Kingcrimsonprog

Jimmy Neeson
MMA Special Collaborator · Error & Omissions Team
Registered more than 2 years ago · Last visit 3 hours ago

Favorite Metal Artists

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743 reviews/ratings
MASTODON - The Hunter Progressive Metal | review permalink
MASTODON - Crack The Skye Sludge Metal | review permalink
MASTODON - Blood Mountain Sludge Metal | review permalink
MASTODON - Leviathan Sludge Metal | review permalink
MASTODON - Live At The Aragon Sludge Metal | review permalink
AMON AMARTH - With Oden on Our Side Melodic Death Metal | review permalink
AMON AMARTH - Twilight of the Thunder God Melodic Death Metal | review permalink
AMON AMARTH - Wrath of the Norsemen Melodic Death Metal | review permalink
AMON AMARTH - Surtur Rising Melodic Death Metal | review permalink
ANNIHILATOR - Live at Masters of Rock Thrash Metal | review permalink
ANTHRAX - Worship Music Thrash Metal | review permalink
ARCHITECTS - The Here and Now Metalcore | review permalink
BRING ME THE HORIZON - Suicide Season Metalcore | review permalink
CARPATHIAN FOREST - We're Going to Hollywood for This Black Metal | review permalink
CHIMAIRA - Chimaira Groove Metal | review permalink
CHIMAIRA - The Infection Groove Metal | review permalink
CHIMAIRA - The Dehumanizing Process Groove Metal | review permalink
CHIMAIRA - Coming Alive Groove Metal | review permalink
CLUTCH - Live in Flint, Michigan Hard Rock | review permalink
CLUTCH - Blast Tyrant Hard Rock | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Hard Rock 98 4.11
2 Traditional heavy metal 93 3.99
3 Thrash Metal 89 4.22
4 Groove Metal 49 4.44
5 Power Metal 49 4.14
6 Metalcore 46 4.39
7 Death Metal 34 3.74
8 Nu Metal 33 3.98
9 Stoner Metal 31 4.19
10 Progressive Metal 29 4.26
11 Industrial Metal 24 3.94
12 Alternative Metal 22 3.77
13 NWoBHM 18 3.72
14 Sludge Metal 17 4.59
15 Doom Metal 15 4.23
16 Melodic Death Metal 11 4.41
17 Hardcore and crust 11 4.14
18 Metal Related 9 4.33
19 Non-Metal 9 3.83
20 US Power Metal 8 3.94
21 Glam Metal 7 3.36
22 Gothic Metal 7 3.14
23 Proto-Metal 6 3.83
24 Black Metal 5 3.90
25 Atmospheric Sludge Metal 4 3.38
26 Speed Metal 4 3.00
27 Symphonic Black Metal 4 3.00
28 Grindcore 3 1.83
29 Melodic Black Metal 3 3.67
30 Death 'n' Roll 2 4.50
31 Funk Metal 1 3.50
32 Deathcore 1 3.50
33 Technical Death Metal 1 4.00

Latest Albums Reviews

FLOTSAM AND JETSAM No Place for Disgrace

Album · 1988 · Thrash Metal
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No Place For Disgrace is the sophomore full-length album by the cult US Thrash Metal band Flotsam & Jetsam. It was released in 1988 as their old bandmate Jason Newstead was working on Metallica’s …And Justice For All album.

The Phoenix, Arizona band’s musical style here is mostly more or less a direct continuation of that found on their fondly remembered debut album Doomsday For The Deceiver. Its quickfire but not Slayer levels of fast. Its not succinct but never progressive. Its got melody but isn’t overly sugary or radio-pleasant. It reminds me a little bit of Death Angel’s The Ultraviolence at times.

Highlights include the Title Track, especially when it breaks down to a soft section where singer Eric AK describes a man killing himself via hari kari (hence the album’s artwork) as well as the brief instrumental ‘The Jones’ and ‘I Live, You Die’ which is perhaps the fastest song on the album and has some of the finest guitar work.

On an interesting note, there is a rather odd decision here to cover Elton John’s ‘Saturday Nights Alright For Fighting’ which does hold some gimmick value but doesn’t really match the rest of the material.

Compared to some of the more famous bands like Exodus or Anthrax or Overkill or Megadeth, Flotsam & Jetsam are maybe lacking something in character, however they are far from the most generic or forgettable band to play Thrash. A possible exception to this would be the very fun, PMRC-baiting track ‘Hard On You’ which is arguably the catchiest track they’ve made to this point. For me this track, as well as the improved production job, arguably tip this album over their debut, which admittedly was more charming than this at least.

If you like Thrash and want to try something less obvious, this is definitely worth checking out. If you are interested in the band, this is definitely the first album of theirs I’d recommend for you check out (unless you’re just in it for the Newstead connection in which case although some songs were still co-written by him here, the debut he actually plays on is the more obvious way to go).

ANTHRAX Live: The Island Years

Live album · 1994 · Thrash Metal
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Live: The Island Years is a live album by the American Thrash Metal legends Anthrax, it was released in 1994 as a sort of finale or closure of the band’s successful and critically acclaimed Joey Belladonna era, as the band had recently started a new era with John Bush.

It is not one continuous concert all the way through but rather it is two sections; firstly the soundtrack to their Live Noize video, recorded in concert in California in 1991 and then there is a second section which was recorded for radio in New York, live in the studio, added on at the end. You can think of it as two shows cobbled together or you can think of it as them adding some extra value for money onto Live Noize… its up to you.

It is a bit jarring the change between one show and the next, and again the change in sound between the two recordings and productions and mixes, but this is still less jarring than one of those live albums where there’s a different show from a different city as every track, and you do get two well flowing shows in and of themselves.

In terms of track listing, there’s two tracks from their ‘Killer Bs album (A Kiss cover in ‘Parasite’ and the smash hit Public Enemy cover/collaboration ‘Bring The Noise’ fleshed out by Flava Flav who guests here singing part of his own ‘Too Much Posse.’). There’s also one Neil Turban era tune in the form of ‘Metal Thrashing Mad’. The rest of the material is drawn from their four Joey Belladonna era albums. There’s thirteen tracks in total, although annoyingly Spreading The Disease era gem ‘A.I.R.’ is for some reason randomly split across two tracks in an awkward way, which also makes the track order on the back wrong as it doesn’t take this split into account. There’s still thirteen songs however because ‘Too Much Posse’ is not on its own track by itself.

I guess you could complain that four of the tracks are covers (if you are counting ‘Too Much Posse’) or that maybe some of your favourite songs aren’t included but then that’s offset by having a lot of the big singles and concert favourites from Among The Living and Persistence Of Time such as ‘Caught In A Mosh,’ ‘Indians,’ ‘I Am The Law,’ ‘In My World’ and ‘Keep It In The Family’ and a few surprises too. (Hey, who’d have expected a deep cut off of State Of Euphoria? But the album closes with ‘Now Its Dark’).

That’s some great live Thrash Metal from such a classic band during their golden period. In terms of performance, things are accordingly entertaining. Its got a great live feel and isn’t slick or heavily overdubbed and squeaky clean. It feels fun and raw and realistically live (without sounding rough or ramshackle either by the way). The guitar solos have a real energy and aren’t exactly the same as on the albums, Joey singing Neil’s song is interesting, the band having fun geeking out to Kiss is interesting, its all got a sort of atmosphere of fun. I guess they were the band who were noted for always laughing and for example dressing up in beach shorts instead of making themselves grim and serious.

Yes it came out a bit too late and might’ve appeared either like a cash in or like a snub to the Bush era to some fans. Yes, the packaging may seem a bit rushed and cheap. Yes it is two shows mashed together and one of those is in a studio not a proper concert. Yes, 30% of the setlist wasn’t written by Anthrax. However if you like Anthrax and want to hear the band live back in their heyday its still an absolutely worthwhile addition to your collection. There’s some great tunes, some fiery performances, a fairly decent amount of content and a more than adequate live sound job. I feel it does a good job of sitting as a nice full-stop on the Belladonna era.

There are better Anthrax live albums available nowadays; Music Of Mass Destruction (with Bush circa We Have Come For You All) and Alive 2 (from the 2005 Belladonna reunion tour) are particularly recommended. If you only have a limited interest or amount of money then this wouldn’t be the main one I’d recommend, but if you do have an predisposition to check this out I’d definitely state ‘don’t be put off, give it a go!’

BLACK COUNTRY COMMUNION BCC IV

Album · 2017 · Hard Rock
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I absolutely loved Black Country Communion and was gutted when they split up. Their music was so fresh, vibrant and energetic despite its obvious homage to the past and they really were just about the best Hard Rock band doing the whole ’70s-worship sound of recent years. All three of their albums from before their split have at least five songs that are among my favorite ever songs and which are better than just about any of the classic ’70s band’s modern output for my personal taste.

How happy was I then, when I heard they were getting back together. I remember reading on Blabbermouth all around the time of their split (and yet again when California Breed, a band with some of the same members, formed) about how lead guitarist and occasional singer Joe Bonamasa was too famous and busy in his own right to give Black Country Communion the time, as his schedule simply wouldn’t allow it. I remember hoping for the day he’d have the time again. Well, thank goodness its all sorted and we have more from this band. You can see the phoenix on the cover illustrating the band’s reformation.

There’s a certain magic when Glen Hughes, Jason Bonham, Derik Sherinian and Joe Bonamasa get together, (only heightened by ‘fifth member of the band,’ producer Keven Shirley). The bass and drums match styles perfectly, the keys accentuate the vocals so well, the guitar and key solos fit well together, both vocalist’s styles gel, the guitar works so well with the rhythm section. Its all so perfectly balanced, and thanks to the roomy production it all sounds so big and warm.

Basically; this reunion record has a lot of expectations to live up to. On first listen its nice to hear they are keeping up the same style of music and doing the same sort of thing. Its not suddenly taken a rap or electronic turn, they haven’t chucked it all away and went pop or something. Its exactly what you’d hope for, stylstically.

There’s plenty of depth, characther and a fair bit of variety. A lot of the tracks stretch out a bit, many lasting seven or eight minutes. There’s a nice balance of slow and fast, of hard and soft, of thoughtful and of instantaneous. There’s moments that lean a bit more into each of the member’s individual territories and there’s moments when its a mixture of all.

After knocking you over the head (no pun intended) with two mid paced Hard Rockers, for example, they drop a very interesting folky number. If you liked ‘The Battle Hadrian’s Wall’ then you are sure to dig ‘The Last Song for My Resting Place.’ If you like things a bit slower, sexier and well, blusier then at the album’s midway point they drop ‘The Cove’ which has some seriosuly good guitar and very atmospheric keys. Eight-minute album closer ‘When The Morning Comes’ starts out on a slow and sombre note before kicking off.

If you like the band at their faster and heavier however (think ‘The Outsider’ or ‘Confessor’) then they’ve got that here too, on ‘Sway.’ ‘The Crow’ does it too, sounding initially like a rip-off of RATM’s ‘Bulls On Parade’ before hitting the gas and running away with the speed.

I think my favourite track has to be either ‘Over My Head’ with its fun stop-start verses and its catchy ‘yeah-e-eah’ hook, or else ‘Awake’ which doesn’t really sound like anything they’ve done before, it starts off jaunty and almost indie rock but has a kind of ‘Achilles’ Last Stand‘ vibe in the verses and then goes into a full-on Yes meets Dream Theater solo-trade-off.

Overall; BCCIV had a lot of high expectations to meet, and luckily it holds up really well. They do what they do best, they try some new things, they balance all the different shades of their sound well and present an entertaining record that keeps you guessing but that fits together into a stylish hour long journey. The quality of the material is damn strong, the musicianship is exemplary, the production job is of course perfect and even though I’m biased and just glad to have the band back, I’d say this is absolutely good enough to sit alongside their previous work. I’d recommend checking it out if you’ve ever been a fan!

ANNIHILATOR Set the World on Fire

Album · 1993 · Traditional heavy metal
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After putting out two of the most outstanding and essential Thrash Metal albums of all time in the form of 1989’s classic Alice In Hell and 1990’s Never Neverland; Canada’s best Thrash band (well, in my opinion anyway, we can debate it another time) took their time getting a third album out. The first two albums were largely written in demo form before the band were even signed or (at least before their second record was out) and just perfected over time. An album a year. Nice. Next time round there was more time needed to build up a full record’s worth of material though.

Always a band for constant line-up changes, Annihilator once again saw a big shift in membership. Jeff Waters, band leader, lead guitarist and occasional singer basically IS the band in the way Trent Reznor is to Nine Inch Nails or Josh Homme is to Queens Of The Stone Age or Dave Mustaine is to Megadeth. Jeff obviously stayed, as did bassist Wayne Darley even though he supposedly didn’t actually play on the album. This album features however their third singer in three albums (Coburn Pharr replaced here by Aaron Randall, though Pharr still gets writing credits on some of the songs) their third Rhythm-guitarist in three albums (Neil Goldberg replacing Dave Davis) and their second Drummer in three albums (the lovable Ray Hartman replaced by Mike Magini – now of Dream Theater fame!) and even then, he’s one of three drummer on the album because Ray is still on two tracks and there was yet another drummer on the ballad. With all these line up shifts its like watching Cradle Of Filth’s early career or something!

I suspect that there are some reasons why a lot of people didn’t receive this album as well at the time and again why it isn’t remembered just as fondly as the first two. First reason; constant line-up shifting can give an impression of being muddled and unfocused. Second reason; ballad included, can give impression of selling out. Third reason; came out in 1993 after the glory period of Thrash was over and everyone either sick of it or was told to listen to something from Seattle instead by the press.

Do you know what’s not a reason though? The music. This album is bad ass! From the heavier tracks like the stomping Title Track, the crazy-ass technical workout ‘Brain Dance’ (an absolutely amazing song spoiled only slightly by its silly comedy section in the middle) as well as the speedy ‘No Zone’ to the more shreddy, softer, hard rock jams like ‘Sounds Good To Me,’ ‘Snake In The Grass’ and ‘The Edge’ which show a different side of the band, this stuff is all gold! I remember the first time I read the back of their Greatest Hits CD it said ‘Canada’s Answer To Metallica/The Van Halen Of Thrash Metal’ and I thought well I get the Metallica reference but this album is the first time where I really hear the Van Halen coming out… ‘Don’t Bother Me’ is some serious guitar workout, with that skiffly off-the-rails Van Halen feel, only with the chug and power of Thrash behind it.

The absolute best moment on the album for me however has to be the incredible ‘Knight Jumps Queen’ which is tied with Exodus’ ‘Braindead’ as the catchiest and most memorable Thrash song ever released! That main riff! It sticks in my head for days!

For me, Set The World On Fire is a great record. Its a bit more varied than their previous work. Not just as heavy as often, but in terms of songwriting quality, in terms of musicianship and in terms of fun it ticks all the right boxes. This album is a real winner and vastly underrated. If you haven’t already go on, give it a go! If you have before, give it another chance!

GIRLSCHOOL Screaming Blue Murder

Album · 1982 · NWoBHM
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Screaming Blue Murder is the London band’s third full-length studio album, and for me, my favourite so far. I think I’ve read somewhere that the previous two records are more popular because the photoshoots and music videos got a bit more glamourous around this stage and people accused them of following Def Leppard out of Metal and into the mainstream or whatever (and listening to their next album that definitely was a little closer to the truth there) but all these years later the only thing that matters to me is the music.

For me a track like ‘Wildlife’ with its infectious chanting chorus, jaunty bouncing rhythm and lead guitar quality is just undeniable. The band have a bit of a Hard Rock sound, a bit of a Punk sound and a bit of a Heavy Metal sound. All three elements are well balanced. If you want something anthemic and ready for radio there’s the retro sounding rock n’ roll of ‘It Turns Your Head Around.’ If you want something a bit more Metallic to sink your teeth in to, then there’s ‘Don’t Call It Love’ which could be on any of the first four Dio albums to my ears. Hey, what diversity in those three tracks alone! I think that’s why this album just pips the previous two badass ones as my favourite. Its almost as fierce but the diversity makes it even more interesting.

Ok. I get that some people won’t love it a much as the previous records. Some people prefer Kill ‘Em All to Master Of Puppets too. Diffrent Strokes and all that. Screaming Blue Murder is indeed a bit more sophisticated than the two albums which preceed it, which are more raw and charming, which have a bit more ramshakle Motorhead vibe to ’em. This one tries on a few more hats. Its not always pounding speed. ‘Flesh And Blood’ is the kind of rolling tribal prog thing Queensryche would be exploring the other side of the milenium! The guitar solos are a bit more ‘feel’ than ‘flash.’

…But that’s all just an extra layer to like. Its still got the hard stuff when you like to just bang around the room (‘Hellrazor’ has that in spades. As does the bonus track ‘Don’t Stop’ if you get a special edition or reissue). Nigel Grey’s roomy and open production job also keeps this sounding hard and rocking. There’s punkiness in the distorted bass on ‘You Got Me.’ This isn’t exactly a Bananarama album now is it? Its like Motorhead, Sex Pistols and AC/DC blended together, with a fat reverb and a unique vocal style.

For me, this 1982 gem, their third in as many years by the way, is a very strong record. It stands up well alongside the better releases of their contemporaries like Raven, Grim Reaper and Bitch’s Sin. Its not just at that untouchable layer as Maiden, Saxon or Motorhead but its definitely belonging of a spot in the collections of any fan of those bigger bands (alongside their previous two, which are less diverse but more energetic and raw and no less worthy of your listening time!).

Latest Forum Topic Posts

  • Posted 1 year ago in MMA's Top Stoner Metal Albums
    Shit, that's hard. Three-way-tie for me between Welcome To Sky Valley, Blast Tyrant and Deliverance.
  • Posted 1 year ago in Helloween Albums (Updated 2016)
    Keeper 2, Then 1, Then Oath, Then 7 Sinners, Then God Given Right.
  • Posted 1 year ago in People's reaction after finding out you like metal
    I got nothing but grief for it in high school. Constant teasing, people shouting in the street from moving cars, people squaring up and starting fights, always having people talk shit behind my back. I even remember going up to a bar once and the non metal guy at the bar just looked pure hatred into my eyes and said 'get out of my face you're making me fucking sick.' That was a small, backwards town full of racists, homophobes and general idiots anyway though. In university it was just a bit more like, oh, well, I'll not be your friend but I won't actively be a dick about it. Nowadays as an adult, people just look at me like 'Why?' My stock answer is either 'Some people like horror films, if music was film, metal would be horror.' Or 'Not everyone can eat really spicy food, but that doesn't mean no-one can.' I generally don't bring it up. Recently, one of my co-workers noticed a motorhead pin on my backpack, and decided to throw the horns at me instead of greeting me for the next month or so, but not in a mean spirited way. 

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