Posts Tagged ‘motorhead’

I went to go see Saxon live tonight at Manchester 02 Ritz (formerly HMV Ritz) on 2/11/16.

This was my second Saxon gig, and indeed the second Saxon gig I’ve attended at this venue. I really like this venue, its farther away from my house than the Apollo or Academy, but has much better sound and feels a bit classier. I remember seeing Queensryche here and it was one of my all time favourite ever gigs.

Last time Saxon were supported by the theatrical and bizarre band, Hell, but this time it was just the sort of appropriate greasy NWOBHM you’d expect. No not Grim Reaper (although that’d be an amazing booking…somebody get Steve on the phone!). Firstly Girlschool took to the stage, leaning heavily on material from the first two albums, plus the critically acclaimed new album, Guilty As Sin, that’s been on the sidebar of Blabbermouth for most of the year. I enjoyed Girlschool a lot. They played their cover of Gun’s ‘Run With The Devil’ (Judas Priest fans would recognize that). The ended with ‘Emergency’ which of course every Motorhead fan would recognize. It was a good gig, a lot of fun, ramshakle energy, smiles all around, jokes about throwing the lead guitarist into the crowd, amusing attempts by the lead guitarist to strum the rhythm guitarist’s guitar. Very entertaining and a great way to warm us up. I’ll check out more Girlschool as a result of this. I was going to anyway during my recent second NWOBHM phase, but spent my money on Tokyo Blade and Bitch’s Sin instead. I’m spotifying them as I write this anyway. Good stuff. They’ve won me over.

Last time I saw Saxon, I took my fiance (who doesn’t listen to Metal) along as a social experiment. Hell’s frontman whipping himself while dressed as the devil on stilts accompanied by spooky lighting and the band playing music that sounded a bit like Cradle Of Filth kind of scared her off so I was solo this time. This allowed me to venture closer to the front, however, for a better view and different atmosphere this time creating a nice distinction between the two times I’ve seen em. The front made you feel more engaged with the actual band, like as if Paul Quinn or Nibbs were looking you personally in the eyes, and it all seemed very perfect until along came some very largered-up people who where bouncing around, elbows everywhere, much to the annoyance of the more music nerd and young kid demographics, but I kept thinking, its a Metal show, not a library, let them have their fun. Now in all honesty; I’d personally rather just geek out on drum porn, but some people need beer and bouncing to enjoy a concert so I shouldn’t be a wet blanket. [I ended up wet due to beer spillages by aforementioned bouncy larger fans, but not necessarily a blanket…]. I dunno, sometimes I wish everyone was as boring and dorky as me, and just wanted to sit tongue hanging out watching the drum parts and guitar solos lustily, but as long as the rowdiness is good-natured and they’re not deliberately targeting people who aren’t into it then I guess I’m not going to be mr. sour about it. Sure Saxon themselves were famously tea-total, but its a loosing game complaining about beers at a rock show. May as well hand back your copy of Back In Black and Paranoid now and head to the new age isle.

Anyway. Girlschool got things revved up. Next was Fastway, y’know, Fastway? …featuring Fast Eddie Clark of Motorhead fame. Technically a NWOBHM band due to timing and marketing although not really in terms of sound. Their singer sounded really like Glen Hughes (and had the same Soul influenced vibe). They were very entertaining. And y’know…. its Fast Eddie Clark. Like, if a town you went on holiday to had a Lemmy or Phil Lynnott or Bon Scott or Dio statue or something like that, you’d go visit it, wouldn’t you? Similarly, just seeing this iconic guy in real life just felt like a special moment. I’m not a super sentimental guy with regards to this stuff. When Dimebag or Dio or Paul Gray died, they didn’t become gravestone tattoos on my body or even facebook user profile pics on my account, I don’t post anywhere near as many RIP posts on this blog as I feel I maybe ought to, but at the same time, when the only living member of the Bomber-Iron Fist line up of Motorhead is in your eyeline, it feels pretty cool I can tell you.

Finally, the main event. The mighty, the magnificent, the one and only Saxon. They battered…um excuse me… the Ritz with their opener, the title track from their excellent newest album, ‘Battering Ram.’ The setlist was really cool. Last time I went to see em, it was a celebration of the classic trilogy (Wheels Of Steel through to Denim And Leather), with songs from the first and fifth album in their too, making it early-days focused. Not content with just repeating the same setlist again, they focused a bit more on modern times tonight. There was plenty off of Battering Ram, as well as some selections from Inner Sanctum, Sacrifice (ok they played that last time too but I’m tryna make a point here) and Killing Ground.

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There were of course all the amazing gems you can’t do without, such as a breathtaking rendition of both ‘Crusader’ and ‘The Eagle Has Landed,’ and all the sing-along classics you’d expect like ‘Dallas 1PM,’ ‘747 Strangers In The Night,’ ‘Wheels Of Steel,’ and double-of course they closed with the eternally fun ‘Princess Of The Night.’ I’ve said before about how the ”take it easy take it slow don’t look back don’t let go” section of ‘Eagle was astonishing live and tonight didn’t disappoint. The drum fills in particular just set if off!

A surprise moment was when they announced that they had meant to tour with Motorhead but it got cancelled when Lemmy passed away (I still remember a few years ago having tickets to Saxon & Motorhead in my 2nd year of uni and it got cancelled when Lemmy got diagnosed with diabetes… poor Lemmy) and then proceeded to invite Fast Eddie up on stage for a cover of ‘The Ace Of Spades.’ Hey, nice surprise, seeing Fast Eddie play Ace Of Spades with my own eyes. And its not even the early ’80s! And I’ve been born! Wow, didn’t expect that. A very welcome bonus to the evening indeed.

There was plenty of smiles to be had throughout the show. For example, Biff declared Solid Ball Of Rock ”one of our MANY comeback-albums” and it really had me grin in a spinal tap way. There was also a technical fault during ‘Stand Up And Be Counted’ and ‘Never Surrender’ where the speakers went all weird and it slowly got fixed over time, but the band of course, never surrendered. Yes I did just write that. I’m sorry. Moving on…

Highlights for me, as before, where almost all from Nigel Glockler. Yes, I do have a massive drummer’s crush on him. Nigel just plays with such verve, passion and authority and absolutely elevates the whole band. The material from his own era is pounded out like nobody’s business (those kicks on ‘Let Me Feel Your Power’ and ‘Attila The Hun’ … you felt them in your intestines!) and the material from previous drummers is so greatly improved, with extra cymbal chokes, surprise splash cymbals or little ride-cymbal’s-bell patterns and indeed with much better fills. His playing doubles or triples how good the already great band are (I mean its flipping Saxon, its hard to make em better, but Nigel is just that magnetic and incandescent that he manages to do it anyway). He’s also a cool guy, specifically throwing his drumstick to a younger crowd member who was really into it and knew all the words and fills, rather than rowdy drunken yahoos just because they’d been fans longer…. I really reacted to that for some reason.

Another fun highlight was when a crowd member threw their patch-jacket (or kutt or battle-jacket or whatever you call them in your town) on stage and Biff put it on and wore it for a few songs before returning it to the correct person. Pretty cool moment. I mean, if the band who wrote the line ‘Denim and leather brought us all together’ wearing a fan’s denim on stage isn’t cool to you, then maybe you shouldn’t be reading my blog. I write about heavy metal not about antique china patterns or crossword hints.

It was a pretty amazing gig, the sound was brilliant (speaker malfunction not included), the vocals were remarkably good, the drums…well of course they were brilliant… did you not just read me gushing?, the attitude and showmanship of the band was perfection itself. The setlist was the perfect balance of wouldn’t-want-to-miss-it and try-this-on-for-size and although not every pet favourite track can get played at every concert (hey, I’m dying to see ‘Battle Cry’ and ‘Everybody Up’ live) it was an absolutely corking gig and set of songs and I loved every minute of it.

That’s twice now Saxon have brought the thunder. If they come my way again you better believe I’ll be up at the front again. If they come to your town you’d be a stark raving idiot to miss them. People who find a way not to enjoy that live show must be very devoted in their pursuit of actively choosing to not have fun, because it seems next to inconceivable from where I’m sitting that the mighty Saxon would be in the same room as you without producing smiles, fist pumping, and a lasting impression. Get tickets now, people!

[Side note: I wasn’t absolutely flat broke this time, and got to walk away as the proud owner of a very nice Saxon Est. 1979 t-shirt with the Eagle logo. I think I’ve found my new favourite shirt. I haven’t found such a perfect to my tastes metal shirt since the C.O.C Deliverance-reunion]

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FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

Hello, and welcome to my Blog. Why is it called KingcrimsonBlog, the official Blog of Kingcrimsonprog?. Good question; It is called that, because I am called Kingcrimsonprog (or Gentlegiantprog). Well, I’m not. I’m called Jimmy. But, I’m called either Kingcrimsonprog or Gentlegiantprog on most websites and forums. (You know, in the way you have to choose a name or “net-handle” when you register?).

Back when this Blog was first devised, it was sort of a hub “digest” of all my various internet output, under one easy “roof.” So people could then tell that my things were not stolen from elsewhere on the internet, I kept my net-handle in the title. The name of my net-handle was simply chosen because I enjoy the Prog band King Crimson (and Gentle Giant) and is not in fact my real name. Forget about the name. Imagine its called “Music Nerd Blog” instead. You’ll get the idea.

I’ve been obsessing about music since about the year 2000. Over this time I’ve bought what must now be nearly 1,000 albums, and heard hundreds more through friends, relatives, streaming services and whatever else. I’ve also watched over a decade’s worth of music videos and heard countless individual songs on the radio, free covermounted CDs, websites and whatever else. All that, as well as read years and years worth of music magazines and websites.

I’m a nerd. Basically. Only, instead of Stephen King Novels or Vintage French Cinema, its Music that I obsess about. Lots of people are nerds and don’t even realize it. Sometimes its obvious; trainspotting, stamp collecting etc. Sometimes its less obvious due to presentation. Some (make that many) football fans’ depth of knowledge about players and transfer costs and club histories would make many tram-enthusiasts seem normal by comparison. The amount of information that some people know about Reality-TV celebrities and their sex-lives would easily overpower my knowledge of bands, or the average fisherman’s knowledge of lures and lines. Everyone has a thing they get nerdy about, whether or not they realize or admit that it is similar to the more famous nerdy things like Star Wars. I don’t particularly like Football or Reality TV or Fishing. I like Heavy Metal music. That’s my one thing. That’s what this Blog is all about.

Welcome to my First Impressions series of articles too, incidentally. In this series I (or sometimes my friends, or readers) pick an album for each entry that I will listen to for the first time. I then write in depth about what I know about that album or the artist that created it and the genre and subgenre to which they belong, before describing the experience of listening to it in real time, in a sort of semi-stream-of-consciousness way intended for entertainment purposes. I also enjoy writing reviews of albums, but when I write reviews my goal is to be helpful and provide you with information with which to aide your decision about whether to try out an album or not. When I write a First Impressions article however my goal is purely to entertain the reader, explore how much I know about music and be my own psychiatrist in the process.

I may go into some very specific detail and assume you have heard everything I’ve ever heard and perceived everything in the manner I’ve perceived it, and call out very specific sections of music and draw comparisons between things that the casual listener may find completely unrelated. Don’t worry, most of these songs are on Youtube and most of the terminology is on Wikipedia and Urban Dictionary anyway, so if there’s anything that goes over your head, you can always get clarification in a second web-browser-tab (or ask about it in the comments).

According to the aim of the series, the albums are considered by the public and music critics knowledgeable about the subject to be Classic albums within Rock and Metal, or at least within their own Subgenres. Classic albums that I’ve somehow missed out on, despite my nerdly need to hear and understand almost every piece of recorded Metal music ever.

If you have an album that you’d like to read a KingcrimsonBlog First Impressions article about, please suggest it in the comments, I’m game, I’ll give anything a try.

So that’s the preamble out of the way, on to the article:

Today I’ll be listening to the compilation album Complete Discography, by the US Hardcore Punk band Minor Threat. It collects all their officially released studio material, including the highly influential Out Of Step. I got it for my birthday, just like the Manowar albums I mentioned in the last First Impressions article, but I’ve been saving it until now because I’ve been portioning out my gifts because I didn’t want to “lose” albums in the herd. I’ve learned my lesson. Every Christmas or birthday something loses. In 2009 Iron Maiden’s Final Frontier lost for example, and I still never feel like I listened to it enough, so this time… I’m spreading out the gifts so they all get their own brain-space.

Heck, when I got back to the city after my awesome holiday, my flatmates had gotten me four CDs for my Birthday, (what great guys, and what a prosperous Birthday this year!), which upon consideration I have decided that I am now locking out. The new Judas Priest album for example is banned until the start of next month and the rest are banned to the start of the next month… that way all this awesome stuff can all be appreciated, and none of it “lost” in the herd. Also, it will help me not buy new things if I know these new things are coming.

Now; I usually talk about the subgenre before talking about the band and the album in these articles. The genre of this one is Hardcore Punk, as I mentioned above. What do I know about Hardcore Punk?

Well; apart from groovy, Metallic, 90s NYHC, not much to be honest. All my Hardcore knowledge is pretty second hand, or Metal-informed. My history with Hardcore is pretty much that I got into Biohazard in 2001, and have loved them ever since (well, in waves, it waned for a while and came back strong in 2006 and never went away). I saw Sick Of It All’s “Scratch The Surface” on MTV2 around the same time (and later “District” too) and loved it, but didn’t get around to buying an album until last year , as part of this series. This was shortly after becoming a
Madball fan
, which I got the idea for when Jamie Jasta of Hatebreed (who I’d liked since 2001, but properly fell in love with in 2009 following my 2008 acquisition of their Live Dominance DVD causing a building love for them that exploded the following year upon the released of their suberb 2009 Self Titled album) listed his favourite albums in a magazine, including Madball’s Set It Off, and I got curious.

In that same year, I also got into Life Of Agony, who are in that world but are rather unique, and bought a Vision Of Disorder record (well, a two-in-one set of the first two V.O.D albums), and that band are within that world, but are a lot more ragged, unhinged , noisy and high pitched. Oh yeah, and Downset, who were sorta half in that world and half considered Nu Metal. In the same way Hatebreed are more in the Metalcore scene than the Punk scene.

This was all about two years or so after I’d watched the excellent documentary American Hardcore and learned all about the American Hardcore of the ’80s… the kind of stuff like Bad Brains and Black Flag and Dead Kennedys and indeed, Minor Threat. The kind of stuff Slayer covered on their Undisputed Attitude album. Since that time I’ve been really in love with the song “Fucked Up Ronnie” by the Canadian band D.O.A, which I bought individually off iTunes, but I haven’t gotten around to hearing a full album by the band yet. I also got gifted an autobiography of their singer Joey Shithead last Christmas and it was excellent. Really made me want to get into the band… which I probably will eventually. Anyway, that one song is probably my only comparable thing to Minor Threat in my whole iTunes… unless you count S.O.D, or the Punky joke tracks on any given Nuclear Assault album… but that’s really Crossover Thrash if we’re splitting hairs.

Speaking of which, after the band gave it away for free online, I also did a First Impressions in the early days about the Crossover Thrash band Cro-Mags’s debut album, The Age Of Quarrel but its not something I listen to a lot these days. I actually stuck it on out of the blue some time this week, and it was OK, but I didn’t fall in love with it or anything.

Then of course there is Gallows’ Grey Britain, which I guess is technically Hardcore, but comparing it to this ’80s American Hardcore is like comparing Tool’s 10,000 Days to Iron Maiden’s debut album. Sure, they’re technically both Heavy Metal according to some people, but lots of people will get pernickety about that, and also they sound a million miles apart because one is raw and true and the other is adventurous and genius but also way-out-of-basics so people can argue the genre.

AAAAAAANYway.

This is about Minor Threat. All I know about the band is that they are in part responsible for the straight edge scene… which I more and more can understand these days, seeing as I dislike drinking, don’t smoke, and have no interest in drugs at all. Sounds like a good enough scene to be apart of if you are so inclined. I’ve also seen straight edge people extending that idea into things like fitness and vegetarianism and the like… and my current headspace is all about fitness, and I’m also experimenting with meat reduction. Anyway…. That’s all a side-note. I’m not going to tattoo two “x”s on my hands anytime soon, don’t worry.

What else do I know? Their singer is called Ian McKaye and he is also the founder of Fugazi, who I haven’t heard, despite their massive fame and importance to my musical world. I also know Minor Threat have a song called “Guilty Of Being White” which isn’t as racist as it sounds, although it sounds even worse when Slayer cover it and then say “guilty of being right” and come across as a bit Neo Nazi for doing-so and make us all feel pretty uncomfortable. I guess that racial issues can spoil anything. Maybe that’s why Dead Kennedy’s wrote a song called “Nazi Punks Fuck Off” because it must suck to like Punk and then be associated with Nazis. Just like enjoying Black Metal means you have to put up with NSBM and their Nazism. Nazis and music maybe shouldn’t team up. Nazi’s should at least team up with chocolate instead… so then losing weight would be easier.

Other than that? They’re a short-lived Hardcore Punk from the ’80s (in the D.C. scene) and lots of Metal bands like them. I’m hardly an expert as you can tell, and this is more or less a blind-purchase (although it’s a gift anyway) based on reputation and the fact that I might like it, and even if I dislike it, I’d enjoy the learning experience and associated blogging (Nerd, remember?).

So, without further ado, I’m going to crank this.

[Play]

The album starts off with a track that I recognize from the Slayer cover; “Filler.” Its only quick at 1:32, but that’s what you’d expect from a band at that time in this scene. I think a lot of Hardcore is quite short, and that’s probably how Napalm Death got to writing “You Suffer,” – an evolution of that idea, many steps down the evolutionary road.

The production of the rhythm section reminds me of early Overkill, the production of the guitar reminds me of The Sex Pistols. The relationship between the bass and the guitar reminds me of Motorhead. The shambly guitar playing and fluffed notes remind me of The Libertines b-sides like “Mayday” and “Skag & Bone Man.”

“I Don’t Wanna Hear It” – 1:13; This is quite bouncy, a bit more catchy than the previous song. It was also covered by Slayer. The music kind of reminds me vaguely of Overkill’s “Rotten To The Core.”

“Seeing Red” – 1:02; This song reminds me of Green Day’s heavier material, like “Geek Stink Breath” or “Take Back.” Again, that d-beat in this production reminds me of Feel The Fire era Overkill. It’s a lot more up my street than the Cro-Mags album, but I couldn’t actually explain why.

“Straight Edge” – 0:45; This is what the majority of my brain tells me Hardcore Punk sounds like. If I think of Hardcore Punk… my brain makes a mental picture that sounds like this. I could do a perception of a genre by one track series, and if I did, the track for Hardcore would be this one. (Prog would be “Supper’s Ready” by Genesis, Death Metal would be “Hammer Smashed Face” by Cannibal Corpse, etc.)

“Small Man, Big Mouth” – 0:55; Quite bouncy and fun. I like it when floor toms are used in this way.

“Screaming At A Wall” – 1:31; Nothing particularly new here. Its just another song in the same style as those before. Not a favourite of mine. The fast snare rolls are fun though. Oh, cancel that, I should have waited until the end before I said that, it gets quite different at the halfway point and has a slow middle-eight. It in fact does have an identity of its own. Fair dos, Minor Threat.

“Bottled Violence” – 0:53; This is short and energetic, but I can’t really talk about it in any other way. It reminds me of grasshoppers? This song was responsible for Henry Rollins painting his fence back in ’82? This is the Scottish National Anthem? I got nuthin….

“Minor Threat” – 1:27; This is a bit of a change of pace. It is more mid-paced, and has a lot more melody than everything else so far. Until it speeds up in the middle, but still, this is one of the more distinct tracks so far. It has more tuneful singing than you’d expect too. I can see how Punk got from Sex Pistols to this, to Descendants to Green Day, to My Chemical Romance. This is what I love about going back… I want to buy a Saxon album and inadvertently learn something new about Pantera. I want to go to the past and understand the present and even predict the future. I love the jigsaw aspect of all of this.

“Stand Up” – 0:53; Well, this is certainly a song in the Hardcore Punk style, other than that I can’t really comment. For some reason it is rather fun, sort of reminiscent of Metallica’s “Motorbreath” in some weird way.

“12XU (Wire Cover)” – 1:03; The band are experimenting with dynamics here, going between open chords, chugging, then cutting the guitar out. Well, I don’t know if Minor Threat or Wire are experimenting, I haven’t heard the original.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“In My Eyes” – 2:49; This starts with a straight four-four Hard Rock beat and super messy bass fumbling and then purposely jumbles and ends and the real song begins… I can hear the Nirvana in that intro. Then its got a fun tom-build-up part. This is also a highlight so far for me.

“Out Of Step (With the World)” – 1:16; hmmm… it isn’t in my iTunes… I don’t know what happened here. Oh well, moving on…

“Guilty Of Being White” – 1:18; Ok, I mentioned this before. Musically, I can see why Slayer covered it, it is a quite fun song, lots of energy, and a bit of a hook to it. Just a shame about the lyric thing. Also I don’t like listening to it in this neighbourhood in case I look like some sort of BNP person. I’ll turn this one down and close my windows…

“Steppin’ Stone [Paul Revere And The Raiders Cover]” – 2:12; Ok. Back to full volume. A lot more variety here, reverb on the cleaner vocals, but then it is a cover. I can here Monster Magnet in this, in a way. I bet Dave Wyndorf likes it.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“Betray” – 3:02; The production here is a lot better. There’s melody to the singing. This is the Out Of Step album’s opening track. It sounds a bit more professional, again I hear Motorhead in it in a way… mostly the high guitars over rumbly bass. Its quite a long track for this band as well! Hey, they even throw in a slow section just before the end.

“It Follows” – 1:50; Not quite as fun as “Fucked Up Ronnie” but it kind of reminds me of it. Also, I can now see why Green Day are pop Punk. Like, I can here the connection between this and something off Kerplunk or ‘Slappy Hours… or whatever.

“Think Again” – 2:18; Quite a different sound for the band, a more distinctive riff than the usual thrashing. A bit mid-paced. Quite soft in parts compared to the all out thrashing of the first few tracks.

[A quick break to go on a nice date with my lovely gal to The Handmade Burger Co, which incidentally is awesome! Go there if you can. Their spicy bean burgers are sublime! Be warned however, chips portions are so generous two people should never buy two separate portions, if they don’t want to burst!]

“Look Back and Laugh” – 3:16; This opens with a slightly Russian-sounding slow riff, that reminds me of Brent Hinds for some reason. Then it turns into a slow sunny punk song, that reminds me of people skateboarding on Venice Beach, LA, while eating Goodburger burgers and high-fiving Ronald Regan-themed cardboard cut-outs (my mind is a confused place).

It reminds me vaguely of that one Pennywise video where the guy skateboards around town and goes to a record store and paws a Black Flag vinyl but doesn’t buy it. Its quite varied and diverse and fully-realized. Its not just a quick blast of speed, its got dynamics and lots of different ideas.

“Sob Story” – 1:50 ; This song is halfway between the last one and a quick angry blast from earlier on the record. It’s got dynamics up to a point but is fairly straightforward.

“No Reason” – 1:57; Pretty much the same as the previous track but ever so slightly more aggressive, and the guitar solo segment is more melodic.

“Little Friend” – 2:18; I’m getting a bit exhausted with the formula now if I’m being perfectly honest. I haven’t stumbled across anything as noteworthy as “Fucked Up Ronnie” yet. This song is another slightly samey go around the Minor Threat wheel. The coolest thing is at the halfway point there is a slow part that feels like a “Mosh Part” as described by Scott Ian in any documentary about Thrash and Hardcore’s link.

“Out Of Step” – 1:20; This one is the one that helped spawn the Straightedge thing. (“I don’t drink, I don’t smoke, I don’t fuck, I gave up, I’m out of step with the world.”) Its ok I guess. I thought I’d identify with it more than I actually do. Its ok. It’s a bit more memorable than the last three or four tracks. I was expecting a giant anthem that I’d want to scream out embarrassingly loud and be too-into. Oh well.

“Cashing In” – 3:44; This one is probably the most musical and advanced track on the record so far. Its got lead guitar, recurring choruses, a messy prog bit and that leads into a rousing heavy metal section in the middle where he keeps saying “there’s no place like home” and they play a kind of NWOBHM part, and that’s the end. I don’t know if it is a send-up of Metal or not, I can’t really tell on initial listening. A lot of Punks hated Metal so its pretty likely, although cross-over happened too, so maybe it isn’t ill-natured. Hard to tell.

FIRST IMPRESSIONS, Volume 76: Minor Threat – Complete Discography

“Stumped” – 1:55; This is more advanced, this marks the start of the Salad Days EP, and it is a bit of a step-up in musicianship and production, but still more or less the same sort of thing. It starts off with a slow, pleasant bassline that could be Green Day or The Offspring. The chugging guitar slowly builds, then the song lilts into a soft gentle groove that reminds me of colourful pop-punk music videos from the ’90s. Rancid videos. The vocals are kind of half-assed and lazy, in an intentional punk way. The song dies, intentionally.

“Good Guys (Don’t Wear White) [The Standells Cover]” – 2:14; It reminds me of the 1950s. I don’t know the original, just like I don’t know the original bands that Poison (“Your Momma Don’t Dance”) or Motley Crue (“Smokin In The Boys Room”) cover (parenthesis, much?). Hmm… turns out they’re a garage rock band from the ‘60s, like when Heart cover “The Witch” by The Sonics. Its ok. Its quite summery and bright, it kind of reminds me of The Proclaimers for some reason. Also, the acoustic guitars with punky production thing reminds me of Smashing Pumpkins and the entire ‘90s.

“Salad Days” – 2:46; Here we go, final song. It starts with some loose strumming on a guitar, then a raucous Motorhead style rumbly bassline, and then a disco drumbeat and bells come in. When it finally kicks in, it goes into a D-beat. Its kind of their usual style, but with cleaner production and a bit more melody. Its all a bit smoother. I could see some wieners saying the band lost their edge or whatever, but it’s a decent song.

Ok. And that was that. It didn’t really make for good reading. I can’t really discover much on an album that is pretty samey. I’m not sure how I feel about this collection overall so far. Maybe I’ll love it after a few more listens. I often find that when writing about these records at the same time, I don’t enjoy them as much… Dream Theater’s ‘Scenes From A Memory being a prime example. Maybe that album was just a grower though? I’m sure I loved it in a past life or something…

I think I could take this band more in small doses. Maybe a whole discography all at once was a bit of an overkill (is that good grammar? “A bit of an overkill” ? Should it be “A bit overkill” ?) (Should I just go and listen to Overkill?). I guess that’s why most of these type of bands released EPs and singles so much. Actually that’s not true, it was because it was cheaper, it was a financial thing. Also, what band would want to limit their audience’s consumption of them? Still… I think I’d like a Nasum or Terrorizer or Agoraphobic Nosebleed EP more than a full album. So, maybe it is a small-doses situation? Maybe. If anyone knows, comment that shit!

I enjoyed this one from a historical/educational perspective… but I’m not sure how much I enjoyed it. I still really want to check out things like Black Flag’s Damaged and Bad Brains’ Self-Titled debut, and all of Dead Kennedys’ early albums, but at the same time, I can foresee them being a bit boring and not-to-my-tastes. I think it may just be the case that I’m not a Punk person. Its ok. Not everyone has an ear for everything. My housemates just can’t enjoy Metal. My brother just cannot enjoy Hair Metal. My friend just cannot like any Extreme Metal…. Maybe I just am not equipped to like Punk.

Well; that’s why God invented Crossover, Groove Metal, Stoner, Grunge and Metalcore isn’t it?

I think I’m going to go listen to Napalm Death cover “Nazi Punks Fuck Off” instead of listening to the original. And that’s Ok.

Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 40, and I haven’t spent anything new in the last three days… hey, I’m getting the hang of this! Maybe if I keep this going long enough I’ll be able to break free of the habit of spending so frequently. I could use that money for fresh fruit and vegetables! (I’m on a health kick at the moment and that seems like the best use of my money in my current state of mind). I’ve also been experimenting with baking and online grocery shopping with mixed results. I’m planning on being a more successful human being for the next year, more organized and nourished and with more strings to my bow.

Continuing this self-improvement theme, I’ve also decided to cycle for 20-minutes after work every day from when I return to work following my current time-off, all the way up until Christmas. To sure-up this decision, I spent last night making dozens of 20-minute playlists in iTunes for cycling to. (Well, most of them end up being 22 minutes). The main theme of each playlist is pick about 5 songs from about 5 different artists within one subgenre.

So for example: 1 Saxon song, 1 Diamond Head song, 1 Iron Maiden song, 1 Angel Witch Song, 1 Motorhead song…. and then call that playlist “NWOBHM 1.”

In this spirit I have made: 9 Classic Rock Lists, 9 Thrash Metal lists, 9 NWOBHM/Early Metal lists, 9 Thrash Metal lists, 8 Glam Metal lists, 6 Power Metal lists, 5 Metalcore lists, 4 Groove Metal lists, 2 NYHC lists, 2 Indie Lists, 2 Nu Metal lists, 1 Stoner Rock list, and 1 Melodeath list.

Oh yeah, and two lists of Thrash bands’ ‘90s hits…like “Symphony Of Destruction,’ ‘Only,’ ‘Enter Sandman’ etc.

I only chose jaunty up-tempo songs; no ballads, no interludes, no intros, no doomy songs, nothing proggy… just stuff that would make me want to continue cycling. Its basically that I always get a shower when I get home from work, but I am always hesitant to do any exercise once I’ve had a shower because it’s a waste of water and therefore money, and so I’ve decided that I could squeeze in a small bit of exercise after each work day so its not too tiring (and get rewarded by hearing 5 or so classic songs) but since I’ll still work up a sweat it would be advisable before my usual post-work shower. Hopefully it makes me squeeze in exercise all the time, rather than doing it properly when I’m in the mood, but more often ending up doing nothing when it can’t be done right… as they say: “Don’t let Perfect be the enemy of Good.”

Anyway, enough health propaganda, on to the main article:

Since my recent birthday, I’ve been describing how I’ve been reading Martin Popoff’s Top 500 Metal Albums book, and this has not changed. I’ve been happily reading away at this yesterday too, now up to around number-300. It’s a damn good book and I highly recommend it. Even if there are a few small mistakes (eg. he said that Michael Kiske was the singer on Helloween’s Walls Of Jerhico, but it was really Kai Hansen) and sometimes his sentences lack all grammatical logic or you can tell he forgot to type words here and there, it is still a very entertaining and well put-together product.

I’ve also spent the last few days listening to the following albums:

I decided to put this record on again because I recently read an article online which was about biggest disappointments/flops. Untouchables was in it. I thought to myself…”surely not?” I remembered at the time, everyone loved it. They filmed the successful comeback show with loads of songs from it. People on Metal podcasts I listened to remembered it fondly. I listened to it again last night, and yeah, there’s a wee bit of filler (like EVERY Korn record) but it is in no way a weak album for them, plus lead single and album opener “Here To Stay” is just an absolute smasher! Oh yeah, and I looked it up on Wikipedia this morning and that also suggests it is one of the band’s most popular albums. What about the verse to “Embrace” ? …or the chorus to “Wake Up Hate” ?

Disappointment? Pfft…

This album is a weird one for me; I listen to tracks from it almost daily on shuffle, but I have this weird “I don’t listen to this album enough” feeling all the time because I don’t sit down and listen to it in its entirety often enough. Well, I tried to put that right, and its one of my favourite Motorhead records when you add up all the songs I like (although I just usually don’t listen to them together… something it shares in common with Faith No More’s Angel Dust as a matter of fact). Some people called this one a disappointment, or dislike the production. Not me, I love it. Love it all. So many great tracks. Great atmosphere. Its charming. “(Don’t Let ‘Em) Grind Ya Down” is especially fun. Heck it all is; no filler!

I listened to this yesterday whilst weightlifting because I have elderly neighbors in my temporary accommodation and I didn’t want them to have to hear Hatebreed, which is what I was really in the mood for at the time, but I’m a considerate neighbor when all is said and done.

I remember I bought this for super-cheap (around a penny I seem to recall, or maybe one pound at an absolute maximum!) just to have something to talk about with a coworker in my last job, who had an Alkaline Trio tattoo. I’m not really keen on it. I always liked their single “Private Eye” but unfortunately its about the only song on this album that is memorable. Its all competent but its just a bit bland and forgettable. Oh well, a Penny for a few conversations and “Private Eye” …not too much of a waste. Its not like I’ll have to quit doing fucked-up shit.

I’ve mentioned before about how I got this in 2010 and never felt like I’d listened to it enough. I still feel that way. Even with a recent attempt at a revival of it by adding it to my phone on work trips and during my Dutch holiday. To its credit, there are some great songs on the record, like the Title Track, “The Alchemist” and “Talisman.” I just somehow never feel like I give it enough attention though. I’ll keep trying, because it is good, its just… demanding.

This was a birthday gift. It’s the modern Helloween line-up trying to do their version of the Keepers’ albums. BOTH Keepers! It’s a double album, each with a 10 minute epic, a few fast thrashers, a ballad each, and a fun off-the wall song.

Its kind of exhausting. I can tell there’s good stuff on it, because I like Deris-era Helloween a lot anyway. But, its just a huge amount to take in at once. Without the mental division of individual albums the way the original Keepers Part 1 & 2 had. You feel overworked listening to it.

Some people are down on sequel albums, especially those late in a career. I like Operation Mindcrime 2 and Thick As A Brick 2 though… so I’ll give this one a chance as well. It just might take a long time to absorb.


I went for a run the other day, and the soundtrack to this sweaty affair was the suitably sweaty Manowar albums I got for my birthday, all together (Not just the one pictured, but Triumph Of Steel and Fighting The World too) on shuffle. These albums are really growing on me. Sure the drum solos in “Achilles” are pace-killers and that spoken word track is too long, but this is a seriously fun band with some seriously great Metal songs to offer. All of their fast songs are almost instant-favourites of mine, catapulted into Best Of playlists already. This is a good boxset and these albums are showing some real promise to join the best of Helloween and Gamma Ray at the top of my Power Metal pile… almost eclipsing Stratovarius already!

Absolute masterpiece. I’ve spent enough time talking about it. I think its one of the best records ever made, by anyone. I just need to listen to it regularly because I don’t want it to slip out of listening. (Once I let “Crack The Skye” go, it didn’t come back the same).

Another birthday gift. Very fun, pleasant, upbeat and happy record. Perfect listening for this sunshine, and for this good-mood inspired by the exercise and healthy-eating zone I’m in. Also nice and brief, lightweight and succinct. Easily digestible, quick and cheerful stuff for instant gratification and no-brains smiles being put on my face.

I’ve tried once more last night, despite feeling like it wasn’t very good and even with new attention, I just don’t really like this album much at all. I really like their debut, don’t get me wrong, its not just thoughtless Poison-bashing here, I just don’t like this Posion album. This one is just a bit empty. There’s nothing in the style I want from them, and there’s no catchy perfect fun in an alternative style to the one I want either. Its just very bland and unexciting. Nothing “grabs” me.

Halfway between the first and the third. Not just as memorable as their debut, or as forgettable as their third album, this has stuff going for it, but isn’t “wow, this album is great!” either. An enjoyable listen, that will eventually be boiled down to just the best few tracks and mostly ignored otherwise. I like “Back On The Rocking Horse,” “Bad To Be Good,” and “Look But You Can’t Touch” as well as the Kiss-esque hit single “Nuthin But A Good Time” of course.

I used to listen to this all the time last year. It got pushed out by new purchases. I still tend to listen to the post-Ralph albums a lot, but the first three of their albums have done a runner from my limited-storage-space phone long ago, which is a shame really, they deserve more attention. I’m pushing them back in now though. How can you argue with “Money” on a sunny day?

I’ve been listening to this constantly since its release, and so this listen here is just another go-round, rather than any attempt to appreciate an under-appreciated hidden gem. I’ve been constantly listening to it all year because its really good! …Even their absolutely shoddy live gig this time last year didn’t stop this being a good record in my eyes.

I enjoyed listening to it out in the sun today whilst chopping down (or rather trimming to acceptable tidiness, its not like I actually felled them with an axe) the trees surrounding my current accommodation, in the glorious sunshine. The title track and “Fall From Grace” are brilliant cheerful songs to hack trees by! (Although maybe I should’ve listened to Rush, now that I think about it… that’d be good, ey? I wonder if the neighbors would’ve got the joke?).

It took a long time to trim those trees. This was the second album I put on, because its not too-heavy for neighbors. I love this album, any excuse to listen to it is fine by me… even if my thumbs are covered in blisters afterwards! Good album. “Sleeping By Myself Tonight” is superb.

Man, I just never listen to this. I’ve owned it at least a decade, and I think I’ve listened to it fewer than twenty times in all that time (shame it wasn’t Somewhere In Time so I could use yet another “time” in that sentence), with about ten of those listens being made in the same month I bought it.

I love the title track (man, title tracks are usually great, aren’t they?) and “Be Quick Or Be Dead,” which I will always love for its Carmaggeddon 2 memories! (It was in that game’s soundtrack beside “The Trooper” and “Man On The Edge.”) Other than those two tracks however, I almost don’t even recognize over half of the record. I wasn’t even all that fond of it when I listened to it yesterday again either. I must try yet again tomorrow! Maybe it’s a grower, and I’ve never put enough time into it?

This album is fantastic. Its taken me years to think that though. A bit of backstory: I bought Cowboys’ and Vulgar’ on the same day on a Dublin holiday when I was about 12 or 13. I loved Vulgar instantly and forever. The high screams and weird production (and infuriating lack of snare drums on “Primal Concrete Sledge”) on Cowboys however, at the time made me think of it as being bad and cheesy and out-dated and un-Pantera, and for about two years afterwards I only liked the title track. (Title Tracks again, see?). Over the years I’ve liked more and more of it, and getting into thrash unlocked more of its charm, getting into Maiden unlocked yet more. Getting into Priest unlocked the final missing piece. Now I love every second of it… it just took me a while. A kid who mostly listens to Powerman 5000 and Limp Bizkit doesn’t have the palate suitable for “Heresy” or “Psycho Holiday” just yet. Well, it was worth the wait!

Another “I am listening to this all the time anyway” album. I’m surprised how much I’ve come to really enjoy this record. It’s also “unlocked” the band’s first two albums for me, and I can appreciate them as real music now, instead of just a clown-parade of druggy chancers and womanizers writing 80% filler and getting unnaturally lucky with a few hits, like I used to view them. Moving on…

Yet another “I am listening to this all the time anyway” album, like the above. This is my definite album of the summer. It will likely be my album of the year at this rate. Every listen and it gets better, just like Stalingrad did. I’ll be watching the free Blu Ray a lot over the rest of the year too. Good value. I’ve been avoiding new albums recently because I can get boxsets of albums for the same price as individual new albums, and about 5 cheap old albums for the price of one new album, so it just seems wasteful to buy new albums…. This one however was unarguable value for money considering how much enjoyment and use I got out of it!

When I first got the boxset of Dokken’s first five albums (well, four and a live album), I sort of overlooked this one a lot. I’m slowly rectifying that oversight. “Paris Is Burning” and “Live To Rock (Rock To Live)” are excellent jaunty Judas Priest-style Speed Metal tracks (although with a softer production, admittedly).

This still isn’t my favourite Dokken album, or one I’d share with any friends who don’t listen to this sort of thing to convert them, but it’s a nice enough album and worth my time.

This is a classic, everyone loves it. Its not hard to see why. Phil’s voice is excellent here, Pepper and Kirk’s riffs are really memorable and everyone loves a bit of Bower Power, that Bonham-esque groove he can inject songs with really putting the cherry on top.

Good songs (most of a Down setlist most times, ey?), great performances, faultless production… pretty good record. Its not even monotonous, there’s plenty of variety from the brief stunners like “Lifer” and “Hail To The Leaf” and then the acoustic “Jail,” for variety, yet further diversified by the unique genre-of-one in hit single “Stone The Crow” and then topped-off by the big weighty monolith of an album-closer (and live-favourite) “Bury Me In Smoke.”

Its just all good, and there’s a nice mix so you aren’t bored or wore-down. I just need to remind myself to listen to it as often as I listen to Pantera or C.O.C. I’ve been constantly hammering The Purple EP all year, or at least its highlights, so I’ve probably been getting enough Down overall that I didn’t notice the dip in NOLA plays, but Martin Popoff’s book just reminded me to go back to the reason I liked Down in the first place.

I listen to the title track (how many times with the title tracks?) and “Rock N Roll Rebel” all the time, and I have it on Vinyl mounted on my wall, and I listened to the whole record all the time for about a year after I got it… but I’ve noticed a massive decrease in listens recently. I’ve just put it on again (another Popoff inspired move) and noticed that apart from the aforementioned hits, I’ve forgotten most of this record, and there’ actually a lot more good moments on here than I’ve been giving it credit for recently, certainly since last Christmas I’ve not listened to it in full. Well, now I have once more, and it was entertaining. Not the best Ozzy album, but better than the two-tracks-only footnote that I’ve been treating it as! Also the bonus track “One Up The B Side” is great, despite its cheesy joke title.

I bought a set of the first two V.O.D. albums a while back, around the same time I bought the boxset of Life Of Agony albums (I remember mixing the two bands up because of their triple-word names with “of” in the center, their association with ‘90s American Hardcore, and both having tracks with “River” in the title. This “River” song has a guest appearance from Phil Anselmo, Life Of Agony’s didn’t.

I ended up becoming a real fan of the Life Of Agony material… but upon initial listen I wasn’t keen on V.O.D. much at all. Their albums seemed like an exhausting barrage of samey, brash, rough-around-the-edges violence. To be fair, that’s still true, but its more of a compliment than an insult. This album is full of absolutely brilliant tracks. Each one, in isolation, is a blow-away-the-cobwebs breath of fresh air… intense, threatening and very very lively. Their singer reminds me of Chimaira’s Mark Hunter a little… but a less melodic, more screamy version.

Highlights for me are “Jada Bloom,” “Twelve Steps To Nothing” and “Landslide.” I’m warming to this album, its just a bit exhausting all at once… they’re still a band I can only take in small doses.

Another Popoff inspiration. I bought this record around this time last year, wasn’t amazingly sold on it really, and kind of just listened to it in small doses here and there from then on, with decreasing frequency until its now mostly ignored altogether. I stuck it on yesterday and was really impressed, there’s a whole heap of stolen Anthrax, Megadeth and Overkill parts and apart from the slow, grungy tempos and Rob’s unusual voice, this is pretty much a nice Thrash album. “Thrust” and “Black Sunshine” are good. The only problem with the album is that the band seem a bit too relaxed, too calm, holding back a bit. V.O.D are too unhinged and aggressive and abrasive, put this is the opposite end of the spectrum… its very chilled out and softened-down. You can tell the songs are good though, it’d be cool to hear them covered by someone with a bit of energy. Perhaps V.O.D. could cover them and split the difference?

This album is associated with sunshine for me. I was listening to it in the wonderful sunshine in the zoo in Rotterdamn, and I listened to it today whilst going out on a long walk in the countryside while trying to put more of this healthy stuff into action and make the most of this last week away before its back to early 4am work mornings and grey city sludge. The whole album is so bright and clean and uplifting that really sunshine is the only environment in which you could take it seriously… you already need a big smile on your face before it even starts.

What about the record itself? I used to think it was pretty samey, pretty bland, and lacking in the x-factor of its more famous cousin Inhuman Rampage. Listening to it carefully for the first time today, I guess that’s only half true… there’s a little more to things here than I initially credited it with, and while it can wear a little thin all at once its pretty much an honest record with good intentions. Not soon to become a favourite, but worth a few more listens at least.

Ok. That’s enough for one article. I’ve dropped my thoughts on most of the albums I’ve been listening to in the last three days; I’ll leave discussions of Death, Carcass, Cro-Mags and Deicide to another time as I’m pretty sure most people will’ve stopped reading by now anyway.

Oh well, it stopped me from splashing out on Spiderman comic collections, Early ‘80s American Hardcore bands’ debut albums, Musician’s biographies (Five Finger Death Punch’s drummer has a book out!?) and all the live concert DVDs going at the minute (or indeed b-sides and bonus tracks to albums I have but haven’t got all the bonus material from.)

‘Til we meet again…

Welcome to yet another edition of my blog series, Get (Into) What You Paid For. Its day 36 of the challenge and there have been no slips apart from the time-sensitive acquisition of a concert ticket. As I’ve mentioned last time, I have been away in the Netherlands, then celebrating a birthday recently. These two events have made my resolve not to buy new things pretty strong for the past fortnight or so. I mean… I could go out and buy something, but there’d be no time to listen to it anyway, so why bother?

The last few days I’ve been listening repeatedly to birthday gifts in the form of CDs by Manowar, Helloween, and the Fratellis, succumbing to all of their charms one by one. A real good trio of gifts I must say. This high attention focus on the new items has kept my brain very occupied and I didn’t look elsewhere for musical satisfaction.

Today, I’ve spent many hours reading another birthday gift; Martin Popoff’s book of 500 Greatest Heavy Metal Albums. This is a really interesting and entertaining book for someone like me.

It was assembled by compiling a massive international survey of Metal musicians and people in the know, (and at points you can find out many prominent Metal musician’s own personal top-10s) and then each album, with very few exceptions, is accompanied by a comment from the author (who sometimes hates the albums chosen and isn’t afraid to let you know) and an interview from a band member or other significant person.

Sometimes the quotes aren’t perfectly about the album; and are about the artwork, or guitars in general, or whatever, but for the most part, regardless of what quote is chosen it is entertaining.

Needless to say, for someone who probably owns at least 350 of the 500 chosen albums it makes your brain continuously say “OOOOh, I want to hear that again! Oooh, I want to hear that again too! Oooh, and that one as well.”

So; rather than playing-out Fratellis and Manowar too quickly, today has been spent reacquainting myself with albums that Popoff brought back to my attention. Here’s a quick visual guide to my past two days (see if you can spot a sort of semi-theme):











Now, some of them, I’ve been listening to a lot recently anyway, like Accept and Saxon. Some of them, I feel like statistically I’ve listened to a lot but mentally feel like I haven’t heard a lot like Anvil and Motorhead. Some of them, like Savatage and even-more-so Merciful Fate I don’t even think are all that great, or at least I didn’t until today. I’ve really, really re-valuated my opinion of those two records, I thought Savatage’s Power Of The Night was decent but a bit lame, but now its charming and satisfying…. Merciful Fates’s Don’t Break The Oath is an album I’ve more or less ignored apart from monthly attempts at one track or so, which I can never enjoy due to the ludicrous vocals and vocal production and how high the vocals are in the mix. Today, I somehow got my brain to tilt, and see it from a different perspective, and enjoyed it as the very ambitious and accomplished record that it is. Sure, King’s vocals are too loud, too echoey and too cartoony, but the music is bad ass. Its got a lot of bold scope and is surprisingly advanced. Even more progressive in song structure than Diamond Head and more modern and Thrash-informing than Angel Witch. Oh yeah, and it has one of the coolest album covers ever, but then I always thought that anyway.

I was going to do a section on what I’m tempted to buy, as is the usual situation in these articles…but I think that at the moment that is pretty much every album in the book that I don’t own yet (eg. Tyger’s Of Pan Tang’s Spellbound, Motley Crue’s Girls Girls Girls, Aerosmith’s Toys In The Attic, anything by Celtic Frost or Candlemass etc.). Also a proper Anvil studio album so I can get a better feel for them.

I don’t actually feel like buying them though, because I know that I have all this new Manowar and Helloween and Sick Of It All to digest…and I haven’t even opened the new Down EP yet!

Well; that seems like a decent length of article for the time being, seeing as I’ve got other things brewing at the same time [I’ve been listening to live albums in boxsets by MSG and Dokken recently, and discovering the same thing I did when I found that live album by Saxon last year (you may remember this). So I feel I have an article to write about Live Albums. I’ll have to crack open my Foghat Live, Mountain Twin Peaks, Deep Purple Made In Japan, Motorhead No Sleep Til Hammersmith, Faith No More Live At Brixton Academy, Maiden Live After Death etc. and give them all a re-listen, re-evaluation and write a paragraph or two about ‘em.] I’ll just leave you with a quick series of Tops 5s of Traditional Heavy Metal:

Iron Maiden :
1. Passchendaele
2. Rhime Of The Ancient Mariner
3. Where Eagles Dare
4. Hallowed Be Thy Name
5. Fates Warning

Judas Priest :
1. Burnin’ Up
2. Electric Eye
3. Beyond The Realms Of Death
4. Killing Machine
5. Eat Me Alive

Saxon :
1. Denim And Leather
2. To Hell And Back Again
3. Princess Of The Night
4. Heavy Metal Thunder
5. Machine Gun

Motorhead :
1. (We Are) The Roadcrew
2. All The Aces
3. (Don’t Let ‘Em) Grind Ya Down
4. No Class
5. Rock It

Ozzy Osbourne :
1. You Looking At Me Looking At You
2. S.I.N
3. Demon Alchohol
4. Over The Mountain
5. Rock N Roll Rebel

Dio :
1. Caught In The Middle
2. King Of Rock And Roll
3. Overlove
4. I Speed At Night
5. Stand Up And Shout

[Side note: Also, why isn’t there a definitive Van Halen live album in the spirit of Live At Leeds or Made In Japan?].

[Side note 2: What do you lovely people think of King Diamond’s vocals and Merciful Fate in general?]

[Side note 3: Some of Popoff’s own sentences are complete gibberish. I don’t mean to be critical of any writer considering how my own writing is often gibberish, but boy-o-boy, some of the sentences in this book are mad as a bag of weasels]

Hello and welcome to this fourth round of my “Get (Into) What You Paid For” challenge, in which I attempt (despite being an out of control, no discipline, shopaholic of sorts) to not buy anything for a month.

I also try and make this challenge easier by going back and paying more attention to what I’ve bought already, and try and get into more and therefore get my money’s worth.

Have you ever picked up five or six albums in one shopping session or received several videogames all at once for a birthday and then found that some products get used more than others? This series is designed to reappraise and finally get into those sort of underdog products.

JP – RoS

If I was going to break my challenge, what would cause me to do so?
Well, I’m damn tempted to but the new Judas Priest album, Redeemer Of Souls. I’ve read absolutely universal praise of it, and Judas Priest are one of the band’s I’ve listened to the most in the last four years. If its anywhere near as good as Angel Of Retribution I’ll love it. Most people say its measurably better than Angel Of Retribution. Sounds pretty good to me. Plus its topical and up-to-date, and I’ve been lost in the 80s a bit recently, and it would be nice to be up-to-date with something. I’ll get that feeling when my pre-oder of Accept’s Blind Rage arrives, but until then, I’m sort of out-of-the-loop with modern releases at the moment.

In the opposite direction of being up-to-date however, I was watching a Lynyrd Skynrd documentary this week and that put me in the mood to try out some Molly Hatchet and Black Oak Arkansas, and expand my Southern Rock collection further than solely Lynyrd Skynyrd and Blackfoot. This was compounded the next day when watching a Van Halen documentary that featured Jim Dandy (Black Oak Arkansas’ frontman) as a contributor (discussing press accusations that David Lee Roth stole his stage moves). Both of those guys have Original Album Series boxsets and I kind of want to pick those up… but boxsets are a dangerous game. I’m still in a boxset “get my money’s worth” mind-war with Thin Lizzy, Van Halen, Dream Theater, Faith No More, Foghat and Mountain (and to a lesser extent Motorhead and Saxon a bit).

VOD – BV

Bit of a left-field choice here, but I’m really tempted to buy Broken Valley by Life Of Agony. It’s the only album by them I don’t own yet, due to buying that Roadrunner Boxset, and I’ve been absolutely loving their first two albums these last few months. I’ve been really, really heavily leaning on tracks like “Damned If I Do,” “Bad Seed,” “Underground” and “Drained.” Their reunion put them back in the press and that reminded me of this missing album in my collection (I think there was an article saying they’ll not be making a new record so fans “better get used to Broken Valley”).

F – F&W

A fairly new “want” of mine is Free’s Fire And Water. Fairly new as in yesterday. There was a vintage music channel playing music videos on a TV in the background of where I was at yesterday. It was primarily showing videos of 80s pop bands like Duran Duran, Culture Club and Wham. Then out of nowhere; a Zepplinny, 70s-Sounding Hard Rock guitar comes in with charming production and suddenly I sit up and pay attention. It turns out to be “All Right Now” by Free, which is probably up there with “The Boys Are Back In Town” by Thin Lizzy and “Sunshine Of Your Love” by Cream as one of the most famous and frequently pub-covered songs in Rock Music, and yet I’d never really noticed it properly before. I was impressed. I’d like to hear a full album. Turn it from a “Smoke On The Water” into a “Machine Head” and find a few “Pictures Of Home”s… if you follow my meaning?

I’ve also been voraciously consuming Batman comics over this last year (in fact, August 2013 was when my good friend Paul bought me a load of Batman books for my birthday and in-so-doing kicked my casual “Ok, I’ll try some Batman” phase into an “I am a Batman fan” phase.) So I’d be tempted to buy just about any Batman tradepaperback I come into contact with. My current “top picks” to get are Ego, Odyssey, Black & White, Year 100, Dark Victory, Time & The Batman, Bruce Wayne The Return, Bruce Wayne Murderer? and all volumes of the New 52 Nightwing series.
When its released I want all volumes of Batman Eternal, Zero Year and I also want any stories where Jason Todd is Robin…. release some sort of retrospective please guys?

Anyway, enough about what could make me spend money, what’s been saving me money so far this month? What’s kept my hands busy and stopped by notorious spending habbits at bay?

M.C. – T.O.P

Well; Its August 7th, 2014 and I’ve currently managed to go the first week of the challenge without buying myself anything. Right before the challenge started, I picked up a copy of Motely Crue’s third studio album Theater Of Pain from a Charity Shop for £1.99, and that has pretty much kept me interested for a full week.

I didn’t expect much from this album to be honest. I thought it might be a bit rubbish. I’ve read bad reviews of it. I’ve read The Dirt (Crue’s biography book) and the album is slated in that book. I’ve watched Google Play’s Motley Crue documentary (see here) and singer Vince Neil rejects the album. It seems like it might be a bad product. A bit of a mistake. A bit like Kiss’ Music From The Elder Album.

But you know me, champion of the bad-album, lover of St Anger, contrary semi-hipster who always seems to love the album with the bad reviews (Ok. That’s an exaggeration; I often also dislike unpopular albums too, but whatever…). I thought to myself I’ll find a way to enjoy this album.

On first listen, this album was a mess. Opening with a slow doomy track, then into a cartoony cover-song (and I’ve never liked songs singing about School anyway), then a rock song and then a ballad. Its confused, its all over the place. I heard people say this album is just “some songs” and that “its not a party album” and that “they were too high on drugs and bereavement for Razzle to make a good album.”

Then I heard the songs “Use It Or Lose It” and “Louder Than Hell” and they just connected with me. Unarguably and instantly two of my favourite Motely Crue songs. So I realized there is definitely something going on here. I’ve been listening to it repeatedly, in different combinations and orders until I came across the perfect listening order:

Now its not a mess. Now it’s a party album! Now it is a well balanced set of rock songs with diversity but a steady sensible flow. It’s a journey. It’s a good record!

In this order, I’ve listened to and loved the album about a dozen times now. What a big difference that the running order makes. I recommend you try it out this way, it is a much better album.

I’ve also been listening to the rest of the band’s catalogue these last two weeks. In particular, Shout At The Devil is a good record, with “Red Hot,” “Bastard” “Looks That Kill” and the Title Track all being stand out moments.

I don’t much care for their debut apart from the fabulous “Live Wire” and “Piece Of Action” or even the mega famous Dr. Feelgood album all that much apart from its own Title Track and “Kickstart My Heart.” I don’t have Girls Girls Girls yet, so can’t make a judgement on that one, but I will explain that kind of the reason for all this Crue interest is because I’ve loved the single “Wildside,” ever since I saw Dwight enjoying it too much in The Office on my most recent re-viewing of the series in its entirety. (I’d heard it before, but that moment just made me reevaluate it.)

In honour of this new found acceptance of Motely Crue (band who I’ve really struggled to allow myself to like due to my disapproval of their sexism, drug abuse glorification, domestic violence denial, and general selfishness and rudeness) I’m going to list my five-favourite songs by the band, and all their contempories in my music library.

So consider this a Hair Metal/ Glam Metal / ‘80s Hard Rock special episode.

Motely Crue :
1. Louder Than Hell
2. Live Wire
3. Wild Side
4. Use It Or Lose It
5. Shout At The Devil

W.A.S.P :
1. I Wanna Be Somebody
2. The Torture Never Stops
3. Ballcrusher
4. Shoot From The Hip
5. Chainsaw Charlie

Twisted Sister :
1. I Wanna Rock
2. You Can’t Stop Rock N Roll
3. The Kids Are Back
4. Kill Or Be Killed
5. Love Is For Suckers

Quiet Riot :
1. Metal Health
2. Run For Cover
3. Scream And Shout
4. (We Were) Born To Rock
5. Sign Of The Times

Poison :
1. Look What The Cat Dragged In
2. Let Me Go To The Show
3. Play Dirty
4. Nothin’ Buta Good Time
5. Look But You Can’t Touch

Dokken :
1. When Lightning Strikes Again
2. ‘Til The Living End
3. Tooth And Nail
4. Live To Rock (Rock To Live)
5. Kiss Of Death

Bon Jovi
1. Bad Medicine
2. King Of The Mountain
3. You Give Love A Bad Name
4. Runaway
5. Born To Be My Baby

With only one album by Extreme and Europe, I don’t feel its fair to do them, but I’ll say that my favourite one song by each is “It (‘s A Monster)” and “On The Loose” respectively.

For each of these articles this time around, I’ll try drop a TOP 5s of a particular subgenre in there. It’ll give this round a unique feature, ey?

T.P.B

In other areas, I’ve been keeping busy by watching Trailer Park Boys on Mike Ladano’s recommendation, and absolutely loving it. Thanks Mike. Thanks Netflix. It’s a great show! – Not only for guest rockstar appearances from Sebastain Bach and Alex Lifeson, but for the superb sense of humour and brilliantly real life (in a way) nature of the show. Its not skinny Hollywood girls buying Porches. Its much more down to earth (although it does get too surreal at times to honestly call “realistic” in fairness, but you catch my drift).

The characters are really enjoyable, from humorously selfish and flawed, to ludicrously irrational and dysfunctional. Its hard to pick a favourite character because everyone has got something going for them… even minor characters like Ray would be the best character in some other shows.

In a more British mood, I’ve been watching the absolutely excellent Getting On. A British show about Hospital Nurses, very much in the style of (and featuring cast members, and written and directed by people from) The Thick Of It. Just like The Thick Of It was a really astute and well researched satire of the British political system, Getting On is basically the same show but about the NHS. Its fun though, because instead of some lazy slamming of the NHS and unfair complaints, its mostly just a comedy about flawed individuals and their own personal weaknesses interfering with their ability to do their job properly. Its not “This is why hospitals are bad”… its “How did this clown get a job in a hospital” and I appreciate that. Fair humour, that doesn’t play too much on the same old negative hospital stereotypes.

BS – I

What else? Just before the challenge started, I got a lend of and finished, and Platinumed the videogame Bioshock Infinite (my first attempt at, and success at Platinuming a game in two years, despite my previously huge interest in that area). The game? It is a masterpiece. Although in hindsight, in comparison to Bioshock 1 & 2, a lot of the gameplay depth, setting atmosphere and cool enemies are missing, but I absolutely loved the story and the effort and depth there. I sat and read practically everything written about it on the internet afterwards and was wowed by the fabulous artistic achievement that this game is.

I won’t go too much into it because of spoilers, but wow… what a brilliantly executed concept. And I love whoever online said that the fact that it is a game strengthens the point its trying to make and the effort went to by the creators to make a piece of art strengthened by the gaming platform. Bioshock as a series is absolutely one of my favourites. Each of the three games has had some flourish of genius or other.

New Slipknot

A few other thoughts then – There’s a new Slipknot song. Not the single, we have now learned, but rather a heavier mid-album track as a gift to the fans. We don’t know who’s drumming on it, although the internet thinks it might be Chris Adler from Lamb Of God or Jay Weinberg. It might even secretly be Joey and the whole thing is a publicity stunt… is that legal? It might be Clown or Chris taking up a full time drummer’s job.

We don’t know who is playing bass on it either. Lots of members of Slipknot also play bass so, probably they played on the studio version and someone else will play it live. Chris is also a bassist. Perhaps Chris is the new Bassist and Clown is the new drummer? That would be good.

Anyway, the song, The Negative One… kind of like when they debuted “New Abortion” before Iowa, or the All Hope Is Gone Title Track before that album, its not really a catchy single, it’s a deep-cut given unrealistic limelight.

It has an Iowa-esque approach to the production and mix, and the vocals are less melodic and Stone Sour-esque than on the previous two albums, and there is a lot more sampling and DJ scratching than the previous two albums as well. Other than that, what can be said? Not all that amazing. Its not “Wow, this is one of my favourite Slipknot songs.”

In fact, if I listed all the Slipknot songs that were better than it, it would be most of the Slipknot songs. But whatever… early days yet. I hope, on one level, that the album is in this general direction…you know, far away from Stone Sour. On the other hand, “Dead Memories” is a better song than this so I’ll take a more commercial Slipknot so long as its good. I’d rather have good music in a commercial style than dull music in a good style. I will give it this though… the additional percussion in it is really fun. Especially in headphones. The mix on the final version is a lot better than in that initial stream too. Maybe that, or maybe its the same version but my speakers are better here than where I first heard it. Also, maybe its a grower. I don’t think “Everything Ends” or “The Shape” blew me away on first listen but I sure as heck like them now.

Metallica had a similar new song a while ago and I didn’t blog about it, but the feelings I had for it are similar. Its in a good style but not super-special in and of itself.

Another quick observation… Green Day totally and massively stole vocal patterns from “On With The Show” and “Merry-Go-Round” on American Idiot album tracks. Seriously, give it a listen!

I think Djent has become an independent subgenre now.

I understand that people were arguing about whether or not it was a real subgenre when it was starting out, but I think so many bands have come out sounding like eachother, so many record labels group them together, so many Djent fan sites and concert line-ups have been made that it has come online, become self-aware and is now a real genre.

People had the same problems with Thrash Metal when it was new, with Hair Metal when it was new and with Nu Metal when it was new, but now, most fans agree that they are real subgenres.

Sure they might argue about the name “Hair” is interchangeable with “Glam/Sleeze/Teeth/Pop Metal” and “Thrash” sometimes gets intertwined with “Speed.” “Nu” sometimes gets called “Rap” or “Alternative.”

There’s disagreement over all of them “Glam is just a look” “Nu is just rapping and DJs over the top” and people say the names are stupid. Nowadays, a few people say “Djent” is a stupid name and “Djent is just a tone” but there’s more to it than that, and it has become a real genre due to the critical mass of bands making Djent music.

Sure; Uneven Structure, Tesseract and Periphery are all pretty different, but so are Kreator, Anthrax and Metallica.

So are Linkin Park, Powerman 5000 and Korn.

So are Bon Jovie, Quiet Riot and Motley Crue.

In Power Metal, there’s a vast difference between Stratovarius, Helloween and Sonata Arctica. And its named after power? All Metal is Powerful.

I agree that naming Djent after a tone is unusual, but its better than naming it after a look (Glam/Hair) or the fact that it is new (Nu) is equally silly.

Maybe they should have called Thrash “Chug.” Sure, some non-Thrash bands like Motorhead and Sabbath had chugging, but that ties into the idea of how much Djent took from Messugah. Its similar to how much Nu Metal took from Faith No More and Primus. I know that some non-Djent bands have the Djent-Tone like Architects did on Hollow Crown, but that ties in with the idea of bands like Anvil and Metal Church being heavier than most Heavy Metal bands but not quite Thrash.

Maybe the name will change, but the subgenre will stick, if history is any indicator.
Maybe some of the bands will escape the tag becuase they’re too different, eg. maybe Animals As Leaders are too different than the core Djent sound like the way Slipknot are too different than the core Nu Metal sound, but overall, Nu Metal is still considered to exist.

Just go to Got-Djent.com and have a look at all the bands who play Djent music, or music similar to Djent, and check out all the similarities and differences.

Try out one song each by the top-25 most popular bands. Try that same trick for other subgenres like Black Metal, Death Metal, Hair Metal, Nu Metal, Power Metal, Doom Metal, Thrash Metal etc.
Pay attention to all the similarities and all the differences from bands still considered to be within one subgenre. Pay attention to how there are some bands or songs that are a bit borderline and ones that are definite. I believe that same balance now exists in Djent and that Djent has become a real subgenre.

I’ve had a lot of free time this week to sit and read blogs. Some of them have really got me thinking. I read a list questioning which are the most famous Metal Songs and most famous Metal Bands. Generally; I love these sorts of things. But then you knew that already, didn’t you?. I read dozens and dozens of these sorts of lists, on blogs and in Magazines and on Rate Your Music or whatever else.

The thing I’ve noticed in dozens of them is that, there’s a sort of mythical set of perfect answers. Some of answers of course are pretty hard to disagree with; Metallica, Iron Maiden and Ozzy Osbourne for example. Ask everyone on a bus in the middle of Manchester to name as many Heavy Metal bands as they can think of, and I reckon those bands would come up quite a lot.

The thing is though, there’s quite a few other names that will regularly come up on the hypothetical average-list that are either controversial among metal fans as to whether or not they actually count as being metal or else are dubious as to how famous they actually are.

This isn’t necessarily a harsh criticism of metal fans and list-makers, but it does raise some interesting points that I think are worth stopping and thinking about. So; when considering who are the most famous Metal bands and Metal songs, you’ve got to ask yourself two questions. What is fame, and What is Metal?

Just a quick thought: Twisted Sister and Motely Crue are probably more famous than Bathory or Mercyful Fate. Bon Jovi are probably more famous than that. Limp Bizkit, Korn and Slipknot probably are too.

Machinehead, Avenged Sevenfold, Disturbed and Bullet For My Valentine are probably all more famous than Queensryche and Celtic Frost nowadays too.

I say “probably” because there’s really no way of knowing. Fame isn’t really a quantifiable concept, its more of an informed perception. We all know that Coca Cola is probably more famous than Only Fools And Horse, but we can’t really prove it on an individual level without gathering gigantic, unrealistic amounts of information that none of us could really be bothered to gather. To actually know for certain you would have to ask everyone on earth if they had heard of each, and then record and compare the answers. You would also have to know that they weren’t lying and that nothing was altering the results.

There’s another issue. The silent majority. You know when you go to a concert and its absolutely full. Think of how many people attend Download Festival every year, and then how many attend a single Motorhead concert. There’s more at Download.

Why does that matter? Well; There are so many people who are casual in their interest of Metal. People who don’t dress as Metal fans, don’t blog about it, don’t talk about it at work, but do know every word to System Of A Down’s Toxicity album. You can look at a Chemistry student who has no indicators of being a Metal fan and who does talk to you about a dubstep song they heard at the weekend, but they actually absolutely loves Disturbed and Bullet For My Valentine and just didn’t bring it up. You can find a girl in a nightclub listening to indie bands who will surprisingly be completely able to drunkenly sing all the lyrics of ‘Run To The Hills’ at you upon request. You’ll find people posting about how much they love pop stars on facebook and when you go into their bedroom there is a huge poster of Zack Wylde.

What I’m getting at, there’s a heck of a lot of people who listen to Metal that you wouldn’t necessarily expect. More than the readership of Metal Hammer Magazine, more than the crowd at your local sold-out mid-October Down concert. There’s hundreds of thousands of people who don’t even consider themselves a Metal fan that could tell you who Lemmy, James Hetfield and Corey Taylor are just from a photograph. My own mother could. Yours probably could too.

So. When we ask ourselves who are the most famous Metal bands; we need to ask “famous to who?” – because I’m pretty sure the average drunk stroppy teenage girl taking ecstasy tablets when asked to name ten heavy metal bands are more likely to identify Slipknot than Venom.

If you played somebody Helloween’s “Keeper Of The Seven Keys,” Judas Priest’s “Painkiller,” Pantera’s “Walk,” Limp Bizkit’s “Nookie,” Motely Crue’s “Girls, Girls, Girls” and Europe’s “The Final Countdown” I’m pretty sure more people can identify the last two or three than the first two. There may be a few generational differences, and there may be a bit of bias in the form of people not wanting to identify bands that they dislike (human nature, its annoying aint it?) but I recon more human beings know the answers to the less Metal-respectable bands on that list.

The easy way around that it to choose who you want “fame” to apply to. OK. Say, we only count people who have at one time owned a copy of Reign In Blood and have attended at least one Metallica concert? More of them will probably still know Marilyn Manson than King Diamond. More of them could identify “Welcome To The Jungle” than “Pull Me Under” by intro alone, because its still more famous overall, even if you are a serious Metalhead. Because you don’t live your entire life in a Metal-bubble.

Well, we’ve considered what fame actually means now.
But hold on a second. What even is Metal?

Are Europe a Metal band? Well, some people say they are a Hair Metal band. Hair Metal is a type of Metal. Therefore by that logic, they are indeed a Metal band. Not so fast though; Some people say Europe are a hard rock band. Some people say they are a Pop band.

Are Led Zeppelin a Heavy Metal band? A heck of a lot of people would say yes. A heck of a lot of people would say no. What about Deep Purple. Watch any worthwhile documentary about Heavy Metal and there’ll be talk of Deep Purple. That being said, nowadays most people on the street would call them “classic rock” rather than “heavy metal” even though the actual term was applied to bands like Zeppelin and Purple and AC/DC for years and years. So are they Metal or aren’t they? They themselves might call themselves “Rock n Roll” but so does Ozzy Osbourne and even Motorhead. If “In The Name Of Tragedy” by Motorhead is just Rock n Roll then I’ve seriously got to start checking out Buddy Holly.

Ok. Well what if you decide that Zeppelin aren’t Metal but Black Sabbath are. What about Queen. You go listen to “Dead On Time” and “Son And Daughter” by Queen and tell me with a straight face that it isn’t as Metallic or Powerful as “The Wizard” by Black Sabbath.

How about if we decide that the first ever Metal album is “Sad Wings Of Destiny” then? What after that is still Metal? Are Metallica? Are Helloween? Are Pantera? Are Machine Head? Are Slipknot? Are Bring Me The Horizon? Are Cannibal Corpse? Are Korpiklaani? Are Emperor? Are Limp Bizkit?

You can say Limp Bizkit aren’t because the vocals are not like Judas Priest and there’s an extra instrument (the DJ). Well, Cannibal Corpse’s vocals are very, very different to Judas Priest’s and Korpiklaani have extra instruments (Violins and Accordions).

I’ll admit some Limp Bizkit songs sound nothing like Metal. Ballads, and songs with electronic drums and effects and no distortion. What about Black Sabbath’s “FX” “Fluff” “Laguna Sunrise” “Changes” and “E5150” ? What about Judas Priest’s “Epitaph,” “Last Rose Of Summer” or “Love You To Death”? Ballads, songs with no distortion and incorporation of electronics on some songs.

Even at that, some classic tracks by Metal’s originators (which weren’t intros, experiments or ballads, but just normal songs) are still less-Metal than some Hair Metal and Nu Metal songs. I’d wager Limp Bizkit’s “Gimme The Mic” is much more Metal than Black Sabbath’s “Am I Going Insane?” or “Solitude” or even “Behind The Wall Of Sleep.”

Going the other way. I think that Korn’s “Blind” is closer to the sound and spirit of the original Black Sabbath tracks than Cannibal Corpse’s “Frantic Disembowelment” does. Hell, I think Twisted Sister sound a thousand times closer to the sound of Judas Priest than Darkthrone do.

Then there’s the people who don’t think Metalcore bands are Metal, either because of catchy clean choruses, or because of the incorporation of parts of Hardcore. Well, Chaos AD is incredibly Hardcore Influenced. Anthrax and Nuclear Assault were Hardcore influenced. Are they no-longer Metal?
Helloween and Stratovarius have some of the catchiest, cleanest choruses going, so are they no-longer Metal?

The thing is though? Who can really say? Metal-ness isn’t a fact. Its an opinion. Its a negotiation for consensus.

Half of the people who say something is not Metal but something else have no clear, quantifiable, non-contradict-able reason why. Its either just that they don’t like the band and have mistaken their own opinion with fact, or that its not something that can be definitively and incontrovertibly proven in the first place. There is no mathematical definition of Metal. Some people think death growls preclude you from being Metal, just read all the reviews of Children Of Bodom by Yngwie Malmsteen fans from the 80s who demand melodic falsetto singing. These people will swear until they are blue in the face that “cookie monster vocals” are the opposite of Heavy Metal. Try telling that to the audience at Hole In The Sky or Bloodstock festival though, they’ll give you a swift and unpleasant rebuttle more likely than not.

At the end of the day, there are people who think Krokus and AC/DC are Metal and that Limp Bizkit and Deicide aren’t. There are people who think that Immortal and Pig Destroyer are Metal but Poison and Quiet Riot aren’t. Heck, until about three years ago even I called pre-Dio Black Sabbath was just classic rock and not Metal.

What is and isn’t Metal is up to your own interpretation, apparently. Except Iron Maiden, nobody has ever said Iron Maiden aren’t Metal. Lemmy says Motorhead aren’t Metal but at least Steve Harris calls Maiden a Heavy Metal band. There’s at least comfort in knowing that whatever else in this world is up for debate, Iron Maiden are undisputed a Metal band (Although you could mistake “Prodigal Son” for a Boston or Rush song if you weren’t paying attention).

So. I guess where I’m going with this is that, there is an element of what the dedicated Metal fans want and indeed expect to be the most famous Metal music. It is based partly on the personal taste of a few Magazine writers, partly on actual consensus and partly on a self fulfilling prophecy of what we’re continuously told. The list seems to cover one arbitrary point of view and one arbitrary period in time. It isn’t full inclusivity nor is it completely strict and based only on true original Heavy Metal. Its often after the first Heavy Metal Bands go reclassified to “Classic Rock” but before other subgenres became popular.

I mean, I can’t tell for certain, but I’m pretty sure more people know and care about Bullet For My Valentine and Slipknot than have ever cared about Venom. But most people who actually like music to the point of making lists don’t want that to be the case.

Similarly, I think that year on year, Deep Purple, AC/DC and Led Zeppelin gain more new fans than Venom do. But we’ve all decided that they don’t count. For some reason. That is not particularly logical or fair.

Then there’s the really commercial bands like Linkin Park and Bon Jovi. Almost (not necessarily if you’re being pedantic, there have been flops, but you know what I’m getting at) by definition of being commercial, more people will know a band. A huge amount of us decide that if a band are too commercial, they aren’t Metal anymore. Why is that? Part of it may be based in truth, but again, part of it seems to just be based on what we want.

Take home message; when we ask ourselves which Metal songs, albums or artists are the most famous, I guess you’ve just got to ask whether or not they are Metal, or who you are being famous too that counts for the purposes of the list. You could spend years aggregating every list and reference to bands in every magazine, videogame, radio-show, podcast and television programme ever made and still only have a small, biased sample of a few people’s impressions of which bands were the most famous. You could count every Youtube view and LastFm scrobble ever recorded and still ultimately not know what’s in people’s heads or even who’s heads to look in.

After you to went all that effort to find the correct numbers, there’d still be debate on who “counts.”

And that’s just “famous.” It gets even muddier when we go onto “most-influential.” Oh well, at least everyone knows when it comes to “best” that its just straight-up unarguably subjective and we can all admit its just our own opinions. (Well, the sensible ones of us at any rate.)

So; With all that being said, I’d like you all to answer in the comments, who do you think are the 20 most famous Metal bands?