Queensryche: The Warning

Operation: Mindcrime” is often considered Queensryche’s magnum opus, in fact it is often considered one of metal’s grandest albums. Debate aside, prior to this legendary concept album, they already had two solid releases under their belt. Their debut “The Warning” was releases in 1984 and although this would be the beginning of a long and controversial career for Geoff Tate and company, the earliest years were filled with some wonderful music.

The music on “The Warning” is a blend of classic heavy metal with elements of progressive rock and a hint of power metal. Many will point to some obvious Iron Maiden comparisons due to the band’s twin guitar harmonies that they employ, but this is neither a clone nor an album playing worship music. The songwriting on “The Warning” are at times complex, creating song structures that are both sporadic at times, but are so mainly due to the variety of genres the songs are rooted in.

On “The Warning” we get to hear the early workings of the band’s magic. Tate’s vocals are always ranked among the greatest in the business and they show consistently throughout the album. His voice carries a certain pitch that, although may share similarities with the likes of Rob Halford, they are unmistakably unique. His highs are brilliantly clean and on point, while his mid-ranged tone carry a catchy bounce to their tone that give them a trademarked sound that Tate would build his career upon. Michael Wilton and Chris DeGarmo create a dazzling display of lead riffs, catchy rhythms and well executed solos that make it easy to see why they are often compared to Maiden. Not so much because they sound alike, but more, the sheer awesomeness they create while playing such well-timed harmonies. The bass plods along in the background with the twin guitars adding an additional piece to the rhythm section, while the drums provide a poppy sound, playing right along with the guitars and adding some unique fills along the way. The only real downside to the drums would be the lack of power in the form of a bass drum. With a good pair of headphones, you can detect its presence, but otherwise is absence is noticeable. To be honest though, I feel the bass drum would have enhanced the overall sound of the album, but the lack of the bass doesn’t’ necessarily take anything away either.

As for the album itself, the opener “Warning” starts off with a mid-pace tempo that showcases Geoff Tate’s legendary wails. The leads play with a progressive sound, slowly building into a Maiden-esque rhythm section, before shouts of ‘Warning’ echo into the distance. We then switch to a straight up, NWOBHM sounding guitar tandem on the next track “En Force”. The following track, “Deliverance” changes structure once again and plays with a much more up tempo, speed metal sounding power that features catchy leads and a memorable chorus, thanks to Tate’s singing and Wilton and DeGarmo’s harmonious guitar work. Just when you think you might have gotten a handle of the structure of this album as a whole, “No Sanctuary” arrives and the changes the pace of the album, yet again. The song opens with an acoustic guitar and slowly, but progressive builds into a soaring chorus that features Tate’s ability to capture both the mood of the song and of course, of the listener as well. The song carries a very progressive rock tone ala Pink Floyd to its overall sound and delivery. The remaining songs follow a similar pattern of complexity and switching from progressive rock, to speed metal and back again to a NWOBHM Maiden sounding style.

Now, with such a complex stable of songs on hand, the only downside is the actual flow of the album itself. I don’t know if this was how the band intended “The Warning” to sound, but with the interchanging of various genre influences at hand, the album plays more like a collection of songs with not much direction. Personally, this doesn’t take much away from its enjoyabiltiy, as there are a number of handpicked songs that can easily be played and enjoyed on their own, but there is something to be said when and album plays straight through and maintains a consistent ebb and flow of music and emotion.

“The Warning” may not live up to their 1988 masterpiece, but it is a solid debut with plenty of catchy and memorable moments that will leave and 80’s metal and US power metal fan more than satisfied.

Highlights: “Warning” “No Sanctuary” “En Force” “Deliverance” 

Rating: 4

Queensryche: Operation: Mindcrime

Queensryche’s, Operation: Mindcrime is often heralded as one of the landmark albums of US power metal and for good reason. Perhaps best described as a rock opera, the concept behind “Operation: Mindcrime” follows the tale of a drug addict named, Niiki and the sinister plans of Dr. X. Feeling a sense of revolution, Niiki seeks out the notorious, Dr. X, whom uses a form of drug to brainwash individuals and thus, tasks Nikki to assassinate various targets. Eventually, Nikki becomes conflicted upon having to kill a particular target, a woman for whom he falls in love with and from there the story progresses into bouts of panic, pandemonium and suspense.

Story aside, which deserves its own review and synopsis, the music on “Operation Mindcrime” itself is fantastic. Geoff Tate is often considered among the greatest vocalist of our time, which should come to no surprise after hearing his performance on “Operation: Mindcrime”. Not unlike, Dio, Dickinson or Halfod, Tate has a vocal range that can reach soaring heights that carry both power and majesty, but also stir up emotions across the spectrum. His voice is simply captivating and one can’t help but get lost in the dreamy tones he creates throughout this album.  Songs like, “Revolution Calling” and “Speak” show off is glorious highs while songs such as “Breaking the Silence” and “Operation: Mindcrime” he shows off the ability carrying a more mellow tune and sing with a grace few others can. At times, he even has a poppy, more 80’s hair sound to his voice, which can be heard once more on “Operation: Mindcrime.” The verse ‘They're all in Penthouse now, or Playboy magazine, million-dollar stories to tell.’ always make me think of some sleazy glam song, which I absolutely love! The area in which he excels in the most however, would be the choruses, as they allow him to simply let loose and allow him to put all of his emotion into his voice. The choruses really steal the show throughout the album and only enhance the story, or chapter I should say, of each song.

The guitars on Operation: Mindcrime deserve a special nod as if it weren’t for Tate’s legendary performance, they would be the subject of all the praiseworthy banter. However, they deserve no less than an equal showing of admiration as on their own, they display a wide variety of strong and melodic rhythms, as well as captivating and energetic leads. The riffs alone carry enough heft to hook the listener, but then you add in unique rhythms and guitar timings and then sprinkle in some captivating solos and you will be left beyond satisfied. Michael Wilton and Chris DeGarmo’s guitar work on their own warrant their own mention, but it’s their ability to harmonize with one another, feeding off each other’s timing and ability to create a genuine sound that helps not only enhance Tate’s vocals, but allows the entire album to flourish from start to finish.

The bass has a nice reverberating tone to it, a sound that is easily detected and integrates well with Wilton and Degarmo’s dual guitars. There are many times when the bass really helps add an additional pop to the sound during the interchanging of said guitars and helps maintain the pulse of the rhythm. I would argue that the band’s ability to harmonize all three of Wilton, Degarmo and Eddie Jackson’s chords is nothing short of brilliant, as all of their sounds never seem do overtake one another nor do they sound forced at any point.

Scott Rockenfield delivers some fine work on the drums, adding a heavy dose of progressive sounding elements to this progpower masterpiece. The unusual tempos and beats allow the songs to seamlessly alter from straight forward hard rocking sections to a more mellow sound. Whether it’s a quick paced beat or a slower more tempered sound, the drums provide a very nice compliment to the overall rhythm and develop a sturdy foundation for the rest of the instruments (and vocals) to build upon.

The additional pieces of the sound also deserve mention. The use of acoustic guitars, keyboards, synths and of course soundbites play a vital role in creating an additional layer to both the sound and story. The production as well deserves an additional tip of the cap, as it is clear and concise, allowing everything from the vocals to the bass to the synths to shine.

I suppose, what I enjoyed most about Operation: Mindcrime, was not so much how wonderful Geoff Tate’s vocals sound or how great each of the instruments were played, but rather how they sound together. My love for this album is attributed to just how well they all mesh into one cohesive sound forming a single heartbeat that pumps the lifeblood throughout the album’s entirety. It’s true that on their own, the vocals and instruments could be viewed as a success, but the reason this album is so widely praised is the fact that Operation: Mindcrime serve as a perfect analogy to a completed puzzle. Each piece is just as important as the rest, but even if just one is missing, you’ll never have a whole product. You’ll never truly be complete. That is how you sum up this album: complete.  

Highlights: “Revolution Calling” “Operation: Mindcrime” “Speak” “Breaking the Silence”

Rating: 4.5

Ivory Spider: Ivory Spider

Ivory Spider is a largely unknown band from Pennsylvania, made up of members of Kidd Nasty. Now, I’ve never listened to any of Kidd Nasty’s work and until stumbling across this 3 song EP, didn’t even know they existed. Other than basic information, I really couldn’t find much about either band.  So, going into this was going to be a completely blind experience for me. The music on Ivory Spider, although released in 2002, is heavily rooted in classic 80’s hard rock/ heavy metal. In fact, if you didn’t know the resale year, you would more than likely have suspected it was released 15 years earlier than it actually was.

In keeping with the spirit of the 80’s, there are some simple, yet groovy riffs to be heard as well as some melodic leads. The rhythms are quite powerful and create a fun, hard rocking atmosphere successfully capturing the 80’s sound (The opening of “We All Need Rock & Roll” for example). In addition, they add an extra dose of heaviness to the mix, with some well-timed, very talented solos on each of the three tracks. The twin guitar combo harmonizes very nicely throughout the three songs, which in my opinion, quickly become the standout of this EP.

The bass is another sound that really stood out to my ears, particularly on the track “Voodoo Man”. The heavy chords strumming along the guitars and drum patterns helped give this song some extra bounce, that had it been omitted, I feel would have just been an average sounding rocker. I don’t want to write off the drums, even if they didn’t exactly wow me. Nothing against them, it’s just their sound is not unlike many of the 80’s hair metal bands that simply created a simplistic beat in the background to allow the guitars and vocals to take center stage. As for the vocals, Chuck Tofsted’s voice carries a particular tone, one that I can only associate with early US power metal acts. They are clean, but not soaring, while at times they can be gruff (see “Voodoo Man”), but not harsh. He has a nice range, one that I would have enjoyed hearing full potential of, had there been more than 3 tracks.

To sum up, “Ivory Spider” may not offer much in the way of groundbreaking material, but what they lack in originality, they more than made up in fun and catchy 80’s inspired metal. I was happy with result of my listen and I think I may try and track down some of their Kidd Nasty material to see what else these musicians have to offer. Perhaps not a home run with the ratings, but given that this is yet another one of the many demos and EPs that have been washed into metal obscurity, Ivory Spider’s self-titled EP joins the hidden gem club.

Highlights: “Voodoo Man” “We All Need Rock & Roll”

Rating: 3.5

Magister Templi: Into Duat

Although Nile may be the foremost Egyptian themed metal act these days, others have dabbled in the ancient mythology namely Apophis (one of my personal favorites). However, in 2015, Magister Templi would release “Into Duat” and add their names to the Egyptian metal lore.

“Into Duat” is an interesting album, not because of its overall theme, but more so due to the sound they play. Now, I have yet to listen to their previous album “Lucifer Leviathan Logos”, (I have read the sounds on the albums differ a bit), but the sound on “Into Duat” is a nice blend of classic 80’s heavy metal played over a doomy backdrop. At times, I certainly hear a more classic sounding Candlemass, but the eclectic sound of Manilla Road and Slough Feg, are much more prominent.

Speaking of vocals, Abraxas’ voice carries a unique high tone, one that I don’t think would work well with a standard doom sound, but since the music on this album plays much more to the tune of 80’s US and NWOBHM, they fit the sound. His voice reminds me of Tim Baker of Cirith Ungol, with the ability to blend high notes with a grittier baseline. Songs like “Anubis” or “Horus the Avenger” display both the vocal and instrumental similarities of Cirith Ungol.

Magister Templi employ a twin guitar element to their sound, which, is a nod to the classic NWBHM sound. With the dueling guitars, the album centers more on mid to up tempo riffs, catchy hooks, and nice harmonies, as opposed to shredding solos which are sparingly used. This is a very nice approach to their sound as it gives them the ability to play a more up tempo riffs, while also having the ability to add in subtle hints of doom chords. “Anubis” is the best example to hear the duel guitars and their use of mid-tempo riffs with a nice little solo near the end. There are moments of a more, down tuned, plodding style, but they are not the dominate sound like many doom bands follow. An example of a more classic, crushing riffs can be heard on “Osiris”, but even then, there are still sections of faster paced rhythms to be heard.

The drums have that classic 80’s metal sound to them. They are speedy and hammer away, keeping to beat of the tune, while harmonizing with the strength of the twin guitars. Although the bass is not as front and center as a standard doom metal act, it can be heard if one pays attention, providing a subtle dose of heaviness behind the guitars and pounding drums. All the instruments, as well as the vocals as clearly present on this album, which leads to my tip of the hat toward the production. They did an excellent job showcasing the talent on display and made sure that every element got their fair share of attention.

When I read an early review for “Into Duat”, it was being cataloged as just another doom album released that year, so initially I was hesitant, but the cover art and Egyptian theme swayed my decision. I’m glad I did, as I found “Into Duat” to be a pleasant surprise, especially since the band shares similarities to a few other bands I hold in high regards. I think fans of the bands metniion previous should give this a listen, but I think anyone looking for a subtle twist on the classic doom metal sound would be wise to give it a listen as well.

Highlights: “Horus the Avenger” “Anubis” “Osiris”

Rating: 4

Mad Dog: Mad Dog

Mad Dog is a seemingly unknown band from the UK, who put out one full length in 1987 then, simply vanished. Now, I don’t know the story as to why that happened. All I know is that, the self-titled full length the released was an excellent offering of classic heavy metal.

The sound on “Mad Dog” is a little complicated to pinpoint. On one hand, you might say, hey they’re from the UK, it’s NWOBHM right? Well, yes and no. It’s true they do fall in between the hard rock and heavy metal world like many NWOBHM acts did. However, there’s a lot more to Mad Dog’s sound than just a little rock and a little metal. 

For instance, on the song “Fallin’” the sound of their guitars is fast and ballsy, while Eddie Edmunds’ vocals have a gruff and dirty sound to them. To my ear, this reminds me of none other than Motorhead. On “Fortune Favors the Brave”, the guitar tone changes to a groovier, almost stoner sounding and with that Edmunds’ voice as changes to match. This song sounds like it could be on Orange Goblin’s “Thieving from the House of God”. “Johnny Cyclops” and “It All Comes Down” are classic hard rocking metal songs with simplistic riffs and drumming, but they are catchy and memorable, similar to a little Demon style of NWOBHM. “Chill Out” has that blitzing Motorhead style once more, with a very fist pumping chorus.

“Mad Dog” is not the most technical albums of all time, nor will you find yourself blown away by the instruments. That said, they play a very fun and catchy sounding heavy metal with plenty of stylistic variation to keep the album fresh and interesting. This, along with the vocals all play well together, one relying heavily on the other to create a perfect balance of harmony proving that not very album requires Rob Halford, Gene Hoglan or Yngwie to produce a solid effort. Mad Dog is just a couple of guys looking to create fun and interesting music and play it well. That can pretty much sum up this album; interesting and fun.

Highlights: “Fallin’” “Johnny Cyclops” “Fortune Favors the Brave” “Chill Out”

Rating: 4

Black Onyx: Armageddon Skies

“Armageddon Skies” is the lone release form the US metal outfit, Black Onyx. This single is rather obscure, which is a shame, because like many bands that never made it past the demo or single stage, “Armageddon Skies” is a nice little offering from a band that could have been, but never was.

The fist track, “Armageddon Skies” is a mid-paced rocker that is carried with a simple, yet catchy riff. The drums have a consistent pounding sound that may not be earth shattering, they are more than capable of creating a nice beat that carries on throughout the song. Gerry Witlin’s vocals have a nice clean sound to them, but he adds just a little rasp into his sound at the end of his verses that give it a little more edge. The vocals as a whole (two backing vocalists) at times, almost remind me of a classic 60’s rock and roll ala Beach Boys sound when they harmonize their voices. It’s a nice touch. There’s even a nice solo near the beginning and end of the track.

“Miss fire” is another solid rocker of a song, with the same elements as the titular track. Simple riffs, pounding drums and a nice solo near the midway point. The vocals are not as raspy as they were on “Armageddon Skies” nor do the backing vocals make any impact. Still a very nice song.

All in all, this is an excellent hidden gem of late 80’s US metal. I’m not sure as to why they didn’t release anything further than this lone single, as they weren’t trying to jump on the thrash train, nor enter the glam scene. Perhaps, that was the reason for them being overlook; their sound simply wasn’t what was making money at the time. It’s a shame really. It’s songs like these that need to be collected and released on a compilation of “Forgotten Metal Singles”. Head to Youtube and give these songs a listen. If you’re a fan of classic metal with a little rock to the core, you’ll dig this.

Highlights: Both songs are great.

Rating: 4

Hanker: The Dead Ringer

“The Dead Ringer” is the follow up to Hankers’s debut, “In Our World”. As with their previous release, the sound is similar in that it combines elements of power and progressive metal, while tying it altogether with a vintage 80’s and NWOBHM vibe.

The guitars, (twin attack I might add) create a plethora of riffs and harmonies with one another that Maiden fans should be able to appreciate the amount of energy and sound they bring to the table. The drums do an excellent job of always being in the foreground of the sound, but never at the cost of sounding overbearing or out of rhythm with the other instruments.

Their blend of sound is easily recognized on the opening track, “Unsung Hero”. Things start off with a simple into, then the interesting riff kicks in and you think you’re about to listen to a more thrashy style of a song, but then Pascal Cliché’s vocals enter the fray and you find yourself at an impasse. You’re banging your head with heavy metal fury, but suddenly the vocals hit and the mood is suddenly calmer. And that’s the best part about Hanker. The band’s knack of blending styles together has the uncanny ability to hook you into a song via one style, but then keep you engaged as they switch to another. It’s not as though that hasn’t been done before, but what makes Hanker so good at it is that, you don’t’ even realize the shift in sounds as they are so subtle. Take “No More War” for instance. The song begins with an almost ballad-esque tone, then before you realize it, you greeted with an amazing riff and pounding drums before shifting once more into a peaceful, yet emotional chorus.

This sound, or blend of sounds I should say, carries on throughout the album. On more than one occasion, you’ll find yourself hooked by an opening of a song, then by the time you’re almost through that song, only then do you realize that the sound has shifted and the atmosphere has changed entirely. It sounds like it might be off putting, but it really helps keep the songs fresh and is a unique trait, one that I feel is held together mainly by Cliché’s vocals. They, in and of themselves, have the ability to change tempo, pitch and sound so seamlessly, that the band made sure to build their sound around such talents.

There are a few songs, which I must admit, did nothing for me personally, but that’s not to say they were not well do by any stretch. Songs like, “The Clown” and “F.A.T.E.” are more on the ballad side of things and are built on a lot of emotion. I can appreciate the concept and the final result of the songs, but they didn’t seem to resonate with me.

Personally, I enjoyed “In Our World” more (but not by much) from a pure enjoyably standpoint however, “The Dead Ringer” is a more mature release with more in depth song writing. Either way, if you enjoyed the debut, there’s no reason to miss out on the follow up.

Highlights: “Unsung Hero” “No More War” “Holy Screen”

Rating: 4

Hanker: In Our World

Hanker is a band that upon my first listen (which was “Snakes and Ladders”) I wasn’t sure what to make. They were labeled as a mixture of heavy metal with a power metal edge, so I was excited to hear what they offered. The first thing I noticed was that, they did not sound like your typical power metal outfit. No symphonic powers driving the songs forward. No wailing or high octane vocals. No mash of riffs, harmonies and solos that are so often associated with the genre. In addition to not having any of the general power metal clichés, in noticed that the band also doesn’t seem to fit any other sound to make a comparison. It’s true that Hanker has elements of power metal, but only a splash. But, then, you also hear a splash of progressive metal. There’s a little NWOBHM sound and there’s a little classic 80’s US metal to be heard. It’s certainly not your traditional sound, but make no mistake, this is exactly what makes Hanker such a fantastic band. If I had to compare, I might say they have a little Manilla Road mixed with Jag Panzer, but that’s more of an elemental comparison.

On Hanker’s debut, “In Our World”, you can hear all of these elements pretty clearly. The guitar riffs fluctuate from song to song. On “Bloodbath in Heaven” and “Fight the Light” you get the sense of good old fashion speed metal, but the sound on “Disturbing the Brain” follow a similar twin rhythm of traditional NWOBHM. Of course the progressive elements can be heard in a song like “In Our World” where the guitar slowly builds until erupts into pure heavy metal bliss. The drumming on the other hand, is pretty heavy, more so than your traditional sound usually offers. They are powerful, yet they complement the softer elements the band tend to offer.

As for the vocals, well they are yet, another sound that is rather unique to the band. Pascal Cliché’s style is one that can only be described as filled with emotion. He doesn’t have high octane yells, no wailing, no symphonic voice. The man just sings and he does it with heart and soul.

Anyone seeking a classic metal gem would be wise to seek “In Our World Out”. It will definitely take more than one listen to fully appreciate the band’s unique sound, but not that many. Fans of Progpower fans, NWOBHM fanatics or just hose looking for some good old fashion heavy metal, in my opinion will enjoy this album.  

Highlights: “Bloodbath in Heaven” “Disturbing the Brain” “This Could be Heaven” “Cradle of the Night”

Rating: 4.5

Accept: Russian Roulette

The last release in what may be considered Accept's golden era,"Russian Roulette" is certainly a highly debatable album. Not just among Accept fans, but within the metal community in general. May people will point that the album is far more suited toward mainstream success or being an accessible album to those who do not dwell in the metal circles. Although I will not disagree with those notions, I will say in the album's defense; so what? Sure, the music may not be as AC/DC sounding as it has been in the past and the overall speed metal vibe is nowhere near as prominent, but in my eyes that's a good thing. There's nothing wrong with a little deviation from the norm, especially when a band has been an establish name and major influence in the metal community. Is it a complete overhaul? No, but the sound is certainly geared more toward a classic baseline heavy metal sound with more hard rock overtones.

With that out of the way, let's look at the music itself. To be honest, the usually catchy riffs and well executed melodies are not as present as they have been on their previous albums. The solos are at a minimum and the speed is not constant throughout the album. That being said, I feel the music fits the sound Accept was trying to accomplish on "Russian Roulette"; a fun, hard rocking album with just enough of their trademark sound, but with some new element added. Songs like "Walking in the Shadows" and "Monster Man" have that simplistic musical overtone, but the chorus and simple riff make them more than memorable. "T.V. War" has the vibe of the Accept of old, but has more the commercial edge mention earlier. One thing that is not lacking however, would be Udo's vocals. They may have adjusted to fit the overall sound of the album, but they are as potent as ever, which I feel is the major this album is not an absolute wash in the eyes of the "they went mainstream" crowd.

At the end of the day, "Russian Roulette" may not be a speedy as "Restless and Wild" or as much of a metalized AC/DC as "Balls to the Wall", but I still enjoyed the album overall. I’ll admit, there may be a few less than stellar tracks on the album, but even Black Sabbath, Judas Priest and Iron Maiden have put out a few iffy albums over time. I won't fault Accept for trying to change their sound a little bit, but as I said, it wasn't as though they completely changed genres or anything. If their intention was to attract a new base, then this album would be a fine attempt to do so, to which they could then digest their previous albums. It may not be my favorite album, but I still include it in my recommendations of Accept albums.

Highlights: "Monster Man" "Aiming High" "T.V. War"

Rating: 3.5

Accept: Restless and Wild

Heavy metal + AC/DC= "Restless and Wild"? Sounds about right to me. "Restless and Wild" is what I would consider the second in Accept's golden era of releases. Building off of the previous album "Breaker", the band continues their speed metal approach that, in my opinion, would serve as a sound many European bands would garner influence from as they got their start. I might even say that, their sound probably helped inspire a lot of thrash acts that would soon begin to flourish and begin their own era in the metal timeline.

Once again, Accept create an album filled with catchy riffs, memorable melodies and of course, Udo's vocals. Speaking of Udo, I would say that on this album, he seems to have realized the potential of his voice. The raspy portions are as heavy as ever, while his cleaner sounds such as "Neon Nights" displays more depth to his overall sound. I must mention, "Fast as a Shark", not simply because it is a buzz saw of an opener, but it has to be one of the "must have songs" on a top 100 metal song playlist. It is on mine at least. Over all, "Restless and Wild" is another excellent display of European speed metal done right. It has enough to please the classic metal heads, but also plenty available for classic hard rock fans to enjoy as well. 

Highlights: “Fast as a Shark” “Ahead of the Pack” “Restless and Wild” “Fast Rockin’ Man”

Rating: 4

Accept: Breaker

The follow up to "I'm a Rebel", "Breaker" saw Accept shift from a more rock oriented heavy metal and adopt the power of speed. Their previous releases, although solid albums, had much more of a Scorpions vibe mixed with a little AC/DC. Now, of course that isn't a bad thing, but the sound Accept was trying to create, trying to formulate into their own wouldn't really bloom until "Breaker" On this album we hear a more speed metal vibes created by the riffs and harmonies of the guitars. Sure, there are still some hard rock touches that peak their heads out from time to time such as "Midnight Highway", but it's a nice addition to the overall sound as opposed to being one of core components. This album was also the alum that in my opinion, Udo finally decided to let loose his vocals and beginning to create the sound people would come to expect from Accept. Songs like "Breaker" "Burning" and even the ballad of "Feelings" show of Udo's abilities very nicely. This is not a perfect album, but the attitude and shift toward a more pure metal sound more than make up for any shortcomings. "Breaker" may not have been their debut, but I would argue that it was the beginning of greatness. Much like Iron Maiden and Blind Guardian, after their second release, they would enter their 5 album golden eras. I see a similar trend here with Accept. It's upsetting that many people seem to overlook this album, it really is a great listen.

Highlights: “Breaker” “Burning” “Feelings” “Midnight Highway”

Rating: 4

Accept: Blood of the Nations

Blaze Bayley. Tim "The Ripper" Owens. Both are very good singers in their own right and have had success with various bands throughout the years. That beings said, they will always have the taint of being the guys who tried to fill in for Bruce Dickinson and Rob Halford. Now, I'll be honest and say I neither hated nor loved their tenures with those legendary bands, but when it was all said and done, I knew they were not the right fit long term. When I heard that Accept was reforming back in 2010, I was excited however, learning that Udo Dirkschneider would not be part of the reunion, I was less excited. Udo has one of those voices that is undeniably unique and simply his absence could not be overlooked. I remember seeing a promo for the album to which, the cover art deepened my worries. I wasn't sure if this was going to be a true heavy metal album, or an attempt at some type of radio friendly metal rocker.

Upon my first listen, I was pleasantly surprised to hear that this album was indeed a classic heavy metal album, but to my ears, sounded rather run of the mill. But, to be honest, I had already take off points before even listening to the album and in addition, I had listened to it in the car on a long tiresome drive. So, essentially, my bias and inability to properly immerse myself into the music led me to believe that this album was rather lacking when in reality, it is quite a gem.

Once I was able to give "Blood of the Nations" a fair shot and listen to it in desirable conditions, I was able to hear the solid effort from Accept’s reunion. Wolf Hoffmann and Herman Frank put forth a beautiful display of guitar work, pumping out classic sounding riff after riff while creating harmonies that one can only sit back and admire. The drumming is executed with acute precision, creating the tempo and rhythm that help being the songs together. But, most importantly, there was Mark Tornillo's vocals.

Now, just like Blaze and Ripper, there was going to be some concern about the shoes Tornillo would try and fill, which would not be an easy task. Aside from a few songs on Youtube, I hadn't really heard much of Tornillo's work with TT Quick, so it was hard to judge how he would sound on "Blood of the Nations". With that said, I must admit, I was thoroughly impressed with his performance. First, Accept did not try and simply emulate Udo's voice, nor did they try and write songs that would better suit Udo and expect, Tornillo to sing. This was one of the mistakes both Bayley Maiden and Ripper Priest made. Rather than trying to creating a new, but familiar sound with their new singers, they tried to stick to their old formula. They would quickly discover that removing the most iconic part of the equation would not end well. Anyhow, rather than follow the same path, Accept decided to write songs that were both in vain of old Accept, but made sure to add new life into the sound from the past. This resulted in solid structure to the songs and also allowed Tornillo to both ease long time Accept fans into his arrival, but also establish that he was his own voice, not Udo-lite. Speaking of voice, Tornillo does have a little Udo to his sound, and also a hint of Bon Scott or Brian Johnson of AC/DC. So, those thinking there isn’t’ a little spirit of Udo on this album will be in for a nice surprise.

In closing, "Blood of the Nations" far exceeded my expectations. It is a worthy addition to the Accept catalog with or without Udo. I'm not going to try and compare the Udo albums to any of the modern releases, just as I don't try and compare the Ozzy and Dio Sabbaths. This was an excellent album all around and one that I recommend both fans of Accept and metal heads in general to give a listen. One thing is for sure; unlike Maiden and Priest, upon hearing the effort Accept created with Tornillo, I would say there is a long and bright future ahead for the band.

Highlights: “Blood of the Nations” “Beat the Bastards” “Bucketful of Hate” “Teutonic Terror”

Rating: 4

Judas Priest: Rocka Rolla

The Album that began a 35 year long career that is still going strong. "Rocka Rolla" was release in the birthing years of heavy metal. At that time, aside from Sabbath, 70's rock was still the dominate force, while many were beginning to flirt with a heavier side of things, the rock aspect of the equation was still top dog. By this time, Black Sabbath had already released six albums (Sabotage in the same year, but prior to priest) and their influence was already beginning to be noticed on other bands. It's easy to hear the Sabbath effect on "Rocka Rolla". The sound is bluesy in tone and reminds me of what many stoner bands would adapt to 20+ years later. This is a 70's rock album to the core and that's not a bad thing, it's just this is a far cry from what Priest would morph into soon after. You have to start somewhere, and "Rocka Rolla" is a nice piece of 70's rock, but for what most people are looking for, this isn't what you'll be expecting. I'd give it a listen for historical value.

Highlights: "One for the Road"  "Rocka Rolla"

Rating: 2

The Organization: The Organization

Death Angel - Mark Osegueda = The Organization. Well, sort of. When Death Angel split, the remaining members regrouped as The Organization, but would also change their sound. "The Organization" is not the thrashy bliss of "The Ultra-Violence" or "Act III". Instead, this is their own brand of straight forward heavy metal, albeit with hints of alternative and some experimental aspects as well. The music, although not as rip-roaring and hammering as they were as Death Angel is still performed very well. They are accomplished musicians after all. The riffs are entertaining enough and the vocals are delivered in a crisp, clean manner. There are even portions of orchestral instrumentation spliced thought the album as well, adding a hint of a avant garde to the mix. The sound however, is much more mainstream driven, which I have no problem with, but the music overall just feels too simple, almost as if they played it safe. Maybe they were trying to hit it big with grunge and alternative metal booming at the time, but either way, as a result the song writing seems to suffer a bit and the final product leaves you felling only half satisfied. Is this a bad album? No, but it's not one I find myself reaching for as a whole. There are a few highlights which is about all I can take away from this release.

Highlights: "Free Burning" "Policy" "Lift" "Bringer"

Rating: 2.5

Bruce Dickinson: Accident of Birth

In 1993, the metal world learned that Bruce Dickinson was leaving Iron Maiden to focus on his solo career. I was too young at the time, but I can only imagine what people's reactions were. History of the incident and any Maiden linkage aside, I am a big fan of Dickinson's solo effort. Let's back that up just a moment. I can't say I'm a complete fan, as I've only heard random songs from the three releases prior to "Accident of Birth", which to my ear were much more progressive rock oriented. Not that there is anything wrong with that, but that wasn't what I was looking for sound wise.(I have upon suggestion given more thought of revisiting those albums) As for "Accident of Birth", it took me a few listens to distance myself from trying to compare this to Maiden, then trying not to discredit it for not being Maiden. Finally, once I gave this an honest, non-biased listen, I was hooked. No, the sound is not Maiden, but I'll be damned if the music on this album isn't catchy. Right from the start, "Freak" gets things started off with a little more hard rock sound that gets your head nodding and foot taping, which continues over into "Starchildren". "Darkside of Aquarius", "The Road to Hell" and "The Magician" are songs built on excellent riffs, crisp drumming and Dickinson's vocals. Those three, with an extra dose of Maiden polish, could have made for some magical tracks on an Iron Maiden album during the golden era. "Welcome to the Pit has a progressively groovy build to its core, building toward a very catchy chorus as does "Accident of Birth". The chorus of this song, especially the portion; "welcome home, to your brothers and sisters" always gives me goosebumps.

Personally, I think this album has the chops to please those seeking some classic sounding heavy metal as well as the hard rockers of the world. It's nowhere near a Maiden clone, but should please those seeking some Maiden supplementation. It may not be perfect, but "Accident of Birth" is a solid release filled with catchy grooves, memorable riffs and Dickinson's vocals, which should be enough for anyone.

Highlights: "Darkside of Aquarius", "The Road to Hell" "The Magician" "Accident of Birth"

Rating: 4.5

Vultures Vengeance: Where the Time Dwelt In

Classic heavy metal in vain of the classic sound. "Where the Time Dwelt In" is a short but sweet 5 song EP (1 intro and 1 instrumental) delivering blissfully old school oriented heavy metal. The guitars on this EP remind me a bit of Manilla Road, but their Iron Maiden influence is undeniable. Catchy melodies and fast riffs make this what some metal heads call "New Wave of Traditional Metal" and I would agree. The music here is everything fans of classic metal would want, while something about Tony T. Steele's vocals, remind me of Tim Baker of Cirith Ungol, which is what drew me to the band. I have yet to hear their latest EP, but I am more than intrigued to hear it after this release. The only drawback for me is the production. I'm not sure about the difference of how production is applied to demos compared to EPs and to Full lengths, but to my ear this sounds what I would expect a demo to sound like. Now, I've heard demos and EPs with stellar quality before, so perhaps someone could educate me a little on the process. In any case, the vocals could use a little more pop to the forefront as I found this release to be best enjoyed with headphones only in order to capture the full potential. Old school metal fans should give this a spin.

Highlights: "A Curse from Obsidian Realm" "And the Wind Still Screams His Name"

Rating: 3.5