hear these songs played out in popular night clubs in the 90s. This album is so solid. has their heavier riffs, catchy moments and just brilliant songs. It kicks off with Nitro (Youth Energy) and does not stop, running through favourites Bad Habit, Gotta Get Away, and Genoside. Something to Believe In continues proceedings with it soaring 'Whoaaaah', before we head into the game-changer, Come Out and Play. Not much I can say about this song that has not already been said. I love it and I loved seeing it live when they got an audience member up to do the, 'You gotta keep 'em separated.' The other very popular track, Self-Esteem follows. My liking of this song waxes and wanes a little, but always between loving it and liking it. What cool soaring vocals though. How cool is a song like It'll be a Long Time? I love the change-ups in this one; the 'lesser' song that stood out this play through. The upbeat What Happened to You? has always been one of my favourites and I always thought it was an underappreciated gem on here. The other 3 songs at end of album maybe lesser songs, but all are still very good too. Not a weak moment on here. Fun, fantastic album. 5+/5 |
| The Offspring | 3 | Days Go By | Dec12. Well, this album has been copping a flogging from me, so it really didn't need much of a spin for me to go through each song again - a sure bet it will feature highly. I love many of the songs on here. Full marks for Days Go By, Cruisin' California, All I Have Left Is You, I Want A Secret Family (With You) & Slim Pickens…. Some other very good songs on here and even the couple I rated as just good stand up against most other good songs on other albums. Jun18. Full marks. What a cool LP. I enjoy every song. Feb20. Opens well with fast-paced The Future Is Now into Secrets of the Underground which sounds like it is off Conspiracy of One and a cracking song. Days Go By is just brilliance with its reminiscing lyrics that you cannot help but sing along to. It could be my favourite Offspring song right now. Turning Into You and Hurting as One could easily have been on Smash. Crusin' California has some cringy lyrics and parts and if songs like Pretty Fly turned you off these guys, you would not like this song. For me, I love Summer celebration songs and this is a lot of fun. The chorus is fun to sing. All I Have Left Is You is probably the best slow song they have done. O.C Guns brings the quirkiness (missing from last LP) and a little bit of Sublime. I love everything here. My least favourite is Dirty Magic - a rerecorded song from Ignition and it is still a good song. The run of of three awesome tunes rounds our an album that I have enjoyed as much as any. 5+/5 |
| The Offspring | 5 | Ixnay on the Hombre | Feb20. I liked that The Offspring still released two of the fastest/heaviest songs here as singles. All I Want and Meaning of Life are ripping tunes as punk as anything they had released. Some people chastised them for a move to a major label; a lot of shit was written, but let's stick to the album. Cool to Hate gives great lip service to these haters. Mota and Me and My Old Lady are a whole lot of fun early on the album. Gone Away is a very alternative rock song and (along with Amazed) a reason for critics to state they were trying to be 'grunge'… but again, listen to earlier albums - there were some tracks like this. In any case, it is a cool, soaring song. There is a lot of fun and some of their quirkiness in the second half of Ixnay…. I Choose, Way Down the Line and Don't Pick It Up were always favourites of mine. I have a lot of trouble separating this and Smash; both are a lot of fun. The biggest moments on Smash are just a little bigger, I guess. 5+/5 |
| The Offspring | 4 | Conspiracy of One | Feb20. Of The Offspring's big four albums, I always thought this album was underrated. I have always loved this one. I have trouble separating it from Americana. Come Out Swinging and One Fine Day are among my favourites of the lesser-known Offspring tracks. Original Prankster is their quirky fun song. Want You Bad is the alternative-rock song that you have to sing along to. Million Miles Away is just cool; part punk, part rock. Dammit, I Changed Again is the real gem on here. It sounds like the punk numbers from Ixnay…. Living in Chaos I had completely forgotten about. It is one of the few from the album not in my H100, but I enjoyed it this listen through. Special Delivery opens with a simple but fun bass and drum beat, then kicks into an electronic moment, which I would normally dislike, but the chorus is catchy and still has a cool riff over it. The weaker tracks are at the end, but only the last 2 have not made my 2000 H100. 4.5/5 |
| The Offspring | 7 | Americana | Feb20. Whilst I like The Offspring's quirky songs, this album probably turned a few people off them. The quirky songs here are a lot of fun, but maybe they should not have all been the singles. There are a lot of other punk gems on here, but they went the opposite route to their last album as far as releasing singles. Have You Ever and Staring at the Sun are simple, fun punk songs to open the album. Then the huge hit, Pretty Fly. I don't need to say a lot about this one, but I still enjoy it despite its saturation at the time. The Kids Aren't Alright is a 90s rock song. It is very well written with interesting lyrics and it is fun to sing along to. I loved She's Got Issues and Why Don't You Get a Job? immediately. I know others tired of them, but I am enjoying them now, as I listen again. Walla Walla is as much fun as it's companion piece (also written by Dexter); The Vandals Too Much Drama. End of the Line and No Brakes bring back the simple punk songs, but they are not the band's best. There are a few songs here that are just okay, but overall, a cracking album. 4.5/5 |
| The Offspring | 0 | Splinter | Feb20. I missed this album at the time. I remember seeing the video for Hit That which did not grab me at first, but I grew to love the song. It could even be the best of their quirky numbers. The only other song I am very familiar with is Spare Me the Details which is one of my favourite Offspring songs now. I recall this album being even less punk, but on listening to again, those short, fast songs are there. The album even kicks off with two of them: The Noose and Long Way Home. Race Against Myself has a slow, but metallic riff to it. (Can't Get My) Head Around You is everything these guys built in the 90s and would have been a hit if released then. The Worst Hangover Ever brings back the ska beat and the fun - reminiscent of What Happened to You? from Smash (though a little slower). I don't even remember hearing some of the later tracks here. (That feels odd for me). Never Gonna Find Me has a bit of fast punk riffs and a little slower alternative rock riffing. Lightning Rod is a cool punk song that could have been straight off Smash. Da Hui also a short bite of punk at the end… and I had no idea what it was about until this listen (when I looked it up ;)). I love the little ditty that ends the album too. 4/5 |
| The Offspring | 0 | Rise & Fall, Rage & Grace | Feb20. Opening track, Half-Truism has a melody that sounds like My Chemical Romance. Trust In You sounds like old school Offspring and flies along. Then come the accessible hits in You're Gonna Go Far, Kid (catchy as hell) and Hammerhead (a solid rocker). A Lot Like Me opens with keys and is a slow number and has moments of Gone Away to it, but is not as good. Takes Me Nowhere got my foot tapping straight away. I had not taken any notice of this song before; not sure why, it is fun. Kristy… and Fix You are pretty standard ballad affairs. Stuff Is Messed Up is about as quirky as it gets here and it is pretty straight ahead rock with some cool lyrics. Let's Hear It for Rock Bottom is a breezy, 311-like number and Rise and Fall is a very good song to finish. A pretty consistent album with not as much variation as those preceding. Though, for me, too many slow songs and not the heights of previous albums. 4/5 |
| The Offspring | 0 | Ignition | Feb20. Second song (We Are One) is a pretty typical and catchy punk cry of unity, complete with 'Whoahs'. Kick Him When He's Down has its moments.Take It Like a Man is pretty catchy. Dirty Magic sounds like it is from the future (like 2012-ish :P). It has a bass-heavy, alternative rock sound. Burn It Up was the only other song I was familiar with here. No Hero has a cool chant in the chorus and LAPD is pretty scathing. Something from Nothing has that familiar, metallic riffing and closer, Forever and a Day also shows signs of things to come. Not a lot really stood out, but it is a more consistent album than their debut. 3.5/5 |
| The Offspring | 1 | ST | Feb20. So, I know Jennifer Lost the War pretty well (as it was a b-side to one of the Smash single I owned). It is still a pretty good song. I also enjoyed Elders. Crossroads has all the typical Offspring moment that they were famous for; noodling bass, biting guitar and chanted vocals. Beheaded shows some early humour from the band, albeit a macabre side showing their Misfits love. Then we take a big jump to the most serious song on the album. Tehran (later recorded as Baghdad) is a pretty cool song with some decent drumming and a catchy riff. I was pretty surprised when reading about this album, to find the last two songs were actually released in 1986. That's a long road before their hit Smash broke them and it is pretty cool to know people were playing this stuff through the mid-80s. I have not listened to this album in years and enjoyed it. It is better than I remember it, but still well behind what was to come. 3/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | Nine Inch Nails Album |
|---|---|
| 32 | The Fragile |
| 31 | The Downward Spiral |
| 19 | Broken EP |
| 19 | With Teeth |
| 16 | Pretty Hate Machine |
| 14 | Year Zero |
| 12 | Hesitation Marks |
| 7 | The Slip |
| 5 | Bad Witch |
| 3 | Not the Actual Events EP |
| 3 | Add Violence EP |
| 2 | Ghosts I-IV |
| 1 | The Perfect Drug EP |
| 1 | Watchmen Soundtrack Vol. 1 EP |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
My list (well, my reviews/CCs all in one place and in order):
| Nine Inch Nails | 3 | Broken | Feb20. Fondly remembered as my favourite Nine Inch Nails release (and then I hated Fixed). So, how does it sound now? Pinion is a great introductory instrumental into Wish, which is still brilliant and in my Top40 for 1992 songs (in a big year for my tastes). Last has a great, heavy riff in it. Vocals get even better in the second half. Cool song. Happiness in Slavery doe the loud/soft, harsh/poppy mix very well. I love the screamed chorus and then the riff that kicks in straight after each line. Gave Up is another solid track and the last round our a very decent EP. 4.5/5 |
| Nine Inch Nails | 5 | With Teeth | Aug18. I like this album. More rock? Less production than some NIN albums? Real drumming? Or just good songs? A bit of a combo I am sure. Feb20. Before this play through, I had 4 songs already in my #2005H100. Opening song, All the Love in the World follows a bit of a trademark I am noticing with NIN; start slow and slowing build up. Sometimes this takes too long, but just as often it is worth the wait. You Know What You Are? is biting and does not take long to get to the cool bits. I liked The Collector on this run through - has a few quirky moments. The Hand That Feeds and Only are cool as and very catchy. They have an almost disco-like beat (kind a like The Clash's Train In Vain) to hook you in. Cool vocals too. Love is Not Enough is solid, as is Every Day Is Exactly the Same, and both just got added to my #2005H100. The title track is one of the weakest here to me, and unnecessarily long. How cool is the bass in Getting Smaller? This is a cracking song. There are more slower, moody songs towards then end, and I enjoyed each of them. The songs are more definitive here than on The Fragile, but maybe it is less of a journey too; it does suit my tastes more. I enjoyed this again. 4/5 |
| Nine Inch Nails | 6 | The Downward Spiral | Nov19. Mr. Self Destruct isn't a bad opener, but 2nd song Piggy is quite boring. Heresy is quirky (which I like) and sounds like something from their debut album. March of the Pigs is of course a favourite. I love the frenetic, off-kilter drumming before the abrasive 'riffs' kick in. I liked Closer in the day - does not do it for me now. I did like the mid-album Ruiner and The Becoming on this play through - probably 2 tracks I had not taken much notice of in the past. I did not remember the subtleties of this album back in the day. I love how it goes from the harsh Big Man with a Gun (just as relevant today), into the slow but endearing instrumental, A Warm Place. I almost skipped into Reptile after its boring start, but this becomes a very cool, slow song with a lot of impact. The album has a few of these in second half though, including the brilliant and haunting Hurt. What a way to finish the album. One thing this listen did, was point out to me how one of the singers of Regurgitator sounds like Trent Renzor - that is something I never heard at the time. Not an always band for me, but in the right mood, this album is perfect. 4/5 |
| Nine Inch Nails | 2 | The Slip | Feb20. I liked 1,000,000 with its Spiderbait-like fuzzed out guitar and even the drum beat reminds me of Kram's style. Letting You is pretty weird in its sound and style, but I enjoyed it. The cool, disco-like drum beat returns for Discipline to hook you in. I like the droney music and guitars in Echoplex. Head Down is okay, then we hit a slow keys number that could have been on Ghosts I-IV if it wasn't for the vocals. It is a very electronic end to the album, though Demon Seed has some solid riffing and helps restore a rather disappointing 2nd half. I really liked the first half though - some return to rocking tracks with riffs. 3/5 |
| Nine Inch Nails | 4 | Hesitation Marks | Feb20. Okay, so going into this run I already had Copy of A and Everything in my #2103Hotterest100. Whilst I prefer NIN's more rocking albums, there is something about some of the songs here that 'get me in'. I've always found Copy of A pretty catchy. I just played it really loud at home on final listen, and the techno elements really do come out don't they? My kids were quite surprised to hear me listening to 'computer music'. Came Back Haunted is a pretty good follow-up too. Find My Way is one of the better NIN slow songs, but drags on just a tad too long. I can't explain All Time Low: it starts with some background howling guitars before turning into some laptop, quirky, dare I even say, funk, jam. Trent even sings in a high voice… then a deep bass kicks in. I should hate this - it is almost nightclub music… but I quite like it and can't explain why. The several change-ups during the song helps. Disappointed is in a similar vein, whilst Everything is a brilliant, breezy number (something I thought I would never say for NIN). Not a lot got me hooked in the second half. I liked parts of Various Methods of Escape and In Two. I can see why the fans like this album; it is almost as if Trent has mastered his art. But for me, I miss the rawness of earlier albums and spontaneity of Slip. However, there is no denying there are some excellent songs on this one. 3/5 |
| Nine Inch Nails | 4 | The Fragile | Feb20. The opening tracks are okay, but 2nd one could have ended at the 2.45 mark. We're in this Together was the only song I had 'thumbed' and it is still a good track. The title track is very interesting and I added it to my #1999Hotterest100. Just Like I Imagined is a pretty good instrumental. Even Deeper into Pilgrimage sounded like a soundtrack but did not do a lot for me here on their own. No, You Don't picked things up a bit before a bit of a boring end to album 1. I could easily question why this was a double album, but that's just because I am not a huge fan. If I was, I would appreciate a double LP more. I always want more songs from a band I love - but NIN are a sometimes band for me and this seemed long. Second album also starts rather slow until almost 3 minutes into The Way Out is Through; those few seconds of rawness were great, but then it's over. I also liked parts of Into the Void and Where is Everybody?. I noticed a lot of songs here start real slow and repetitively, then a couple of minutes in a cool change up occurs. I agree with others that this is good background music. It is also good mood music. If in that mood, then great, but still, long. Really hard to judge at this stage as I have only had 1 disjointed listen. 3/5 |
| Nine Inch Nails | 9 | Pretty Hate Machine | Feb20. I have always liked Head Like a Hole; it is embedded in my Top20 #1989Hotterest100. Though, I do seem to remember it sounding harsher/better than is does here. I had a single of this song, so maybe it was different, or I am recalling a live version. Terrible Lie I also remember and it is a pretty good song. I must have listened to this more than I thought, b/c several of the songs I remembered once I had heard them. Down In It is okay; it certainly is the sound the band Clawfinger adopted. Something I Can Never Have is a decent slow song. Sin is an upbeat number I liked. In all, not their best, but not bad either. 3/5 |
| Nine Inch Nails | 1 | Add Violence EP | Feb20. On first listen I would say Less Than and the chorus of Not Anymore save this from being complete background noise/music. Less Than does not start like something I would like, but develops into a pretty easy to like song. The Lovers and This Isn't the Place are both slow, key-driven numbers that would be ideal background music to some sort of brooding film. Not Anymore has some more abrasive sounds, but is quite restrained until the upbeat and cool chorus. Background World sounds like soundtrack music too, but quality background music. Form about the 4 minute mark the song is basically over and you get about 8 minutes of feedback loops. This EP is hard to rate too. I am starting where I have most of NIN later stuff, but I feel a couple of these could become favourites. 3/5 |
| Nine Inch Nails | 3 | Not the Actual Events EP | Feb20. I love the guitars of opener, Branches/Bones. It is good to see a return to some rock. The digital aspects of Dear World are front and centre, but it is an okay song if you get past the start. The fuzzed out bass in She's Gone is cool is not the best of songs. It is atmospheric though and probably captures the soundtrack essence of what it was recorded for. Okay, The Idea of You kicks in with a cool drum beat and backing alternative-rock-like guitar riff. I like the sound of this one, though the whispered vocals hidden under the mix I am unsure about. Burning Bright has a lot of interesting parts. In all a solid EP. 3/5 |
| Nine Inch Nails | 3 | Year Zero | Feb20. I had no idea about the concept for this album. After reading about Trent's ideas presented for the year 2022… holy shit, we are nearly there. The Beginning of the End certainly pulls no punches and is a cool song. I like the chanted chorus of Survivalism, but the track overall is too electronic for my tastes. In fact, most of the album went by with me thinking like this. Some, like The Great Destroyer end in big techno jams. Just not my thing. I had another play through and got the same lack of feels. I am sure if I connected more with the concept and listened more I might get it. 3/5 |
| Nine Inch Nails | 4 | Bad Witch | Feb20. Shit Mirror is a pretty cool start to the album. It apparently features The Cult's Ian Astbury, but his voice is so hidden in the mix there is no way I would have picked it without reading it was there. Ahead of Ourselves is a little repetitive, but sounds like older NIN with a drum loop, programmed music that kicks into gear for an abrasive chorus. I have no idea how to describe the instrumental Play the Goddamned Part other than to say it sounds like a building piece from a soundtrack. And the saxophone was a surprise. The start of God Break Down the Door starts as some techno, drum and bass mix, and if it was not NIN I'd have skipped from the start. As it was, it did not really grab me. Different though as they mix saxophone and Reznor sings in a 'lounge' voice. A little late guitar makes the song more interesting. I'm Not of this World sounds like some futuristic machine has just been left on and recorded. Over and Out starts as an upbeat electronic track, that again, if this was not a NIN album I would skip. The slow, David Bowie inspired vocals did not do it for me, but I am sure that is the appeal for other listeners. In all these last 2 tracks are too long. This is actually my least favourite album of the trilogy. 2/5 |
| Nine Inch Nails | 1 | Ghosts I-IV | Feb20. From the outset I have not got good vibes for this album. Everything I have read about it does not inspire me. 'Let's record and release everything'. Trent says it started out as a 5 track EP and expanded to 4 full albums of songs with song numbers and parts as their names. I am thinking I would have rather heard the original 5 track EP. I am 5 'songs' in now and have heard nothing but keys playing slowly. I agree with a review that says this is 'sonic wallpaper'. A drum beat starts in track 7. Track 35 and we get a little of a guitar riff I liked. This sounds like a collection of samples that have not been used yet. The kind of laptop jams you would take to the studio as possible parts of songs, but just released as is. Or little things to use as interludes on an album or live. I can understand an artist's need to do something like this, but I don't know how too many people would want to listen to this often. I think I pissed my workmate (who listens to metal and punk) off too, playing this at my desk. Pretty sure if this did not have Nine Inch Nails on it, it would hardly have been listened to at all. A few of the sounds on here are okay and some were annoying. Either way, there is nothing I want to be back for. 0.5/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | The Queers Album |
|---|---|
| 19 | Love Songs for the Retarded |
| 18 | Don't Back Down |
| 14 | Punk Rock Confidential |
| 11 | Grow Up |
| 11 | Munki Brain |
| 10 | Beat Off |
| 9 | Move Back Home |
| 6 | Pleasant Screams |
| 4 | Beyond the Valley… |
| 2 | Back to the Basement |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| The Queers | 1 | Punk Rock Confidential | Feb20. The first album I found of theirs on CD and purchased. I have very fond memories of this album. I played it a lot back in the day. Starting this listen I already have 7 songs in my #1998Hotterest100 from the album. It starts of on a better note than most of their albums. It seems all start with a song about a girl, but this one (Tamara is a Punk) is a cracker and I love songs that reference other bands. That goes into the brilliant Everything's OK which had its own EP prior to the album. I Didn't Puke is a rerecording of a song from an earlier EP, only this one has Joe on vocals instead of Wimpy; it still is not the strongest song. Mrs Brown, You've Got An Ugly Daughter is as catchy as crabs, even if you don't like the title, check it out for a lot of fun. It even adds some 60s-sounding keys (that return later in the album on Idiot Savant). The sugary-sweet 60s pop is present, starting with The Sun Always Shines Around You. And of course the follow it immediately with one of their abrasive punk numbers in Rancid Motherfucker. Next is the title song. It is so simple, but try not to sing along. Then back to another bobby number, the awesome Today I Fell In Love; what a chorus! Then we get the first of the covers, Pretty Flamingo (by Manfred Mann). The other is I Enjoy Being a Boy (The Banana Splits) which I spoke about on the preceding EP it was on. Both are fun covers. Like a Parasite (written with Ben Weasel) could well be the most catchiest upbeat original The Queers have a recorded. Of course there are some short punk tunes in between, but strangely (for me), they don't compare to the 60s-influenced catchy numbers. Don't Mess It Up Now is a lovely slow number before Sayonara Sucker is an appropriate end to the album. Getting clean allowed Joe to really focus on writing a full album, and for me this is their most consistent album. 5/5 |
| The Queers | 1 | Grow Up | Feb20. Obviously when Joe Queer reconvened the band there was a stronger focus on playing and catchiness. Opening instrumental, Squid Omelet is a cool surf-rock number. Good-bye California is a brilliant song and Burger King Queen is so much fun. Yes it is bubblegum pop-punk, but remains one of my favourite Queers tracks. (And at the time of writing this, is sitting #5 on my #1990Hotterest100!) Junk Freak is fun as it references other bands and channels The Damned. I Met Her at the Rat is a nice song and has sentimental value, given I also me my wife at our local, also nicknamed 'The Rat'. In between, we have some good tracks like Rambo Rat, early Ramones-like I Don't Wanna get Involved with You, which, yes goes beautifully with 'Now, I wanna sniff some glue.' ;) Boobarella is a slice of juvenile fun, as is Love, Love, Love (which Joey Ramone wanted to record and gave The Queers the song Slug in return). There is no doubt that this LP is disjointed; not surprising considering they recorded over 4 sessions with a revolving door of members, but the gems here are worth it. And it is my kind of stuff. 4.5/5 |
| The Queers | 0 | Love Songs for the Retarded | Feb20. I have very fond memories of this album. A Canadian barmaid that worked at our Irish local first lent me the CD. (Jennifer was later immortalised in Lazy Gene Theory's Goddess of Beer). I took the CD home and put it on cassette. I still have that somewhere. I played it over and over. This was the beginning of the band's association with Ben Weasel, Mass Giorgini and Lookout! Records. Before I even start this play through, I am going to single out 50s influenced Debra Jean for its sugary sweet goodness, and Granola Head for its humour - though hippies are likely to be offended. Both of those songs are in my Top10 1993 songs (and some amazing albums came out that year). Feeling Groovy is a fun positive song I have always liked too. Night of the Living Queers is their typical Ramones channeling. In between there are some short, fast, punk songs (You're Tripping, I Hate Everything and Fuck the World - which is also catchy); some more bubblegum melodies (Daydreaming); and some juvenile (some would say poor) attempts at humour (Ursula Finally Has Tits, Hi Mom, It's Me!). And yes, some of this may offend, but they point the finger at themselves too. Some of this album has not aged well and the LP could be shortened, but the gems are totally worth it. However, after these listens, I have it slightly behind Grow Up. 4.5/5 |
| The Queers | 0 | Move Back Home | Feb20. Whilst this album does not have the few absolute gems of their first couple of albums, I have always liked it. Yet, reading about it, it was amazing this record was ever made. I do agree with comments that it did not take the band forward. At the time the Ramones were saying Adios Amigos it was time for bands like The Queers to take the mantle, and had they produced a more polished album at this time, they might have made leaps forward like contemporaries and labelmates at the time. (Green Day had not long released Dookie to help pave the way). Anyway, after getting to the studio with barely a finished song, the album is a celebration in spontaneity and what can come from difficult times. I think it is a pretty solid album but they did miss a chance to evolve. They even refused to do extra takes and post production. That makes the album almost sound like a Ramones demo collection - which is still fine by me, but I wouldn't get beginners to start here. I do love how the album starts all snarly with She's a Cretin and ends all saccharine with Peppermint Girl. In between are a bunch of songs I really like, even if they are not my Top10 Queers songs. I have most songs 'thumbed'. 4/5 |
| The Queers | 1 | Munki Brain | Feb20. Nice to see them open an album with a catchy tune (Overdue), that is in no way offensive :) It is then into another one and probably the pick of the tunes here, Houston, We Have a Problem. It doesn't stop. Next up is I Don't Get It - a song I had not marked as a favourite until this play. Duke Kahanamoku (co-penned with Ben Weasel) brings back the surf-rock vibes in a cool way. The keys-driven I Think She's Starting to Like Me is unlike anything on any of The Queers previous albums. (Channeling a little The Beatles?) Then we are into the first of the covers, though many may not know who they are covering here; I didn't until i read about it. Girl About Town is a cool little song originally by Helen Love. Then we have another 'sequel song'. The Queers, Screeching Weasel and Green Day all wrote songs about each others' songs, but this time, it looks like The Queers are referencing NOFX with their Whatever Happened to Philthy Phil? There is some smoking guitars on this one, thanks to an Aussie appearance (Blackie from Hard-Ons). I Can't Stand Mad At You is almost 60s Motown, Doo-Wop, or something, I am not sure of the labels from this time. (It is a cover of country artist, Skeeter Davis. Tangerine (by Ben Weasel) keeps the old-sounding poppiness going, but picks the pace up a bit. You can't get much sappier than Something In My Heart, but I can't resist it either. I love the guitar break (not much of a lead); it sounds like the style Geoff Useless (Palmer) and the female vocals add another layer. I'm a Fool is another cover from a 50s song, the start of which will be familiar to most. The full-on punk songs have been rare here, but we get one in Monkey in a Suit and it is pretty cool. Then we finish with a tribute to the singer of band The Queers often cover. Brian Wilson, also with Marr sharing vocals, is a great close to the album. So many good tracks here. Even though few are among my absolute favourite The Queers songs, this album is so listenable. 4/5 |
| The Queers | 0 | Don't Back Down | Feb20. Guitarist JJ Rassler was invited back to help on this album and it shows. The guitars are fuller and he was the other big Beach Boys fan in the early version of the band. Still, I am not sure why The Queers often start their LPs with one of the most off-putting tracks. Get past that one and there are some brilliant pop-punk-surf-rock bumbers here. The catchy Punk Rock Girls would have been a better start to the album. (see if you get the Mr T Experience reference in the song). This second song is juxtaposed with the flat out I'm Okay, You're Fucked, a song I have always liked. Others in this vein from the album I like include: I Only Drink Bud. Even on these updeat punk numbers, the band still sound like they are having more fun here that in the past. Humour works better than anger for this band. Born to do Dishes is a self-deprecating example. There are a couple of sappy numbers that don't really work for me (Number One and I Always Knew) but there are others I love and highly recommend (like Janelle, Janelle and closing track I Can't Get Over You with the shared female vocals). Another Girl treads soundly between the pop and upbeat numbers nicely. The covers here are brilliant. Don't Back Down may be just a little too similar to the original but is fun, as is the surf-rock Side-Walk Surfin' Girl (originally by The Hondells). 4/5 |
| The Queers | 0 | Pleasant Screams | Feb20. Despite having a couple of my favourite The Queers tracks in Get a Life and Live It and Homo I would say I don't know this album as well as others. The first of those kicks off the album in a fun way and the humour continues in to See You Later Fuckface. Ben Weasel helped penned the latter as well as the sugary pop of next song, I Wanna Be Happy. (Just like The Ramones, a The Queers album would not be right without a song with 'Wanna' in the title :P). We have a strange punk tribute to Danny Vapid and then the two okay slow songs (the second of which is a The Choir cover). I enjoyed Generation of Swine and I Don't Want You Hanging Around; songs I have hardly paid any attention to in the past. With Gretchen Smear on vocals, the (Donovan cover, I think) You Just Gotta Blow My Mind is a whole heap of goodness. Debbie Be True is another 60s-garage inspired (Fantastic Baggies) cover done well. Molly Neuman finishes things off in interesting style. (You want interesting, check out Molly's achievements). In all, an enjoyable album, especially to start and end with a bit of a lull in the middle. 3.5/5 |
| The Queers | 1 | Back to the Basement | Dec17. A couple of tracks I am not keen on, but the belters more than make up for them. Feb20. Rollerdog is a cool, catchy surf-rock instrumental to break the ice before breaking into the fun title track; another song that references other bands :). The 3rd song, some might find funny, but I find it a throwaway and just wish it was not on here. Outta My Skull is a slow-paced rumbler that is fine, but doesn't really go anywhere. Pull Me Out Of It ups the pace a little and references a past song (Highschool Psychopath). Psychedelic Mindfuck had me from the first time I heard it and it is a trip still. I love the rhythm of this song so much. It is entrenched in my 2010 Top10. I Knew GG When He Was a Wimp is a little bit of fun for its references. It and I'm Pissed provide a couple of very short punk bursts, neither topping the minute mark, and neither making a big impression. The Queers always include covers, and this time they go back to one of their early and harder influences, Black Flag. White Minority isn't a bad cover, but they do better covers of more upbeat bands. Fucked in the Head picks things up again. I loved this one from the first time I heard it too. Everyday Girl is one of their slow, sappy numbers that I usually like, but this one just doesn't quite work for me - maybe it is the songs it is with (though The Queers have a habit of putting songs of varying style right next to each other). Not sure; at least this song pushes the album past the 20 minute mark, being only one of two that reach 3 minutes. So, I like a lot of songs, skip a couple and have three in Top25 songs on my #2010Hotterest100. I love the highlights, but just does not keep the consistency. I would have rated this higher off the top of my head, but can't place it above some of the other albums, now that I have had time to listen to them all together. 3.5/5 |
| The Queers | 0 | Beat Off | Feb20. This is one of the albums I don't know as well, even though I own the CD. Also, it should be one of my favourites, as legend Dan Panic played on this one. (Apparently Dan Vapid also recorded for the album, but his tracks were removed (by Ben Weasel). They also went for a straight ahead punk album (apparently at Ben Weasel's insistence)… but I don't think that was playing to The Queers' strengths. The Beach Boys' pop sensibilities is mostly missing from this album. Even a Shondells cover doesn't raise the sappiness to normal levels. A lot of songs here are fun, but few are real standouts. Going into this listen, I only had You Make Me Wanna Puke thumbed. Too Many Twinkies is a bit of a favourite, going on live albums appearances. It does finish with a bit of melody on All Screwed Up. If you like very early Green Day and bands like Screeching Weasel then this is for you. It just lacks the variety of other Queers albums. 3.5/5 |
| The Queers | 0 | Bubblegum Dreams EP | Feb20. Songs recorded during the same sessions for Don't Back Down. This EP preceded the album. At least they led off with the cool Punk Rock Girls on the EP. The other original song here, Never Ever is just as catchy and channels the band the covered on here. JJ Rassler's Beach Boys-loving presence is here too with a cracking cover of Little Honda - I prefer this over the Don't Back Down cover. The EP finishes with a okay The Muffs cover, but it is the weakest track here. Not that that means much, as this is a brilliant little EP. 4/5 |
| The Queers | 0 | Today EP | Feb20. I already have 3 of the 5 songs here in my #2001Hotterest100. This EP was added to Pleasant Screams LP in re-release. Yeah, Well, Whatever is a fun, upbeat opener and I Don't Wanna Go to the Moon is one of their slow songs. I like them both. We then go to straight punk song, I've Had It with Youwhich is the weakest song here, but is over in 1 minute. I'm the Boy for You is another 60s pop-rock number. Then we finish with a cracking cover Salt Lake City (The Beach Boys). In all, the perfect little mix of The Queers styles in 5 songs. 4/5 |
| The Queers | 0 | Everything's OK EP | Feb20. So, after the band split up over disputes over which label to join (inc. interest from 'Epitaph), Joe got new members and joined 'Hopeless Recordss' and released this brilliant little gem as their lead in to next album, Punk Rock Confidential. This is where guitarist, Geoff Palmer (Geoff Useless here) joins The Queers. (I really love Geoff's style. If you like old 60s sounding garagey stuff check out some of his many other releases. I love his solo stuff and The Connection). Everything's OK is a great slacker anthem to kick things off and this continues with the fun Get A Life and Live It Loser. In between is a song that rollicks along, but I don't listen to. Then the EP finishes with a brilliant cover of The Banana Splits' I Enjoy Being A Boy. Such fun (and the fact our band The Kevs covered a Banana Splits song helps with the reminiscing :P). A very enjoyable EP. No wonder two of the tracks reappeared on next LP. 4/5 |
| The Queers | 0 | Surf Goddess EP | Feb20. So this was recorded right after Beat Off! but the band and Larry Livermore of Lookout Records wanted to try some better production and overdubs. It certainly suits the Queers sound. Livermore later described it as one of his favourite Queers albums. The title track is a very catchy tune. It was penned with Ben Weasel (who also released a version with Screeching Weasel). The rerecorded Shondells cover is better and the Undertones cover, Get Over You, is very good. Quit Talkin' channels some good old rock'n'roll and garage rock - a sound they would pursue more on future releases. This EP might not be brilliant on its own but it paved the way for the band's future sound methinks. 3/5 |
| The Queers | 0 | Kicked Out of the Webelos EP | Feb20. This is an odd EP in the band's collection, as all the band members swapped spots. Joe doesn't sing here; instead Wimpy Rutherford sings with a nasally British accent. Still, the songs are better than on their first EP. Still sounds like bored and pissed-off teenagers, but the songs here are not overtly offensive, simply dealing with day-to-day (shitty) life. It seems that this tries to channel more Sex Pistols rather than the Ramones of their later albums. No song is longer than 1 1/2 minutes. This certainly is not for everyone. Maybe early Dead Kennedys fans might like some of this. The title track is catchy enough. Given 1984 is a sparse year for me, I have some of these tracks in my H100, but none reach great heights. I do like the simplicity of them though. Funny how they sing about a band member that moved to NY and then drove there to get him and record a song calling himself a wimp :P. 3/5 |
| The Queers | 0 | Too Dumb To Quit EP | Feb20. Again, Joe relinquished vocal duties for this one as it (and other EPs recorded at this time) were a bit of a reunion with Rutherford. So, the songs are a return to the very short, hard-hitting style. And they are back to singing about having Nothing to Do. Fuck You is quite to the point :P Didn't Puke has a great Ramones beat and I reckon the Cosmic Psychos would like this one. Bonehead sounds like a punk anthem straight out of the UK late 70s and has a cool bass line. In all, and interesting reunion, but prefer where Joe took the bad later. 2.5/5 |
| The Queers | 0 | Look Ma, No Flannel! EP | Feb20. This is another EP from the reunion with Wimpy Rutherford. Wimpy Drives Through Harlem is a fun song inspired by the trip the band took to pick up Wimpy from New York. I Like Young Girls sounds like something you would find on a Dwarves album. Nobody Likes Me has a cool beat. Of course with Wimpy involved this is more of a return to their earlier hardcore sound. 2.5/5 |
| The Queers | 0 | Beyond the Valley… | Feb20. The angst really returns for this album. Normally, I would welcome this, but I just don't think it suits these guys as much. I like their fun and humourous tunes. I guess that comes with writing with Chris Barrows (of the Pink Lincolns) and the return of Wimpy Rutherford for a couple of tracks. They are back to starting with a weaker track that I think might put people off. Little Rich Working Class Oi Boy is one of the better tracks on here. Each song seems to be having a go at someone here. Some songs here have decent sounds, but I simply avoid them due to the lyrics. I am sure you can guess which ones. I used to love Stupid Fucking Vegan but right now, I don't (and I removed it from my H100). In with the Out Crowd and I Wanna Know are decent mid-paced numbers, but still not up to similar songs on other albums. Journey to the Centre of Your Empty Fucking Skull is a lot of fun, especially if you are pissed off with someone, as is I hate Your Fucking Guts. Even Babyface is not up to standard for their poppy songs and the final few tracks are forgettable. 2/5 |
| The Queers | 0 | Love Songs EP | Feb 20. So, this is very early stuff. It sounds like a bunch of teens just trying to sound offensive - and succeeding. They have a cool, upbeat punk rhythm (and in the same year the Descendents released their debut album). First two about being bored and doing drugs. Next couple I don't even want to address and the band members have done so about their inclusion here. Nothing here I would recommend to anyone. 1/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | Orange Goblin Album |
|---|---|
| 13 | The Wolf Bites Back |
| 9 | A Eulogy For The Damned |
| 8 | Coup De Grace |
| 8 | Thieving From The Houses of God |
| 7 | Back From The Abyss |
| 6 | Frequencies From Planet Ten |
| 5 | Time Travelling Blues |
| 4 | Healing Through Fire |
| 4 | The Big Black |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Orange Goblin | 0 | A Eulogy for the Damned | Mar20. (Not on GooglePlay). Despite the YouTube version sounding quite flat, I love opener Red Tide Rising. Stand for Something has some real blues-rock about it and a riff Clutch would love. Acid Trial brings back some of the spacey sounds, but it has a memorable rhythm. The Filthy & the Few is a cracking song - the type they have not had on previous albums to lift them about the similar bands. This would feature highly on my #2004Hotterest100 if only it was on GooglePlay to put in my list. It is more upbeat and has a real Hellcopters meets Motorhead feel to it. Then they slow down for the gritty Save Me From Myself; a song I reckon ZZ Top would be proud of. The Fog brings back some sludgy, doom-laden riffs that totally suit the song title. The riffs are totally cool here and the song would make a great soundtrack song. (Maybe it was?) It has several pace and riff changes and cool, eerie lyrics. I could not find a copy of Return to Mars that would play - a pity, as I have a feeling I liked that one. Death of Aquarius has a cool, deep guitar tone and another one of their rumbling riffs. Bishop's Wolf also ups the pace with some Fu Manchu meats Hellacopters vibes and some cracking solo work by Joe Hoare. The title track is the final song here. Like their other albums it is a long song and this one invokes some of their earlier stuff with 70s-sounding guitar noodling. The pace starts slow with Tom Waits-like vocals and then kicks into heavy for the bridge and chorus. Another cool song. Clearly my favourite so far, but also could be because I know several of these. 4/5 |
| Orange Goblin | 0 | Back from the Abyss | Mar20. The album starts with two solid rockers. Sabbath Hex and Ubermensch. The latter is a really cool tune that references 'the Lord of the Flies'. The Devil's Whip is brilliant and Lemmy would love it. The vocals have certainly gotten easier to understand over the last couple of albums. This one has been the easiest yet to get in one listen. The only song I recall having heard here is Mythical Knives and it is a corker. It sounds like another ode to the Vikings, just as Heavy Lies the Crown was two songs earlier. But could also be some sort of weird Cthulhu reference too. We do have The Shadows Over Innsmouth on here too. (I recently read this Lovecraft tale ;)). This is an instrumental to finish the album too - not a long rack this time. Bloodzilla sounds like a dumb title, but the song picks up the pace and is a solid rocker. It has some gun guitar work on it. This is another very good album and shows that Orange Goblin are perfecting their sound. 4/5 |
| Orange Goblin | 0 | The Wolf Bites Back | Mar20. Kicks of with typical, big, fuzzed-out riffs in Sons of Salem. You will be chanting along to the cool chorus. Phil Campbell (of Motorhead) adds his axe skills to the cool title track, that pays pretty good homage to Phil's band. Renegade is also very Motorhead in sound and is one of my favourites here. Swords of Fire is almost an instrumental, with massive layered riffs going for most of the track before the vocals come in late. Ghosts of the Primitives evokes some Clutch blues-metal. The stripped back, bluesy, The Stranger is quite different. Campbell returns to help close out the album on the soaring Zeitgeist. I am so tempted to go 4/5 for this, but going conservative until I get to know whole album more. 3.5/5 |
| Orange Goblin | 0 | Time Travelling Blues | Mar20. Less 'spacey' in sound and a more straight ahead approach here than on last album. They have toned up the distortion and fuzzed out bass. I agree with with the 7SongsCup punter (@Mozarticus) that heard a bit of early Spiderbait here. Blue Snow certainly has that fuzzed out sound. Solisphere has its riffs but also gets down and bluesy in parts. I love the guitars towards the end. Shine does bring back the ethereal/spacey feel with just organ and guitar noodling away for several minutes before the riffs kick in. Diesel is an instrumental with dueling guitars that sound like The Sword. Snail Hook and Nuclear Guru bring some Sabbath heaviness. Lunaville 7 Airlock 3 sounds like Clutch in parts and then Time Travelling Blues takes us back to artists like Deep Purple. Everything here is good to very good; it just lacks the songs to take it to an awesome album. 3.5/5 |
| Orange Goblin | 0 | Coup de Grace | Mar20. From the get go this album seems more 'raw'. Not sure what it is; more distortion, production? Anyway, it really suits their sound, though the drums sound a little too flat on some tracks. I read The World Will Hate This made one of Tony Hawk's video soundtracks. Man, every time I hear some good music I read they were featured on those. I never owned any, but they would be great mixes. Monkey Panic is a cool rocker (and features Tom Davies of fellow stoner rock lords, Nebula). It has a very cool chorus. John Garcia (of Kyuss) provides vocals on Made of Rats (a slowish groover) and Jesus Beater (mid-paced rocker). Whiskey Leach has their typical fuzzed out riffs but the vocals are more punk, and even remind me of Death (the 'rediscovered' punk band from Detroit). Born with Big Hands is a lot of fun. The get all bluesy and Clutch-like on closer, Stinin' O' Gin. In all, another solid album. Monkey Panic and Born with Big Hands are my picks after a few quick plays. It is hard to truly judge and album until you really get to know it, so going conservative here too. 3.5/5 |
| Orange Goblin | 0 | The Big Black | Mar20. Scorpionica has a great guitar lead, but second Quincy the Pigboy is a better overall song with a fast driving rhythm. The lead breaks sure sound like Fu Manchi here. 298 KG is quite slow and sludgey, but Turbo Efflunt picks the pace up. Some of the slower dirges also remind me of Melvins a little. A lot of their best guitar moments come late in tracks. I am going to say this for several of their albums i am sure; some fantastic riffing throughout, but going to take time to get to distinguish songs. With few songs standing above the rest, this is hard. But I like all that I hear. 3.5/5 |
| Orange Goblin | 0 | Thieving from the House of God | Mar20. Kicks off with the cool riffing of Some You Win, Some You Lose. I liked the rest, it's just this song stood out slightly more than the rest. It's really hard to distinguish albums with these guys. They write consistently good songs but vary little in style. That does not bother me; they do what they do well, and I like it. It just takes a lot more listens than the time I have right now to truly distinguish songs from one another. I do know, I can come back and listen to this album at any time and I will enjoy it. 3.5/5 |
| Orange Goblin | 0 | Frequencies from Planet Ten | Mar20 Okay, so there are two tracks on here with Tolkien references. I am not sure why I am surprised given the name of the band and all ;) The album kicks of with some straight up rock in The Astral Project, though some organ kicks in to make it a little different. Magic Carpet opens straight out of the 70s with its fuzzy bass and noodling guitar before it kicks into a soaring riff. Saruman's Wish has a similar riff but with more whah-whah pedal. Instrumental, Song of the Purple Mushroom Fish is as trippy as its name suggests and sounds like it was recorded underwater too. Aquatic Fanatic reminds me of the later Orange Goblin that I have heard more of. Also has a Fu-Manchu feel to it. Land of Secret Dreams is sounds like a cross of Red Fang and The Sword which is a good thing. I enjoyed this album, but there wasn't any track that really hit me. 3/5 |
| Orange Goblin | 0 | Healing through Fire | Mar20. A bit more of a move away from stoner rock into metal maybe, but still very reconisable Orange Goblin. So, it is another riff-fest of mostly very good songs, but little really grab you. The guitar work in the second half of The Ballad of Soloman Eagle is good and the same goes for The Ale House Braves. The stoner riffing of Cities of Frost were a feature (and sounded like The Sword). Hot Knives… didn't do a lot for me. Hounds Ditch rumbles along at a faster pace but goes too long. Singer, Ben Ward, seems to have his real low growl back in abundance here. Continuing their trend the album finishes with a long song (Beginner's Guide to Suicide), but this one is more of a jam in parts and even the harmonica gets a run. Again, another solid album with lots of good to very good songs. Actually, I felt there were a couple not quite up to that standard on this one. 3/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
A Eulogy For The Damned
Frequencies From Planet 10
The Big Black
Back From The Abyss
The Wolf Bites Back
Thieving From The House of God
Coup De Grace
Chaotic Good: Governments should be afraid of their people.
| Votes | Black Sabbath Album |
|---|---|
| 47 | Paranoid |
| 34 | Master of Reality |
| 33 | Black Sabbath |
| 29 | Vol. 4 |
| 26 | Heaven & Hell |
| 25 | Sabbath, Bloody Sabbath |
| 15 | The Mob Rules |
| 6 | Headless Cross |
| 6 | Sabotage |
| 6 | 13 |
| 5 | Dehumanizer |
| 3 | Tyr |
| 3 | Born Again |
| 2 | The Devil You Know |
| 2 | Never Say Die! |
| 2 | The Eternal Idol |
| 1 | Technical Ecstasy |
| 1 | Fused |
| 1 | Iommi |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
My CCs for Black Sabbath albums in one place.
| Black Sabbath | 14 | Paranoid | Mar20. Has to have 3 of the most memorable and influential heavy metal songs in War Pigs, Iron Man and Paranoid. Each of them are built on massive and memorable riffs. I can't believe Paranoid was thrown together in the studio at the last minute. Planet Caravan is an interesting slow, spacey side-trek from the huge riffing. It is a mood song for me - in the right mood it is pretty cool, otherwise I skip it. Jerry Cantrell may have called Hand of Doom a masterpiece, but his band was clearly influenced by Electric Funeral too. Its wha-wha wha-wha-whaaah riff is almost repeated in Down in a Hole from Dirt. I actually have not listened to Hand of Doom that much, but I can see why people do love it. Cool song. Fairies Wear Boots is a decent ending to such an influential album. I love the fat riffing on here. Iommi was a genius on this one. For its time, this is a fantastic album. 5/5 |
| Black Sabbath | 7 | Vol. 4 | Mar20. So, this is the album when the band relocated to LA and got into the hard drugs. I honestly do not know this album going into this. Wheels of Confusion is such an interesting song. So many cool changes throughout. I don't often enjoy the longer tracks as much, but this is brilliant. Love Tomorrow's Dream. I have heard the slow Changes before, but never really attributed it to Black Sabbath. Bloody good ballad. More amazing riffing on Supernaut - I can see why it is a favourite among other artists. Cornocopia is much the same. I like the 70s rock of // St Vitus' Dance// - quite catchy and what a fun riff. Under the Sun a solid finish too. I have put all non-instrumentals bar Snowblind into my #1972Hotterest100. I enjoyed this album a lot. 4.5/5 |
| Black Sabbath | 8 | Master of Reality | Oct17. I can see how this is a main influence on stoner rock and even grunge. I enjoyed the fuzzed out songs. Will prob rate higher with more listens. Mar20. So, the quieter moments stood out this time through. Not because they are the best songs, they were just a surprise wedged between the heavy, drony tracks. Everything else is very down-tuned isn't it? The bass warbles. Iommi's riffs are awesome again, especially on Sweet Leaf - so memorable. After Forever is a solid rock song, as much Led Zeppelin as it is downtuned stoner rock. Children of the Grave had to be a major influence on heavy metal to come. Lord of this World was the track that grabbed me on this listen; it was not in my H100 for 71 - it is now. I love the groove Into the Void settles into. This is a cool song to end the album. Upping the score. 4.5/5 |
| Black Sabbath | 11 | ST | Mar20. So we open with the self-titled song from the self-titled album. Black Sabbath must have been a haunting track in its day. Starts all moody and then picks up the pace for some great playing to finish. I always liked The Wizard and its opening with harmonica, but it is the riff that gets you. The drumming is also a feature on this track. Evil Woman is pretty catchy all round. They sound like their contemporaries (like Led Zeppelin) on Sleeping Village. The long Warning did not do a lot for me, but Wicked World is a solid closer. N.I.B is my favourite here and clearly served as the direction for the next album, if not for heavy music in general. 4/5 |
| Black Sabbath | 3 | 13 | Mar20. One thing that has been pretty consistent throughout listening to all the Black Sabbath albums, is that they tend to open well. It is no exception here. The doom-laden, slow opening riff of End of the Beginning just says 'Sabbath!' This songs has several cool change-ups too. It seems to have more changes than the whole of the The Devil You Know album. God is Dead? is back to classic Sabbath sound on those early albums. Just listen to that bass. Loner is pretty cool and parts of it reminded me of Zombie Stomp. Brad Wilk's drumming style is all over Age of Reason. I did not know he was the drummer on this until reading about it on this play through. oh what a cool change in the song in the 4th minute. The crushing rhythm of Live Forever caught me from the first listen and it still sounds great. Iommi cuts lose in the second half. Dear Father has a little Motorhead-like fun. The second half is not as strong, but still nothing I did not enjoy and Pariah is a cool song to end on. So much more variety here and yet, still heavy an riff-laden. I didn't even find the long songs tiresome. 4/5 |
| Black Sabbath | 0 | Dehumanizer | Mar20. I am enjoying this more than previous albums (with Martin and Dio) and welcome the heavier sound. Dio is not doing that drawing out the last word of a line and the riffing has returned to more of a Sabbathy sound. There are still some widdly-diddly solos, but generally the playing is better (and not as mired in 80s sounds) here. They even sound 'fresh'. So, there was a lot of changing of the singer around this time (including Rob Halford doing some shows to finish the tour), but not a lot on why Geezer returned. Computer God is a cool opener (if only it did not have the cheesy slow part at 3 1/2 minutes). After All (The Dead) sounds like Sabbath - something that has been lacking in past albums. What a cool riff for TV Crimes - this one punches along and I really like the vocals here. Master of Insanity had a classic feel to it, Time Machine a cool chugging riff, and Sins of the Father was a stand out for me the first time I listened. Too Late has a wanky intro and parts, but also some of the best shredding on the album. I has a cool, moody intro and builds into a brilliant metal song. Buried Alive is a pretty cool final song too. It actually reminded me a little of Skid Row for some reason. In all, I really enjoyed this and was pleased to see the band had some of their darker mojo back. 4/5 |
| Black Sabbath | 7 | Sabbath Bloody Sabbath | Mar20. I thought I had listened to this album more and would know more tracks, but the only one I was truly familiar with was the awesome title track. Great kick start to the album (and sounds like the riff from it did literally kick start the writing to the album). Natural Acrobat has a riff that sounds like it is from one of their earlier songs. They seem to always have at least one song like Sabbra Cadabra on each album, where they just rock out and get their groove on. And then a crappy synthesyzer comes in and tries to ruin the song. Killing Yourself to Live is pretty cool - Kirk Hammet apparently loves this one and i can see why; Iommi really cuts loose here. A lot of change ups in the song. Looking for Today is an old school rocker too, but really could have done without that whole flute thing. The last song, Spiral Architect has its moments. Some more great riffs (of course) on this album but it looks like the band got caught up in the studio wankery rampart at this time. Synthesizers, flutes, etc. Still, some solid songs here. 3.5/5 |
| Black Sabbath | 5 | Sabotage | Mar20. Hole in the Sky is a rollicking, brilliant rock song. Symptom of the Universe continues the coolness. Megalomania has some cool riffs and moments, but did not need to be that long. The Thrill of It All is the song where they get their groove on on this album. Despite forging new paths, they still continue to have the big 70s rock songs on their albums. I can even hear a bit of The Who in this one - especially the upbeat drums and chants of, 'Oh yeah!' The operatic Supertzar did nothing for me, nor did the synthezier driven Am I Going (Insane). The Writ obviously pays kudos to bands like Led Zeppelin and is an interesting track. I actually felt the experimentation worked on this final track. Obviously the critics at the time were right into long, experimental jams and studio gimmickry, as the band were panned for their straight ahead, heavy rock on early albums and then critics started loving their albums when they 'experimented'. Not a lot of mention of them creating a whole new sound, unfortunately. Anyway, I have the opposite view (and it seems Ozzy did too). Still, I enjoyed most of this album. 3.5/5 |
| Black Sabbath | 2 | The Mob Rules | Mar20. Early on and I already like the sound of this more than the last album. It just sounds punchier - maybe it's the production? But Dio sounds more settled and doesn't seem to pull of as many vocal cliches here. A better mix of the old and new. It starts with Turn Up the Night which does continue the sound from Heaven & Hell, but I do like the rumbling riff and pace of the song. I was going to state how Iommi seemed influenced by bands like Van Halen here; he has some solo work reminiscent of those early 80s bands, but the shredding also sounds timeless in parts too. The classic, slow riffs return on this album, starting with Voodoo. The Mob Rules is a cool song. I am sure Slipping Away sounded like the 'new sound' at the time. Skip the first minute and a half of Falling Off the Edge of the World and you have a solid Iron Maiden sounding track. There are parts here I liked, but not a lot after the title track. Still, I prefer this over last album. 3/5 |
| Heaven & Hell | 1 | Devil You Know | Mar20. So after almost 10 years with the original Sabbath back together, the band did not release a new album and only did so when they went back to Dio for this one. And they finally got their way of naming the band something else. I gotta say before I start this: cracking album cover! The sludgey sound is back in the first couple of songs. I do not like some of the vocals on Fear. Another great riff drives Bible Black. There is a very good sound on here, and I like the return of the heavier sound, it's just the album seems a bit samey. A bit of a mix up in song lengths would have helped too. And sorry fans of Dio, but I just can't gel with his style of drawing words out. That said, there are some great moments on here and its Black Sabbath's best for many albums (other than Dehumanizer - which I enjoyed more). Iommi is sure on his game. 3/5 |
| Black Sabbath | 0 | Tyr | Mar20. The album is named after a Norse deity and other songs also feature Norse mythology, so this should at least be of interest. They open the album well again with the decent Anno Mundi (which I knew was Latin, but I can't also help thinking it sounds like a Star Wars character's name :P). The next two tracks, The Lawmaker and Jerusalem aren't bad either. I am enjoying Martin's vocals better here. Like Dio on his second album with Black Sabbath he seems to cut back the theatrics. I went past the Norse-referencing songs without much leaping out, except for Valhalla. It is a big soaring song with some awesome Iommi fretwork to take it out. Feels Good to Me is a ballad they band stated straight up was written to be the single. I did not dislike it as much as I thought I would. I have this on par or just ahead of last album (Headless Cross). 3/5 |
| Black Sabbath | 1 | Headless Cross | Mar20. Not a bad start - we have a darker mood and feel here. Title track isn't bad, but still with some of the cliches that crept in. Martin can howl, but again, I am not a fan of drawing out words at the end of lines. This is not a bad album, and it is better than the last, it's just that other artists were streets ahead at this time. 3/5 |
| Black Sabbath | 0 | Never Say Die! | Mar20. I read some reviews and comments from the band members themselves and the word 'confused' came up a lot. It is a good word to describe this album. It certainly sounds like members moving in different directions. There is very little of their heaving riffing rock; plenty of classic/soft rock, some jazz, some blues, some synthesizers, etc. The title track is a pretty good rock song, but still lacks any down-tuned riffing. The fuzzed out guitar is back for Johnny Blade but then the glam chorus and synthesizers kind of ruin it. Riffing at the end somewhat redeeming. Junior's Eyes has some really cool parts, especially Ward's drums. I like A Hard Road but it sounds like any other classic rock band of the 70s. It is not distinctly Sabbath. Shockwave sounds like a KISS impersonation. After that there was nothing that got my attention, though Ward's second go at vocals on Swinging the Chain was the best of them. So, a somewhat mixed bag but I still put the first 4 into my #1978Hotterest100. 2.5/5 |
| Black Sabbath | 3 | Heaven & Hell | Mar20. I know hindsight is easy, but I kinda agree with those that said they should have called themselves Heaven & Hell from the start. This is NWOBHM for sure, but little remains of the old Black Sabbath. Even a lot of the lyrical material is different. Not saying that is bad - this just doesn't sound Sabbathy to me. I like the upbeat opener Neon Knights - it even starts with a Ramones-like beat. Who would have thought? Children of the Sea is equal parts okay and equal parts some of the worst 'Oohs & Ahhs' of 80s metal. Same with Lady Evil. The title track is slower, old school Sabbath, but also, those 'Oohhs, Ahhhs and Yeahs'. Remove those and you have a cool track. Cracking riffing. I like Wishing Well. Walk Away is Deep Purple style rock, which is good. I am not a huge fan of metal singers of this time and songs like Lonely is the Word are the main reasons for my dislike. As confused as Ozzy's last album was with Black Sabbath, and as much as people saw this as a great return, when it comes to songs, I don't hear anything here that elevates it above Never Say Die!. 2.5/5 |
| Black Sabbath | 0 | Born Again | Mar20. I read about each album when I listen to a discography. Of note on this album is Ian Gill Gillan (of Deep Purple) took on vocal duties and original drummer, Bill Ward, returned for his last album. Consensus was Gillan was good but his style did not suit Sabbath's. His wails are a little odd, but I like his enthusiasm. He really throws himself into opener, Trashed - a track I liked. He slightly overdoes it in parts of Disturbing the Priest. Zero to Hero is a pretty cool song and Iommi cuts loose in the second half. A lot of the change put on Ian, but did the band adopt to suit his style? We don't get any real Sabbathy riffs until Digital Bitch and even it is sped up like later releases. Hot Line is a bit of fun, and very 80s! Strangely, the session track, The Fallen sounds the most like Black Sabbath. Undecided at this stage, but did not dislike it. 2.5/5 |
| Black Sabbath | 0 | Cross Purposes | Mar20. So, we go from an album Dehumanizer that I remember seeing everywhere to an album I did not even know existed. It's a pretty cool cover too. They don't seem to have done a lot of work promoting the Martin albums. Opener, I Witness is okay, but we see a return to the 'classic rock' sound - not the dark Sabbath sound that made a welcome return on last album. Cross of Thorns brings back some of the worst of the 80s sounds again: soaring, over-emphasised choruses, those slow, purposeful drum-fills, etc. Psychophobia drops the band back a decade to the mid-80s too, though it has more of the sounds I like and the second half builds into a cool rhythm. Wow, Virtual Death really channels some Alice In Chains: slow, moody, double-vocals, guitar tone, etc. Dying for Love is one of those schmaltzy tracks you would find on bad Soft Rock Ballads compilations. The Hand that Rocks the Cradle is no more inspired, but does include some ripping guitar work. I listened to this in the background several times. It sounded okay, just not a lot standing out. Middle of the road rock. Favourite would be Psychophobia. 2.5/5 |
| Black Sabbath | 0 | Technical Ecstasy | Mar20. Okay, so they tried to stay modern on this album. This meant blending a lot of sounds, at the cost of their good old doom-laden rock and riffs. Just the opening song seems to jump several genres sounding like The Who one moment, KISS and Survivor the next, then an odd vocal style for the chorus. Soft rock You Won't Change Me kind of sounds ironic as it sounds like a band changed to me. Iommi's solos towards end are the only redeeming feature. It's Alright is terrible. Gypsy has an okay riff hidden in a shonky, keys-driven track with cliche backing vocals. All Moving Parts (Stand Still) has an almost funk vibe and sounds like radio pop-rock. Not a terrible version of that style, but still, on a Black Sabbath album? Rock 'N' Roll Doctor is almost saved by having a toned down Motorhead feel, but is also too much something like Bad Company (not at their best). Who knows, had this had a name like Bad Company on the cover, this might have been huge. It's a pity for those that supported the band's heavier roots, that they moved away though. Seems such a shame after creating something unique. Ballad, She's Gone did nothing for me. They prove to the masses they can play on Dirty Women and it has its moments - but they are more like Deep Purple moments. 2/5 |
| Black Sabbath | 0 | Forbidden | Mar20. Okay, so I did not even know this album existed. I don't remember seeing the album cover anywhere. Not sure what is going on in the first song, The Illusion of Power. We have some Ice-T involvement, but this song just sounds confused. Who are they trying to be? Why don't they go back to just being Black Sabbath? Rusty Angels starts with an interesting, almost Soundgarden guitar part. Get a Grip has a solid chugging riff and some good moments. Same with Shaking Off the Chains, though the vocals seem weak. I Won't Cry for You is that crappy, AOR track they seem to have to include to aim for radio play, but that boat left years ago! I see Geezer was out again for this. Some of the production is ordinary; the drums sound like cardboard boxes at times. Not sure how I can go on writing Iommi does some masterful stuff, but the songs are just mediocre. 2/5 |
| Black Sabbath | 0 | The Eternal Idol | Mar20. Stupid album name and cover not much better. Why were these guys going backwards at a time when metal and even rock like Aerosmith was making a comeback. I am sure a return to their original sound during this time would have been huge. They were clearly aiming for mainstream exposure, but going the wrong way about it. There must have been a lot of confusion around their sound; the list of people that came and went leading into and during the recording of this album is headspinning. Two different vocalists recorded the songs with 2nd man's, Tony Martin's, being used. Again, not a bad vocalist, it is just there is little Sabbath sound on here. This is better than the last album, but just so generic. Nothing blows you away. I got through this once. I just don't have the interest to give it another go. 1.5/5 |
| Black Sabbath | 0 | Seventh Star | Mar20. Who the hell was advising Iommi at this time? No wonder the others left. Whilst all the metal bands inspired by Black Sabbath are releasing their best albums, this band is regressing to a uninspired 'classic rock' sound. This album has all the hallmarks of the 80s popular rock that I loath. In for the Kill is an okay start, but single, No Stranger to Love is terrible! Remove all the effects and focus more on the driving riff of Turn Into Stone and it isn't a bad song. There is some good guitar work over a basic blues back beat on Heart Like a Wheel. Then back to horrible, cheesy songs to finish. So, this was not meant to be released under the Black Sabbath name either - and should not have been. Glen Hughes has a solid voice, but this style of music does not gel with me at all. 1/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
| Votes | Megadeth Album |
|---|---|
| 82 | Rust in Peace |
| 62 | Peace Sells… But Who's Buying? |
| 49 | Countdown to Extinction |
| 34 | So Far, So Good… So What! |
| 19 | Killing is My Business… And Business is Good |
| 16 | Youthanasia |
| 13 | Cryptic Writings |
| 13 | Dystopia |
| 10 | United Abominations |
| 8 | The System Has Failed |
| 7 | Endgame |
| 3 | Super Collider |
| 2 | Th1rt3en |
| 1 | Risk |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
Putting all my CCs together for ease of ranking.
| Megadeth | 5 | Countdown to Extinction | Apr20. Whilst many might lament the simpler approach to songs on this album, I for one, did not. Skin O' My Teeth, with its punkish brashness, could well be my favourite Megadeth song. I love the staccato, buzzsaw riff in Symphony of Destruction. Well, the whole song is very good. This continues with the very cool Architects of Aggression with its almost Helmet-like riffing. I love the brooding build up to the cool chorus of Foreclosure of a Dream. Who doesn't like the heavy swagger of Sweating Bullets? Great song. Another awesome riff in This Was My Life. The title track is mostly restrained but is a cool song. Nothing wrong with the last two tracks either. This seems to be the album where the guys realised you don't have to go flat out all the time. Metalheads probably feel they could have cut loose a little more, and that may be true, but for me, this has always been my favourite Megadeth album, and listening to that again, nothing has changed. This would make my Top10 metal/thrash albums. Without batting on about it, I also like the socially aware lyrics throughout the album. 4.5/5 |
| Megadeth | 3 | United Abominations | Apr20. I have played through this several times and am having trouble singling out tracks, as I liked it all the way through. There is a cool pace to this album. It is not flat out thrash, but a really fun tempo and faster than their 90s albums. I also like the political lyrics here. Sleepwalker is a cracking start. Washington Is Next is solid and scathing. Never Walk Alone… starts all-alternative rock riffing, but the shredding appears later. The title track builds and settles into a mid-tempo rhythm and thick riff. It just doesn't take off - I was expecting it to build further. Gears of War also takes the slow build-up into a cool riff approach. The drums are prominent on this track. Although not flat out shredding, the last minute and half is guitar work. Blessed be the Dead starts out sounding like a cool ACDC song. It also builds slowly into another cool riff. There is something retro sounding about this song and you get some shredding in second half. Sounding repetitive, I know, but I love the riff in Pay for Blood too. Some cool solo work on there also. I was dreading another version of A Tout le Monde and feared with the added female vocals they would be heading for even more of a ballad version, but this is the opposite. The pace is picked up and it sounds better than the original. You're Dead might not be the best song here, but you get to speedy, technical playing in this track. Burnt Ice is a cool finish. I like the vocals on this one. Lots of change-ups in the guitars too. I know from here on out I am going to differ from the fans of their old stuff, but being more riff-based, I really enjoyed this. 4/5 |
| Megadeth | 4 | Distopia | Apr20. There is something 'fresh' about this album to me. A cool, new art-style (almost photographic) on the cover; a clear new sound and production; and a freedom to try what they like. Fortunately, for many fans, they have some solid shredding back on here, but even the riffs and drums sound inspired. The Threat I Real is another cracker of an album starter, that leads into the solid run of Dystopia (the kick drums get a workout here) and a favouite of mine, Fatal Illusion. I love the changes of pace in this one and the riff seems modern, yet still Megadethy enough to please the old-schoolers. The album loses me a bit through the middle, especially the American-centric lyrics. Going into listening to all Megadeth albums, I was sure this would be Top7, but not sure now. Some of the xenophobic lyrics really put me off, despite the cracking sound. The Emperor was one of my first favourites and still is and at least shows Dave can take a fun approach. Rounded out with another punk cover, which, i think is better than their Anarchy… cover TBH. 3.5/5 |
| Megadeth | 1 | Youthanasia | Apr20. Surprised this only received 1 vote in our #1994Albums run. After an initial listen, I found it hard to spotlight any songs. I played the album several times throughout the day, but I was doing other things and it is still not enough to get to know the album well. But I went from not thinking much of it to quite liking it, which means it could be one of those 'grower' albums. They have certainly dropped the pace on this album, which suits my tastes, but maybe the went a little too far and the tempo seems be similar throughout. The first track to emerge for me was clearly Train of Consequences; I really like the chugging riffs and vocals on this one. I liked the songs either side of it. I could not make up my mind on A Tout Le Monde; parts of it I liked, parts I disliked. Loving my mythology, Elysian Fields appealed to me. Not a bad song. The Killing Road is a pretty cool song, I assume is about being on tour. Family Tree has a nice, brooding feel to it. So does the title track. I Thought I Knew It All is also a cool song. I am just glad I did not rush this album. After several listens, it is really growing on me. I liked practically all tracks, and it helped none of them went forever. Not many peaks and troughs but a consistently good album. 3.5/5 |
| Megadeth | 8 | Peace Sells… But Who's Buying? | Apr20. I already had Wake the Dead and the title track in my #1986Hotterest100. I think the title track is by far the best song here. I love the opening riff and grating vocals. Devil's Island isn't bad but a tad repetitive for its length. Other songs growing on me, especially My Last Words. The cover of I Ain't Superstitious didn't really appeal to me. Solid album. I have it on par or slightly above their debut. 3.5/5 |
| Megadeth | 0 | Super Collider | Apr20. So, unpopular opinion it seems, but I liked this album. Before this listen, I had 4 songs in my 2013 H100 list. (Admittedly, some are high up and not in actual 100). I liked Kingmaker, but really like the melodic Super Collider. Yes, it is not thrash, but it is my sort of rock-metal. I am not sure if it is songs like this that has brought the ire? I understand if people don't like songs like Burn! though ;) A bit cheesy. And now I listen to it again, so is Built for War, a song I initially liked. I love the rumble of Off the Edge - has an Alice in Chains feel to it. The second half of Dance in the Rain certainly goes up a notch; some good riffs and shredding. I am not sure about The Blackest Crow, but if it was on a Volbeat album, it would be just another country-infused rock song like they do. Forget to Remember is interesting. I love the moment the guitars, then drums kick into Don't Turn Your Back… which is a solid song. No, not their thrash metal by a long way, but a song I like listening to.Cold Sweat is one of their better covers. In all, a pretty enjoyable album from where I sit. 3.5/5 |
| Megadeth | 2 | Th1rt3en | Apr20. Sudden Death is a pretty solid starter, then it's the two songs I already had 'thumbed': Public Enemy No.1 and Whose Life (Is It Anyways?). Both crackers I still like hearing. We the People is a slower, thick riff sort of song that I also like. I like the call-to-arms chorus too. Guns, Drugs & Money grew on me and I loved the fast riffing of Never Dead. This was the stand out song for me on this run. There are a few good songs between here and the end. 13 is a very good song to finish. I thought I would like this album more, but it took a few listens to get into the groove past the first few songs I knew. It's still a sound I would come back to. A good mix of the old metal and newer sounds, and just good riffs; kind of like there is a little of every phase of Megadeth on here. Maybe not enough shredding for some though. 3.5/5 |
| Megadeth | 1 | Endgame | Apr20. Oh, bless Megadeth; even though the heavier, metal edge is back stronger here, they still don't feel the need to drag song lengths out. This album still comes in well under 1 hour with only the title track topping 5 minutes. Dialectic Chaos is a very good opener and I love the fast riff this one settles into. It is basically a full on shredding 'intro' to the album that leads straight into the flat-out This Day We Fight! The staccato riffing of 44 Minutes appeals to me. 1,320' could well be my favourite song on the album. I like the pounding drums and fast riff. I liked the chugging riffs of Bit the Hand and The Right to Go Insane. I tune out a bit through the middle. Title track goes too long and the ballad does not appeal to me at all - who would have thought Disney would steal lyrics from a Megeadeth song. Head Crusher immediately gets my attention again with its frenetic start and it is a good finish from there. 3.5/5 |
| Megadeth | 4 | Killing is My Business… and Business is Good! | Apr20. The piano intro (Last Rites) that leads into Love You to Deth is quite an interesting start to the album. I like the riffs in this opener too. The title track, which is pretty good, flies by with expert execution. Same with Rattlehead, the song about their logo. I really like the rumbling Mechanix and now I need to listen to Metallica's The Four Horsemen. Some very good playing here, and whilst some can them, I don't mind Mustaine's vocals. I am just not a massive thrash/shredding fan, but this is winning me over. 3.5/5 |
| Megadeth | 8 | Rust in Peace | Apr20. I have already 'favourited' the two opening tracks (Holy Wars… and Hanger 18), but these are well-known classics and I am sure everyone knows and likes these two. Let's see what else grabs me on this listen. Take No Prisoners and Five Magics don't really do it for me. I love the fast riff that Poison was the Cure settles into. The title track is pretty good. I am going to be crucified for this, but I don't see the big deal in this album. It must be about the awesome playing, but as a complete album I don't see it as stronger in songs that the preceding Megadeth albums. Clearly real metalheads hear a lot more in it. Saved by the two brilliant openers for me, though Poison the Cure was my favourite this time through. 3.5/5 |
| Megadeth | 3 | So Far, So Good… So What! | Apr20. I don't really know this one. Not that I really know any Megadeth album in full, but I am very unfamiliar with this one other than the cover of Anarchy in the U.K, which I like, but it is not the best. Instrumental opener Into the Lungs of Hell is a cool riff and had it been cut in half could have served as an introduction into the first song. I like the shortness and simplicity (as far as Megadeth can keep things simple) of 502; great intro. In My Darkest Hour is obviously a favourite here and it is a good track, but it could have been trimmed and not appealing enough for me to include in my #1988Hotterest100. I like the almost punk punchiness of Liar. I liked the story behind the lyrics of Mary Jane and Hook in Mouth, but I could not quite pick up on the lyrics and the songs weren't highlights, but not bad. Decent album, but not up to first two, for me. 3/5 |
| Megadeth | 2 | World Needs A Hero | Apr20. I did not really know of this album. Disconnect is a straight up rock-metal, solid start. Here's the thing about writing these CCs with only hearing these albums for the first few times. Yesterday I did not really like the title track of Moto Psycho. Then today, I crank the album up again and I am digging them. Recipe for Hate is not a Bad Religion cover, unfortunately. It is worth hanging in there for the shredding in last third of the song. Not really much else through the middle of the album until Dread & the Fugitive Mind. I am not sure if this is liked by the fans, but it is a pretty cool track with several changes in it. Return to Hanger is interesting and I like when bands continue a storyline. One thing I have enjoyed about going through Megadeth albums is that they did not follow contemporaries and do really long songs. The 9 minute When is a solid reason why they should not. Not worth the time. Another decent album without blowing me away. 3/5 |
| Megadeth | 2 | Cryptic Writings | Apr20. Alright, first things first. One thing I have always liked, is Megadeth's album covers. This cover is so uninspired and boring. Next, I am not the biggest thrash fan, but that is where this band cut its teeth. There has been a steady move towards accessibility, whilst retaining their bite. This peaked with Countdown to Extinction and Youthanasia still had the harder edge in parts, but have they tipped into the 'too far' range? I knew it was coming with the next album, but I fail to see how Trust, the opening song here, is Megadeth's highest charting single. I did not hate Metallica's Load era, but nor did I love them. They are okay if you just go into them as 'hard rock' albums and not 'metal'. Maybe I need that approach here. I also did not like a lot of the vocal effects and added backing vocals in some tracks. Fortunately, there are still some very good moments on here. I really liked Almost Honest, the chorus is kinda fun. Use the Man ends really well with wailing guitars. Mastermind was kind of annoying in parts. I didn't mind Have Cool, Will Travel and She-Wolf. Not much stood out really, not that this is a bad album. It certainly got better with a few listens. 3/5 |
| Megadeth | 0 | Risk | Apr20. So, it is not just bands today 'doing something different' and being 'experimental' by doing what everyone else is doing. Clearly Megadeth were going for something different to what they had done, by trying to do what everyone else was doing… and poorly. Sounds like they should have listened to new drummer and 'risked' going back to a harder sound. That's clearly what Megadeth fans wanted. I am not sure I agree with Dave that this would have sold if it did not have Megadeth on the cover; sounds like that is the only reason it sold any copies. I'm glad they realised this and went back to 'their' sound later on. They open all Nine Inch Nails meets Rob Zombie for the average track Insomnia. Prince of Darkness is heinous and despite me liking the almost-disco beat opening Crush (as it reminded me a little of The Clash) the song devolves into a terrible example of bad backing vocals that died a decade before. Critics called Breadline modern rock, but to me it sounds more like it is influenced by 60s-70s AOR. In fact, the early rhythm of the song reminds me of a huge hit from then… but I can't recall the name. I'll Be There does not sound like Megadeth but is not a bad slow-mid tempo song. Oh crap, I just wrote this and then the song went downhill and all cheesy as hell. Stop the song at the 3 minute mark. Dave is right, Wanderlust is a pretty well-written song, it just sounds like Bon Jovi recorded it. I quite liked it. Seven has a cool boogie to it. Time's acoustic guitar sounds okay, but the rest of the song is cheeseball, right down to those well-timed, cliche, slow drum fills. Hmm, what to say. It has a few moments, but they completely lost direction here. 1.5/5 |
“It is amazing what you can accomplish if you do not care who gets the credit.” – Harry S. Truman
