Traditional 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:
  • 666sharon666 [Leader]
  • Time Signature

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traditional heavy metal Music Reviews

ARGUS From Fields of Fire

Album · 2017 · Traditional heavy metal
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Nightfly
My introduction to Argus came with their second album, Boldly Stride The Doomed, an album that received such universal praise it was impossible to not want to check it out. My initial impressions were good but it was to take a few plays before it really hit home with its combination of doom and old school metal. After a while though I couldn’t leave it alone and it became a firm favourite in my collection. Its follow up, Beyond The Martyrs arrived in 2013 and listening to that after BSTD I have to admit it was a bit of a disappointment. Yes, it was good, sometimes very good but they’d reduced the doom element which might have been part of the reason but overall some of the songs lacked that killer punch, only occasionally reaching the greatness of its predecessor.

Roll on to 2017 and From Fields Of Fire arrives on my doorstep. See, I still had enough faith to buy it without hearing first and I’m very happy to say that I don’t regret it. After the short acoustic instrumental Into The Fields Of Fire, Devils Of Your Time is a good omen of what’s to come. The old school metal vibe of past work is retained as it moves along at a fair pace, rolling double kick drums pushing it along overlaid by compelling staccato riffing and a well thought out solo, i.e., not just a blur of fast notes. Brian ‘Butch’ Balich’s vocals are the icing on the cake, an excellent singer in the classic 80’s metal mould of which there aren’t enough of these days. This is epic stuff! The galloping As A Thousand Thieves is more of the same, maintaining the momentum and only marginally missing the mark set by Devils Of Your Time. As the album progresses it becomes clear that the doom element that added greatly to Boldly Stride The Doomed has been pretty much ditched, but this time it’s not missed as they’ve really upped their game on the strength of the compositions as one after another the hook laden songs keep coming. By today’s standards this is not particularly heavy when you compare it to the more extreme metal that’s prevalent. This album screams 1980’s in style and delivery and if it had come out then it would have seemed heavier and they’d have been massive. However, there’s not too many bands doing this stuff, particularly so well, at the moment so it’s like a breath of fresh air with an organic production in keeping with the vibe.

This album beats Beyond The Martyrs, not only because the songs are better but also with its sheer consistency, with no weak tracks to speak of. As with most albums though it has its highlights. One of these comes mid album with the eleven minute plus Infinite Lives, Infinite Doors which has plenty in common with Iron Maiden in their more epic moments – the Maiden comparisons being nothing new to this band. This dynamic and dual guitar work of Dave Watson and Jason Mucio is key to this and indeed the whole albums overall success. Another highlight is the slow build of No Right To Grieve, the only time anything approaching doom appears. For the most part its slow and melancholic and whilst it throws in a few doomy power chords it’s not doom per se.

Argus have really excelled expectations here. I never doubted it would be good but with From Fields Of Fire they’ve made an album at least the equal of Boldly Stride The Doomed. Some may even think it better. For me, I’m on the fence.

ACCEPT The Rise of Chaos

Album · 2017 · Traditional heavy metal
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Kev Rowland


Accept’s last album, ‘Blind Rage’, reached #1 in Germany and Finland, as well as several top 10 positions; Czech Republic, Hungary, Sweden, Switzerland, the UK and last but not least, the US. For a band that released their debut back in the Seventies, and have been following a fairly uncompromising path ever since, that is quite an achievement. So why change something that obviously works? This is straight forward basic heavy metal that wouldn’t have sounded out of place on 1983’s ‘Balls To The Wall’, but they know what their audience wants. One thing I have always liked about Accept is that one knows exactly what the album is going to sound like when the CD gets into the player, and by using Andy Sneap as producer one is also guaranteed that the production quality is going to be of the very highest order.

If you like Accept then you’ll enjoy this, and if you haven’t come across them before as you have been residing down a hobbit hole, then basic HM doesn’t get any better than this. Good and solid without being essential.

ANNIHILATOR Set the World on Fire

Album · 1993 · Traditional heavy metal
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Kingcrimsonprog
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!

NOCTURNAL RITES Phoenix

Album · 2017 · Traditional heavy metal
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DippoMagoo
Sometimes a band will release an album that at the time upsets their fans so much they want nothing to do with the band anymore, only for those same people to end up badly missing the band over time, hoping desperately that they will one day return with a triumphant comeback album. The latest band to fit into this description is Swedish power metal band Nocturnal Rites, who I was introduced to with their 2007 release, The 8th Sin, an album I actually enjoyed, but many of their longtime fan loathed it and criticized the band for falling into a more commercialized sound. After the release of that album, the band went quiet for several years, making fans think that could be the end. But now in 2017, they have finally returned, ready to release their ninth full-length album, Phoenix, but can they rise from the ashes, or should they have just stayed buried? I’ll go into full details below, but suffice to say, there isn’t a really clear cut answer for that one.

Nocturnal Rites actually started out as a death metal band in their very early days, releasing a couple of demos in that style before changing to a classic power metal sound with their full-length debut, In a Time of Blood and Fire, and they stuck with that sound for three albums, until current singer Jonny Lindqvist joined the band for their 2001 release, Afterlife, and they switched to a more aggressive, somewhat thrashy power metal sound. That album had a fairly mixed reception, but I personally consider it to be one of their best, but again they switched to a more melodic sound for their next few albums, with their 2004 release New World Messiah, in particular, standing out as a career high point. But again, they changed their sound in 2007 for The 8th Sin and that’s when everything seemed to come apart, as while the album still had some power metal elements, it had a much more modernized, very commercial sound that upset a lot of fans and while the songwriting was fun and catchy, it’s not hard to see why many folks felt betrayed by the band.

Which brings us to Phoenix, an album that largely continues with the more modern sound of The 8th Sin, but it comes across as a bit more metal sounding and does have small traces of their old sound. The band went through a couple different lead guitarists in between albums, before bringing in Per Nilsson, best known for his work with melodic death metal band Scar Symmetry. As soon as I heard he was brought into the band I was very interested in hearing what Phoenix would sound like, as while he’s an excellent guitarist, I wasn’t sure if his style would fit this particular band very well. It turns out, I was right to be concerned, because while he certainly does some great work on this album, including some incredible solos, there are many points where he resorts to modern sounding chugs which would fit in great with a band like Scar Symmetry, but they really feel out of place on a Nocturnal Rites album, and bring some of the tracks down.

Stylistically, Phoenix is a very modern sounding album, and I’d describe it more as melodic metal than anything else, as most of the tracks are slow to mid paced, and rely on huge vocal melodies above everything else. The chugs mostly come in quick bursts and most songs are fairly laid back throughout, with occasional heavy sections and bursts of speed, to remind fans they are listening to a metal album, but it’s clear the band has settled into a much more accessible, more radio friendly sound. There’s definitely still traces of power metal left in the music, and I generally find the heavier, speedier sections to be the highlights of the album, but the majority of the time the music is fairly slow paced and very melodic, just as the three pre-release singles would suggest.

I mentioned that the vocals were a huge focus on this album, so obviously the band requires a great singer, and thankfully they have one in Jonny Lindqvist. He has a rather animated voice that I’d describe as an odd sounding mix between Tobias Sammet and Chris Jericho (seriously, that may sound like a bizarre combination, but that’s what I think of every time I hear him,) and he does an excellent job of carrying some of the less interesting songs on the album. He may not be the best singer technically, but what he really excels at is singing with emotion. He always sounds very energetic in his delivery and it’s always easy to tell he’s very passionate about the lyrics, as he puts a ton of emotion into everything he sings, and he is definitely the band’s biggest asset at this point.

With the most positive aspect of the album out of the way, unfortunately, it’s time for a more problematic area, that being the songwriting. Things get off to a rocky start with “A Heart as Black as Coal”, a slow paced slog of a track which has some ugly modern sounding chugs throughout the verses, as well as vocal melodies that give it a strong pop feel, kinda like “Never Again” from The 8th Sin, except that while its chorus is decent, it’s nowhere near as fun or catchy as that song was, instead just kinda feeling like it exists and not doing anything beyond that. The track does have an excellent solo from Per, but that’s the one highlight on an otherwise forgettable track, and one I definitely don’t think works well as either a single to sell an album or as an opening track. Next is the first single, “Before We Waste Away”, another slow paced track, though it has some great melodies throughout and effectively builds to an excellent chorus that instantly got me excited for the album the first time I heard it. Again, Per delivers an excellent solo in the middle and overall this track is a great single and one that really set my expectations high for the album, so it’s a bit of a shame the entire album isn’t on the same level. The third, and so far last, single is “Repent My Sins” another slower track, but again it has some nice melodies and a very passionate vocal performance from Jonny, so while it doesn’t quite hit me as hard as “Before We Waste Away” it’s a pretty great track on its own.

In between that two track is “The Poisonous Seed”, the first real heavy track on the album, and one that offers brief glimpses of the band’s power metal roots. This track has some heavy riffs throughout and has a very dark feel, as well as feeling like a modernized take on their power metal sound, being much harder hitting than anything on The 8th Sin, while still sounding far more modern than any of their prior albums. It also has some light symphonic elements, which are used on a couple other tracks for some extra flavor, and it’s an all around excellent track, where Per really gets to shine with some great riffs and an excellent solo. I kinda wish there were more tracks like this on the album, as his style fits a heavier track like this perfectly, where on some of the slower tracks his chugs just don’t quite feel right. The only other consistently fast songs on the album are the closing track “Welcome to the End” and the bonus track “Used to Be God”. Out of those two, “Welcome to the End” is a very fast, heavy track which effectively uses some symphonic elements, and is definitely a highlight, but “Used to Be God” is actually even better, as it has by far the best riffs on the album, as well as an excellent solo section and an incredible chorus. However, I can see why they chose to make it a bonus track, as it has a thrashy sound to it which doesn’t quite fit the tone of the album on the whole, so if anything it just makes me even more disappointed about the direction they chose to go with many songs on the album, as I’d definitely be excited to hear the band do a full album in the style of this song and “Welcome to the End”, yet I realize that’s totally not what they were going for overall, so it’s obvious me and the band are not on the same page.

In between those tracks and “Repent My Sins”, we get a bunch of tracks that are solid but none of them do a whole lot for me, and they mostly blend together to just become forgettable. Tracks like “A Song For You” and “The Ghost Inside Me” do a nice job of mixing brief faster sections with mid paced verses and solid choruses, but neither track blows me away, while slower tracks like “What’s Killing Me” and “Nothing Can Break Me” feel like weaker versions of tracks from The 8th Sin, with the latter in particular having some modern sounding keys which are oddly distracting and give the track a slight pop feel. Lastly, we have “Flames”, a decent ballad where Jonny delivers some excellent vocals, but musically the track just does nothing for me at all. It has a nice chorus, but throughout the rest of the song, I just get bored, as the symphonic elements and vocals are far more interesting than the basic chugs and anything else that’s going on. Another track where Per doesn’t really fit in for me.

Overall, Phoenix is a pretty frustrating release for me, as there are brief moments where it teases at a modernized power metal sound that I could see working out great for the band, but there are far too many slower tracks where Per Nillson’s chugs don’t really fit the sound, and if not for Jonny’s excellent vocals, I’d probably be getting bored to death. For fans of Nocturnal Rites, this album is tough to judge, as it does have a few excellent tracks that feel fresh enough to stand out, while having some familiar elements, but anyone disappointed with The 8th Sin will also likely struggle with many of the lighter tracks on this album, and I don’t expect many pure power metal fans to be too thrilled, either. Fans of melodic metal who look for excellent vocals and melodies above all else are recommended to give this album a listen, and anyone else should try the singles to see if they have any interest, but again I have to point out for power metal fans, that all three of the tracks most likely to impress is hidden away, with one of them even being a bonus track. For me, personally, Phoenix is a solid album, maybe slightly behind The 8th Sin, but it definitely doesn’t come close to the band’s best works. So, it’s not a total disappointment, but it’s also not really the triumphant return I was hoping for, either. It just kinda exists.

originally written for myglobalmind.com: https://myglobalmind.com/2017/09/09/nocturnal-rites-phoenix-review/

GIRLSCHOOL Screaming Blue Murder

Album · 1982 · NWoBHM
Cover art Buy this album from MMA partners
Kingcrimsonprog
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!).

traditional heavy metal movie reviews

ACCEPT Restless & Live

Movie · 2017 · Traditional heavy metal
Cover art Buy this album from MMA partners
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 · Traditional 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 · Traditional 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 · Traditional 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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