Heavy Metal

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Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands (Proto) such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre’s evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal (NWoBHM) such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as “metalheads” or “headbangers”.

Visit the NWoBHM sub-genre page for more details on this particular music movement.

Source: http://en.wikipedia.org/wiki/Traditional_Heavy_Metal

Inclusive Traditional Heavy Metal Genres

Melodic Metal is often short for Melodic Heavy Metal and as such is usually included under Traditional Heavy Metal on the MMA. On rare occasions Melodic Metal releases may also be included under Power Metal however, such as Arven's Black is the Colour (2013).

Sub-genre collaborators (+ child sub-genres & shared with Hard Rock and Glam Metal):
  • 666sharon666 (Leader)

heavy metal top albums

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IRON MAIDEN Powerslave Album Cover Powerslave
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BLACK SABBATH Paranoid Album Cover Paranoid
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RAINBOW Rising Album Cover Rising
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KING DIAMOND Abigail Album Cover Abigail
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heavy metal Music Reviews

QUARTZ Quartz

Album · 1977 · NWoBHM
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voila_la_scorie
Often cited as being the first album released in the New Wave of British Heavy Metal, that notion does have strong historical backing. One of the new British heavy rock bands among many who formed in the mid-seventies, Quartz was fortunate enough to get into a recording studio and pull off a piece of vinyl while many bands were still touring their local circuits. Strangely, it would be three years before their sophomore release, and by then the dam had already burst.

But there's something to note about this album that distinguishes it from many of the acts who wouldn't hit record store shelves until 1980 and onward. One main difference between this album and debuts by the likes of Tank, Tigers of Pan Tang, and Raven is that Quartz were still showing strong prog connections in their music while a lot of other bands had tapped into the punk scene by the time their debuts came round. Quite simply, in spite of the album being the at the vanguard of the NWoBHM, it's still a product of 1977.

The first track, "Mainline Riders" is heavy and blissful to listen to. I hear a slight similarity to Scorpions in the music, but more like the early Matthias Jabs albums. Still, a great heavy metal song in a year where hard rock still dominated most of the heavy guitar rock releases.

But then "Sugar Rain" brings something that reminds me Yes meets Jethro Tull. A decent enough track but evidence that this album's music was developed before punk really took over.

"Street Fighting Lady" sounds to me like a cross between Ted Nugent and Triumph. Perhaps the latter comes to mind because they had a song around the same time called "Street Fighting Man". Maybe the two characters knew each other.

"Hustler" once again reminds me of Scorpions though this time the Uli Jon Roth era, at least during the opening. The verses are more typical of 1977 hard rock, thinking of Thin Lizzy for example.

"Devil's Brew" has a cool, simple and heavy riff to it and at first it's easy to think of Black Sabbath or Angel Witch. But those keyboards and tempo changes are closer to Uriah Heep. Cool lyrics: "When the dead no longer dead begin to rise" and "In the fires that are burning / Give the living back to me". Now I'm thinking of the contemporary American hard rock outfit, Sorcery.

"Smokie" is a short acoustic guitar instrumental, and then we're on to "Around and Around". This has a cool blend of UJR Scorpions at the intro, Sweet chorus vocals and guitar riffs around the chorus, a Uriah Heep part that then leads into a proggy section that reminds me of something you'd hear from Genesis around this year before it gets heavier and sounds more like something from a NWoBHM album. Along with "Mainline Riders", this is one of my two favorite tracks.

"Pleasure Seekers" is a great hard rocker with a heavy riff. To me, this is one of those 1976-8 songs that indicate a new direction for heavy rock music. Alright, count this as a third favourite track.

The album closes with "Little Old Lady" and I swear someone asked Roger Daltrey to sing the opening. This song sounds like it's going to be a weak one but does have some redeeming moments. The lyrical theme, I'm guessing, addresses the writer's grandmother in her old age. It has a Queen feel to the music, alternating between softer acoustic and electric guitars and a hard rock riff for the chorus.

My conclusion? This album reminds me of several different groups which means that there's a lot of diversity in the music. For that, I think it's a very good album to listen to from time to time. It's not one that I'll just shelve and forget about. As an example of the New Wave of British Heavy Metal, I'll say again that it's not derived from exactly the same influences as bands dropping albums three or four years later. However, if we are looking for music that is a departure from the standard hard rock acts of 1976-78 (Thin Lizzy, UFO, Sweet, Nazareth, etc.) I think Quartz were beginning to steer things in a new direction, albeit in a way that their German counterparts, Scorpions, were also doing around this time.

SCORPIONS Taken By Force

Album · 1977 · Heavy Metal
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Unitron
The peak of late 70's heavy metal, Taken By Force is an oft neglected album compared to the Scorps' 80's classics. I think they had a great run from the debut to Love at First Sting, but this has always been my favorite.

It's a blend of all that makes the band great, and turned up to eleven. I've Got to Be Free and Your Light have a great funky vibe that Uli Jon Roth had a real knack for and would explore further with his later band Electric Sun. We'll Burn the Sky and Born to Touch Your Feelings are two of the band's best ballads, with the end of the latter sounding like they took some influence from fellow German band Eloy.

My absolute favorite is the proto-thrash of He's a Woman, She's a Man, which is a beast with a drilling riff, some of Klaus Meine's most exuberant vocals, and such a hook that keeps it in the mind for days. If that's proto-thrash, The Sails of Charon is straight up neo-classical metal and one of the band's most legendary songs.

Paired with the classic Tokyo Tapes live album, this is German metal heaven.

KING DIAMOND Abigail

Album · 1987 · Heavy Metal
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UMUR
"Abigail" is the 2th full-length studio album by multi-national heavy metal act King Diamond. The album was released through Roadrunner Records in February 1987. It´s the successor to "Fatal Portrait" from 1986 and features the same lineup, who recorded the predecessor. "Fatal Portrait (1986)" featured a collection of individual tracks and some tracks which formed a concept story, but "Abigail" is a full blown conceptual piece. An album format King Diamond would subsequently employ on most releases.

The story of "Abigail" takes place in 1845 and revolves around the young couple of Miriam Natias and Jonathan La'Fey, who arrives at an old and dark mansion that La'Fey has inherited. Before entering the mansion they are warned by seven horsemen (who are later revealed to be the servants of Count La'Fey (the ancestor of Jonathan La'Fey)), that the mansion is cursed (although the warning is a bit more cryptic than that). The young couple do not heed the warning and proceed to move into the mansion. Already on their first night in their new home Jonathan La'Fey receives a visit from the ghost of Count La'Fey who tells him how he pushed his wife down the stairs on the 7th Day of July 1777, where she broke her neck and died, after he found out she was carrying a bastard child. Count La'Fey then proceded to cremate his wife and mummify the the stillborn child and finally lay the baby mummy to rest in a sarcophagus in the family crypt. He named the stillborn child "Abigail". Count La'Fey warns Jonathan that the spirit of "Abigail" now has taken place inside Miriam and that if he wants to prevent "The rebirth of evil itself", he has to push Miriam down the stairs to die.

While Jonathan is initially horrified by the suggestion, and refuse to do as the Count says, he changes his mind after several supernatural omens occur and "Abigail" finally reveals to Jonathan that she is in control of Miriam. Jonathan then plans to push Miriam down the stairs to the family crypt, but ends up being pushed down the stairs himself. Miriam then gives birth to "Abigail" and dies shortly after seing "Abigail´s" yellow eyes. The story ends with the seven horsemen arriving to see "Abigail" eating something unspeakably horrifying (which I assume is Miriam´s dead body), and then taking "Abigail" to a chapel in the forest where they drive seven silver spikes through her body and bury her, to prevent further ressurrections in the future...

...and that´s actually where the album opens as the intro track "Funeral" (which features thunderstorm sound effects and classical inspired synths) features a narrator telling how the spikes are driven into "Abigail´s" body in an eerie multi-layered demonic voice. "Arrival" is the first "regular" track on the album and establishes the melodic yet relatively heard edged heavy metal style of the material on the album. King Diamond´s piercing high pitched vocals, multi-layered backing vocals and choirs, several melodic guitar solos/themes per track (and not necessarily placed where you´d expect them to be placed), hard edged heavy metal riffing (which occasionally touches thrash metal territory), and an organic and tight playing rhythm section, who drive the music forward in a hard rocking powerful fashion. Keyboards are also a part of the soundscape, but they predominantly have a supporting role or are there for effect rather than playing lead parts.

Each and every song on the 9 track, 40:20 minutes long album is a highlight and it´s therefore a bit hard to mention standout tracks. The tracklist is incredibly well constructed and the dark and eerie horror story is supported well by the dynamics of the music. If I have to mention a few tracks which I think stand out a bit anyway (and this is purely a subjective observation) it would be "A Mansion In Darkness" (the melodic lead theme part which occur a couple of times during the track is incredible), "The Family Ghost" (the rhythm work, the guitar riffs, and vocal parts and the lyrics are just killer on this track), the title track (King Diamond surpasses himself in singing high pitched vocals on this track), and the closing mini epic "Black Horsemen" (just absolutely stunning featuring beautiful acoustic guitar parts and great harmony work). The rather complex "Arrival" deserves a mention too and "The 7th Day Of July 1777" is also quite the hook laden track. "Omens" and "The Possession" are great tracks too, but maybe just slightly less spectacular than the remaining material.

"Abigail" features a raw, detailed, and organic sounding production, which suits the music perfectly, and upon conclusion it´s a high quality release through and through. The musicianship is on a high level on all posts, the songwriting is adventurous, original, and exciting, the concept works and you get the right eerie horror effect from listening to the album, and when the whole thing is packed in a well sounding production too, it´s hard to find anything bad to say about the album. In fact I dare say it´s the band´s masterpiece, although subsequent albums would also be of high quality. There´s just something truly magical about "Abigail", which they have never been able to top. A 5 star (100%) rating is fully deserved.

CAULDRON New Gods

Album · 2018 · Heavy Metal
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voila_la_scorie
During my recent quest to discover more recent (younger) Canadian metal bands, I discovered among scores of bands I had never heard of this power trio from Toronto. I enjoyed a couple of their videos and then found their latest album, “New Gods” mentioned on a web site featuring new releases by Canadian metal bands. Intrigued by the marine gastropod in the album cover and puzzled over how it related to the album titled, I went ahead and ordered it.

Cauldron is a classic heavy metal band. Listening to this album, I am mostly reminded of Dokken at their heyday in the mid-eighties. Think “Tooth and Nail” and “Back for the Attack”. One review I read also mentioned “Blackout” by Scorpions but I don’t hear any Scorpions influence here, and I had the first ten albums on cassette back in the eighties. Rather I am reminded of Keel’s debut album, and also the first two Coney Hatch albums, though Cauldron’s sound is more mid-eighties than early.

It might be tempting to scoff at a young band for being retro and not bringing anything new to the scene, but what I hear on this album is a band playing exactly what they love. I heard Jason Decay (b/v) say in an interview that they are music fans first and don’t think about what style of metal they play. They play what they love to listen to. One of their older videos frequently shows whom they admire with posters, photos, and albums by Exciter, Rush, Iron Maiden, Judas Priest, Anvil, W.A.S.P., Dio-era Black Sabbath and others blatantly exhibited. For one who was a teen in the eighties and who owned hundreds of metal cassettes before the decade was over, Cauldron’s “New Gods” feels as natural as anything to listen to.

A solid album from top to bottom, there are a few tracks to mention. The opening track, “Prisoner of the Past” sets the tone perfectly for the album. If you like this song, you won’t be disappointed with the rest of the album because most of the tracks are in this style. “Save the Truth/Syracuse” gets a mention because, while “Save the Truth” is like most of the album (a very good song yet again!), “Syracuse” is a guitar instrumental of the same ilk as Black Sabbah’s “E5150” or “The Dark”. It’s dark and eerie and pretty cool. “Drown” begins like much of the album’s songs but it does break into speedier, more intense parts and that adds something a little extra to the album, I think.

“Together as None” is just the kind of break an album like this either needs or absolutely doesn’t, depending on your point of view. My favourite Black n Blue album has always been “Without Love” and this song is exactly that kind of heavy but beautifully melodic song that you can hear on “Without Love” or even on albums by TNT, just without the soaring vocals. I think it’s great to hear a modern band create a new song like the kind I often enjoyed hearing in the eighties. A power ballad? Yes, I guess so. But not like “Heaven” or “Every Rose Has Its Thorns”. Just heavy and melodic.

Finally, the album includes an instrumental played on clean electric and acoustic guitar with simple bass or is it low piano notes? No percussion. It sounds yet again very typical of some eighties albums and yet again executed so naturally that I don’t feel “retro!” but instead just comfortable and pleased to hear it.

I have no criticisms about this album. It simply sounds great from start to finish. The band seem perfectly at home with their song-writing and their style. I can easily see a couple more albums in my collection.

HAUNT Flashback

Album · 2020 · Heavy Metal
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Tupan
I think we already have a strong contender for Album of the Year!

Flashback is a new the release from the one man band Haunt. Everything here is made by the restless Trevor William Church, who doesn't only released another album under the Haunt moniker - the good Mind Freeze - but it's always working on a new EP of BEASTMAKER, his another band.

Despite this big production, Trevor always manages to keep the good quality of his music. This Flashback is no exception, and it's even better than most of Haunt discography. Great riffs, catchy chorus, and excellent hooks, with some subtle but interesting keyboards here and there. It's a short album too, so we end the listening session begging for more!

Recommendded album for the trad metalheads out there.

heavy metal movie reviews

ACCEPT Restless & Live

Movie · 2017 · Heavy Metal
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Kingcrimsonprog
Restless & Live is a concert release from the veteran German Heavy Metal legends Accept. It was released on Nuclear Blast Records in 2017 on several formats; such as a CD set with tracks taken from different concerts across the touring cycle for Blind Rage (their third studio album since being reinvigorated by the joining of new singer Mark Tornillo). It was also released as a Blu Ray of a single entire performance at 2015’s Bang Your Head Festival. If you’ve got a bit more money to splash out you can get a set with the Blu Ray and CD versions, or if you prefer DVDs that’s also an option.

My personal preference for concert movies or albums is that they come from on single concert not a mix of shows, and if available preferably on Blu Ray, so for me this was the version I went for and am most happy with. (which this review will be focusing on).

In terms of specs: The Blu Ray version is in 1080p with PCM Stereo and DTS HD Master 5.1 options, Region:All. There aren’t any bonus features. There’s a booklet with some photos but no linear notes.

So the main reason you are buying this disc is for the concert; which is about an hour and forty-five minutes of blistering classic Heavy Metal. The 18-song tracklisting is pretty heavily focused on the three Tornillo-era albums, with a few of the classic ’80s crowdpleasing tunes added in as well. So if you’ve already got the DVD that came with Blind Rage its still worth checking this out for the different tracklisting and higher production values. (The CD version of Restless & Wild contains 27 songs and more of a mix of material).

The tracklisting is: 1. Stampede 2. Stalingrad 3. London Leatherboys 4. Restless & Wild 5. Dying Breed 6. Final Journey 7. Shadow Soldiers 8. Losers & Winners 9. 200 Years 10. Midnite Mover 11. No Shelter 12. Princess Of The Dawn 14. Pandemic 15. Fast As A Shark 16. Metal Heart 17. Teutonic Terror 18. Balls To The Wall

The performance is tight and professional but still has that ‘live’ feeling and energy, it isn’t all sterile but it isn’t loose and sloppy either, its just right. They all give it gusto and look pretty into it. There’s no complaints on vocals, musicianship or song selection for me. Wolf Hoffman’s guitar solos are as entertaining as you would expect and there’s a fun bass versus guitar trade off section at one point. The camera work, editing, sound and mix are all solid. Nothing jarring or out of place, no sync issues, all instruments audible and in correct balance. The songs sound clear and yet muscular.

Its a pretty simple and honest affair. There’s no gimmicks here; no big show with giant robot crabs on stage or band members catching fire or shooting lazers out of their eyes, and there’s no life changing documentary, no animations weaved into the concert or anything… but if you want to buy an Accept live concert and watch songs like ‘Fast As A Shark’ and ‘Balls To The Wall’ played well by the new line-up and competently captured and prepared for home viewing then it is an absolutely fine product and I highly recommend it to fans of the band, especially to fans of the newer three albums. For me, watching songs like ‘No Shelter,’ ‘Stalingrad’ and ‘Pandemic’ belted out enthusiastically are worth the money.

If you are new to the band, this is a very strong starting place, (if not entirely representative of the overall discography) and if you are a fan already its a worthy addition to your collection.

IRON MAIDEN Live After Death

Movie · 1985 · NWoBHM
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siLLy puPPy
Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN’s classic early Bruce Dickinson years and was recorded during their “World Slavery Tour.” Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren’t exactly identical in content. The audio LP originally contained 18 tracks (one of which is “Intro: Churchill’s Speech”) but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it’s not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris’ bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain’s stellar drumming style doesn’t get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce’s attempt to get audience participation on “Running Free” and another great difference can be heard on “Revelations” where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The “Powerslave” album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn’t hit every note exactly as on the studio version every single time but when he doesn’t he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven’t even come close to achieving similar results. Masterpiece.

OZZY OSBOURNE God Bless Ozzy Osbourne

Movie · 2011 · Heavy Metal
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progshine
It is an interesting documentary that tries to focus on his personal life. But it stays in the middle of the road in the end.

You have this big and interesting chunk talking about Sabbath then when it comes to his solo career they talk about 2 albums and... that's it.

Look, if you're doing a documentary or you focus on the music or in the person, every documentary that tries to do both end up staying in the middle of the fail road.

This is interesting, it gives you an idea how Ozzy was really in bad shape for so many years and how he turned things around, but it's far away from being a great and complete documentary.

BLACK LABEL SOCIETY The European Invasion: Doom Troopin' Live

Movie · 2006 · Heavy Metal
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Kingcrimsonprog
Doom Troopin’ Live: The European Invasion is a live concert video from Black Label Society, available on Blu-Ray. It documents the European leg of their touring in support of ‘Mafia.’

The setlist is fairly heavily comprised of material from the ‘Mafia’ and ‘The Blessed Hellride’ albums, with little from the first three records, which may be disappointing if its your only BLS video purchase, but which does result in little crossover with their other DVD ‘Boozed Broozed & Broken Boned.’ A similar idea to Kiss’ Alive II perhaps.

There are 16 tracks in the main Paris concert according to the back of the box but three of those are jamming. They tease the crowd with a bit of ‘Iron Man’ and ‘Mama I’m Coming Home’ for example. Plenty of the time between songs is given over for additional guitar soloing as well.

It’s a decent mix of fast and slow, its mostly heavy but there’s a bit of light in there and it gives a lot of time over to Zack’s guitar talents, without wasting too much time away from actual songs. I think a good balance has been struck of all of Black Label’s constituent parts.

The performance is fairly strong, noticeably so on the ballads. Zack has a good stage presence pumping fists, pointing and striking poses, although some of the spoken crowd interaction is very mumbled and hard to make out. A lot of the songs feel a lot faster, louder and heavier live than they did on record, and feel crunchier and more earthy sounding. The drumming in particular is a lot more impressive live; Craig Nunemacher has a lot of character I hadn’t noticed before seeing this.

I think the sound is very good. Its well mixed, fairly heavy and the songs have bite. It feels ‘live enough’ but it isn’t sloppy. Again, a good balance has been struck, this time between concert-feel and actually good sound.

There was a fair amount of effort put into the stage design too; mic stands made out of chains, skulls on plinths, an impromptu pub made out of amplifiers with beer sat on it, flashing siren lights, BLS banners etc. There’s a professional looking lighting show and the camera work is well done. So in one way, it’s a good looking concert too.

In another way however, the visuals are the only letdown for me as the editing is a bit distracting. A lot of time, especially in the earlier songs, is given over to fancy effects, going black and white momentarily, screen overlays, slow motion, fake film grain etc. which some viewers may find a bit too distracting. Luckily instances of this reduce as the show goes on. It isn’t enough to spoil the concert in my opinion, but if you are picky about that sort of thing I would recommend that you try before you buy it.

I had read negative reviews about this concert stating either that Zack was miming his vocals, that there were very obvious vocal overdubs or that the audio and video were out of synch. Whichever way, if you look at his mouth it doesn’t match the sound of the singing. That would have been a huge letdown for me. I was worried because the same vocal-synching issue had been a fairly big distraction on a Marilyn Manson and a Queensrÿche Blu-Ray I owned and I didn’t want to buy this if it shared the same problem.

I looked on youtube to see footage from the DVD which indeed had the problem, but read reviews that claimed the problem didn’t exist. Luckily when I watch my copy (region 0 Blu-Ray, with the audio set to DTS HD Master Audio) there is no issue at all. All the tom rolls, guitar solos and singing matches what you see on screen. Admittedly, Zack has a lot of effects on his vocals, other members do backing vocals and there are some sections of pre-recorded music like in lots of concerts, that you were never meant to think was live, but that’s about it.

The bonus features include an extra four songs (‘Been A Long Time,’ ‘Suicide Messiah,’ ‘Stillborn’ with massive extended-jam & ‘Genocide Junkies’) from London, three music videos from the Mafia album, a making-of for the ‘Suicide Messiah’ video and a 50-minute documentary feature called ‘Backstage Pass.’

The video is 1080i HD Widescreen 16:9 (1.78:1). The audio options are LPCM Stereo, Dolby Digital 5.1 or DTS HD Master Audio

Overall, this is a fairly enjoyable Blu-Ray with a well performed and sounding concert and some interesting extras. I would recommend it if you like the band, as long as you aren’t very picking about over-edited concerts or only like the early material.

JUDAS PRIEST Rising In The East

Movie · 2005 · Heavy Metal
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Kingcrimsonprog
Opening with the classic double punch of `The Hellion/Electric Eye,’ you know that this concert is going to be good.

The band do their best to mix a diverse career spanning set list with playing all their biggest hits and do a pretty successful job, managing to cover a full five songs from their then new `Angel of Retribution,’ album with their big hits like `Breaking the Law,’ `Living After Midnight,’ and `You’ve Got Another Thing Coming,’ while still playing at least one song from their less famous `Point of Entry,’ `Turbo,’ and `Ram It Down,’ albums.

Musically, the band are on fire, with impressive guitar soloing, energetic on stage performances and drummer Scott Travis playing songs harder, with confidence and authority that makes them sound that much heavier and tighter. The band are playing on a fairly large stage with elaborate set pieces, risers and of course, the famous motorcycle.

Some fans have made a lot of complaints about Rob Halford’s performance here, but with the sole exception of the vocals on the track `Painkiller,’ (which, as it happens has impossibly difficult vocals to begin with) I think these complaints are pretty off the mark.

If you need proof that Rob can still reach those high notes see the `You’re Possessing Me,’ scream in `A Touch of Evil’ or indeed the entire performance of the fast and high pitched `Riding on the Wind.’

Furthermore Rob’s whole on-stage attitude is a winner, seeming genuinely pleased each and every time the crowd gets a sing along moment correct, adding little Robotic Walk gestures to `Metal Gods,’ and generally looking like he’s giving it his all, to the point where he is sweating and red in the face, not because he can’t hack it, but rather because he’s giving it his very all.

Even if you do for some reason take exception with Rob, there is simply no denying the performances of Glen, Scott, Ian and Mr. Downing who all blast away like a well oiled machine, but with the energy of a much younger band.

In terms of camera, editing, sound and mix there really isn’t anything to complain about, everything is handled well and the whole package is as slick and professional as you would hope for from a band of their size.

Overall this is a great looking and great sounding DVD from Judas Priest and that alone should have you interested, add to that an interesting set list and dismiss the complaints about Rob and you should find `Rising In The East,’ a really worthy addition to your collection.

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