Cat Milk Supreme
Ancient Mariner
While I would like to hoist ye on your own petard here, I am actually going to put it on, just for the craic. I tried it when it came out and lasted about 90 seconds. Maybe its a grower....
365 Albums In One Year
- Thread starter Diesel 11
- Start date
Jer
'Til Tomorrow
Cat Milk Supreme
Ancient Mariner
OK, it goes on now, I have the timer ready to see if I beat 90 seconds...
Cat Milk Supreme
Ancient Mariner
30 seconds in, I can see why I didnt get far last time
Cat Milk Supreme
Ancient Mariner
Yip, Lulu is dung. Now you know.
Wogmidget
Shitpost bot
AOTY 2019 (fight me)
Frozen Crown - Crowned in Frost (2019)
Arctic Gales/Neverending - It's been stated by the band once or twice that this, the lead single and album opener (preceding interlude notwithstanding), is far from their finest hour. This seems a little odd, as it's a cracking example of their brand of melodeath-tinged power metal; anthemic chorus, 'eavy riff and noodly soloing are all present and correct. 9
In the Dark - More of the same, although here we start off the tune with a stripped-down version of the chorus. Additionally, we find a decent, if perhaps not entirely necessary, period of calm in the middle that sounds as if it were pinched from a much longer track (I actually mistook it for an outro the first few times through). 8.5
Battles in the Night - A fairly hefty drum intro kicks off this next one, and thrusts us into four minutes of up-tempo, double-bass-driven power metal goodness. Many of the genre's cliches can be found here, most notably in the lyrics and woah-ohing scattered throughout the track. 9
Winterfall - Ah, their first epic. Clocking in at almost exactly seven and a half minutes, it's a handy execution of the long-form headbanger concept, and eschews the usual moody intro/outro format (much to the delight of yours truly) in favour of a little alteration within the track. The growls featured at various points are something of an acquired taste, but other than that it's bloody good (if a touch repetitive). 9
Unspoken - Interesting little keyboard intro, the rest of the song is pretty much what one would've come to expect by this point; big chorus, solid riffing, that sort of thing. 8.5
Lost in Time - Reprising the use-the-chorus-as-the-intro trick from track #2, this one deviates from the guidelines somewhat by dialing the guitar right back during the verses. This should irk me, but for whatever reason it kinda works; it's still a great track overall. 8.5
The Wolf and the Maiden/Forever - Argh, you were doing so well. The interlude in question is perfectly listenable (hell, as atmospheric music it's great), but three minutes is kinda pushing it. The track itself bears something of a sonic resemblance to the aforementioned Winterfall, though executed in a more straightforward manner, and with enough differences to give it its own character. 8
Enthroned/Crowned in Frost - This time around, the interlude is kept to a much more discrete length, and features the odd keyboard quirk to boot. Unfortunately, the title track just doesn't land quite as well as the rest of the album; it reads from more or less the same script, but for whatever reason the execution isn't quite there. The quality does eventually pick up in the middle, but it still fails to induce headbanging and air guitar like the earlier tracks do (additionally, some of the band's recurring techniques begin to seem that bit more repetitive by this point). 7.5
85%
Frozen Crown - Crowned in Frost (2019)
Arctic Gales/Neverending - It's been stated by the band once or twice that this, the lead single and album opener (preceding interlude notwithstanding), is far from their finest hour. This seems a little odd, as it's a cracking example of their brand of melodeath-tinged power metal; anthemic chorus, 'eavy riff and noodly soloing are all present and correct. 9
In the Dark - More of the same, although here we start off the tune with a stripped-down version of the chorus. Additionally, we find a decent, if perhaps not entirely necessary, period of calm in the middle that sounds as if it were pinched from a much longer track (I actually mistook it for an outro the first few times through). 8.5
Battles in the Night - A fairly hefty drum intro kicks off this next one, and thrusts us into four minutes of up-tempo, double-bass-driven power metal goodness. Many of the genre's cliches can be found here, most notably in the lyrics and woah-ohing scattered throughout the track. 9
Winterfall - Ah, their first epic. Clocking in at almost exactly seven and a half minutes, it's a handy execution of the long-form headbanger concept, and eschews the usual moody intro/outro format (much to the delight of yours truly) in favour of a little alteration within the track. The growls featured at various points are something of an acquired taste, but other than that it's bloody good (if a touch repetitive). 9
Unspoken - Interesting little keyboard intro, the rest of the song is pretty much what one would've come to expect by this point; big chorus, solid riffing, that sort of thing. 8.5
Lost in Time - Reprising the use-the-chorus-as-the-intro trick from track #2, this one deviates from the guidelines somewhat by dialing the guitar right back during the verses. This should irk me, but for whatever reason it kinda works; it's still a great track overall. 8.5
The Wolf and the Maiden/Forever - Argh, you were doing so well. The interlude in question is perfectly listenable (hell, as atmospheric music it's great), but three minutes is kinda pushing it. The track itself bears something of a sonic resemblance to the aforementioned Winterfall, though executed in a more straightforward manner, and with enough differences to give it its own character. 8
Enthroned/Crowned in Frost - This time around, the interlude is kept to a much more discrete length, and features the odd keyboard quirk to boot. Unfortunately, the title track just doesn't land quite as well as the rest of the album; it reads from more or less the same script, but for whatever reason the execution isn't quite there. The quality does eventually pick up in the middle, but it still fails to induce headbanging and air guitar like the earlier tracks do (additionally, some of the band's recurring techniques begin to seem that bit more repetitive by this point). 7.5
85%
The Dissident
Ancient Mariner
212/365
W.A.S.P. - W.A.S.P.
Format: CD/Digital
Animal (Fuck Like A Beast) - Although not on the official release of the album W.A.S.P.'s intended opener opens my album and also introduced the world to W.A.S.P several months before the album was released. A raunchy rocker with a catchy chorus and amazing howls from Blackie. This is the perfect blend of 80s hair metal with the heaviness of the NWOBHM contemporaries. A fantastic opening track - 10/10
I Wanna Be Somebody - A machine gun opening leads into the original album. Blackie sounds a little more tame on this track, the track is fast with his howls coming in quite frequently. Poppy but hard rocking. From what I've heard from the previous two album's I've listened to and this one thus far I can say W.A.S.P is what Motley Crue should have been raw and aggressive. And oh are they amazing at it. - 10/10
L.O.V.E Machine - A fade in drum intro leads into the first single off the album. A nice beat is established early on. Blackie sings directly his rasp lathering the lyrics with menace. I appreciate the fact that the band while having the song as a single doesn't sugar coat their vocal style or sound only slightly toning it down. A nice solo section comes in and the band continues on their assault. - 9/10
The Flame - Getting even less raw, Blackie sings cleanly by his standards on this track. The chorus builds up quite nicely. He soon lets loose his aggressive screams and the rasp returns. A melodic solo section allows for the return of the chorus. - 8.5/10
B.A.D. - The opening to this track pulls you in a catchy riff and a good beat behind them. Chorus isn't amazing but it is different. Solo like the others thus far on the album is quite strong. - 8/10
School Daze - Opening with the pledge of allegiance the band launches into a midpaced track about life in school. I could see this song being a live favourite, with an easy call and answer style to the chorus and simple lyrics to sing along to. A well delivered track. - 8/10
Hellion - A building intro is broken by Blackie screaming out, the main feature of this track is easily Blackie's long drawn out cries of the Hellion. Another fantastic solo ensues and the band returns for the closing chorus - 8.5/10
Sleeping (In The Fire) - Acoustic guitar introduces the next track a ballad of sorts the band comes in heavier and the vocals sound pained. A majestic solo comes in elevating the ballad to further heights. - 8.5/10
On The Knees - For a second I expected Neon Nights to come roaring in, not that I'd have any issue with a W.A.S.P. cover of that roaring track. The only real downside of the album thus far is the track's while fantastic and direct don't really offer a ton of variety. That being said the formula for short direct raunchy rockers has been established quite well by W.A.S.P. - 8/10
Tormentor - The creepy intro introduces another heavy rocker. Midpaced with a high chorus. Another track which I feel could have a brutal live presence which the studio version can't quite achieve. The solo lays waste to opposition and really does the track a good lift. - 8.5/10
The Torture Never Stops - I really like the opening riff of the albums final track, a small gallop is felt in the bass on this track. Chorus is typical of the album thus far, strong and catchy. This song features everything that has made the album great. Easy to listen to raw rock and roll. A nice solo and some killer vocals. - 8/10
Overall 86%
Will listen to the 2 bonus tracks at some point...
W.A.S.P. - W.A.S.P.
Format: CD/Digital
Animal (Fuck Like A Beast) - Although not on the official release of the album W.A.S.P.'s intended opener opens my album and also introduced the world to W.A.S.P several months before the album was released. A raunchy rocker with a catchy chorus and amazing howls from Blackie. This is the perfect blend of 80s hair metal with the heaviness of the NWOBHM contemporaries. A fantastic opening track - 10/10
I Wanna Be Somebody - A machine gun opening leads into the original album. Blackie sounds a little more tame on this track, the track is fast with his howls coming in quite frequently. Poppy but hard rocking. From what I've heard from the previous two album's I've listened to and this one thus far I can say W.A.S.P is what Motley Crue should have been raw and aggressive. And oh are they amazing at it. - 10/10
L.O.V.E Machine - A fade in drum intro leads into the first single off the album. A nice beat is established early on. Blackie sings directly his rasp lathering the lyrics with menace. I appreciate the fact that the band while having the song as a single doesn't sugar coat their vocal style or sound only slightly toning it down. A nice solo section comes in and the band continues on their assault. - 9/10
The Flame - Getting even less raw, Blackie sings cleanly by his standards on this track. The chorus builds up quite nicely. He soon lets loose his aggressive screams and the rasp returns. A melodic solo section allows for the return of the chorus. - 8.5/10
B.A.D. - The opening to this track pulls you in a catchy riff and a good beat behind them. Chorus isn't amazing but it is different. Solo like the others thus far on the album is quite strong. - 8/10
School Daze - Opening with the pledge of allegiance the band launches into a midpaced track about life in school. I could see this song being a live favourite, with an easy call and answer style to the chorus and simple lyrics to sing along to. A well delivered track. - 8/10
Hellion - A building intro is broken by Blackie screaming out, the main feature of this track is easily Blackie's long drawn out cries of the Hellion. Another fantastic solo ensues and the band returns for the closing chorus - 8.5/10
Sleeping (In The Fire) - Acoustic guitar introduces the next track a ballad of sorts the band comes in heavier and the vocals sound pained. A majestic solo comes in elevating the ballad to further heights. - 8.5/10
On The Knees - For a second I expected Neon Nights to come roaring in, not that I'd have any issue with a W.A.S.P. cover of that roaring track. The only real downside of the album thus far is the track's while fantastic and direct don't really offer a ton of variety. That being said the formula for short direct raunchy rockers has been established quite well by W.A.S.P. - 8/10
Tormentor - The creepy intro introduces another heavy rocker. Midpaced with a high chorus. Another track which I feel could have a brutal live presence which the studio version can't quite achieve. The solo lays waste to opposition and really does the track a good lift. - 8.5/10
The Torture Never Stops - I really like the opening riff of the albums final track, a small gallop is felt in the bass on this track. Chorus is typical of the album thus far, strong and catchy. This song features everything that has made the album great. Easy to listen to raw rock and roll. A nice solo and some killer vocals. - 8/10
Overall 86%
Will listen to the 2 bonus tracks at some point...
Collin
Chasing Ponce De Leon's Phantoms
List.I guess @Diesel 11 forgot he was still logged into his alt account...
1. List
2. List
3. List
4. List
5. List
The Dissident
Ancient Mariner
213/365
The Great War - Sabaton
Format: CD/Digital
The Future Of Warfare - Militant drum beats open the album and the band comes in soon after with powerful vocals, the song feels dark but has the glimmer of hope delivered by the uplifting vocal style. Solo section is really nice. As a whole having never heard Sabaton aside from The Red Baron and Bismark I know it takes a while to get into the vocal delivery, but currently it is a little much. A fairly good song - 7.5/10
Seven Pillars Of Wisdom - Continuing with the drum intro theme before launching into a guitar solo, much clearer vocals and the song is more upbeat than the previous one, a dynamic track considering its length. Pulling back before the solo for some lower vocals then letting loose into the solo - 8/10
82nd All The Way - A fade intro introduces another short and compact song, very upbeat and explosive with another great solo. - 8/10
The Attack Of The Dead Men - A great heavy intro riff leads into a fairly good track which has a weird vocal delivery on the chorus which makes sense since the subject matter of the song is an attack of post chlorine gas Russians. A subdued solo, the outro is very building. - 8/10
Devil Dogs - A speedy intro leads into a rather quick track which doesn't seem to pack a large punch behind the speed. Overall an enjoyable but notably weaker track than those that have come before. - 6.5/10
The Red Baron - A keyboard intro leads into a driving track which packs quite the punch, a great anthemic track with an amazing chorus absolutely amazing - 10/10
Great War - The title track comes in with a church choir. The choir and keys really amplify this track to make it powerful and like the previous track quite anthemic. A great solo section ensues and the choir comes back in full allowing for the band to come in with a vengeance. - 9/10
A Ghost In The Trenches - Coming in immediately following the previous track. Upbeat again with impressive vocals but not the song as a whole doesn't separate itself from what has come before. - 7.5/10
Fields Of Verdun - The upbeat first single from the album comes in next strong and aggressive the song with another strong chorus. I find the uplifting nature of this track such a stark contrast to the actual subject matter while it makes for a great song doesn't really allow the full horror of the subject matter to come through. Nice solo - 9/10
The End Of The War To End All Wars - A piano intro comes in as the final true track of the album begins however that soon is removed as the band comes in with a fury. This track gets the darkness just right, the low vocals bring gravitas to the war. While the upbeat sections fit it quite well at the same time. - 10/10
In Flanders Fields - A great album closer although not a true track.
Overall 83%
The Great War - Sabaton
Format: CD/Digital
The Future Of Warfare - Militant drum beats open the album and the band comes in soon after with powerful vocals, the song feels dark but has the glimmer of hope delivered by the uplifting vocal style. Solo section is really nice. As a whole having never heard Sabaton aside from The Red Baron and Bismark I know it takes a while to get into the vocal delivery, but currently it is a little much. A fairly good song - 7.5/10
Seven Pillars Of Wisdom - Continuing with the drum intro theme before launching into a guitar solo, much clearer vocals and the song is more upbeat than the previous one, a dynamic track considering its length. Pulling back before the solo for some lower vocals then letting loose into the solo - 8/10
82nd All The Way - A fade intro introduces another short and compact song, very upbeat and explosive with another great solo. - 8/10
The Attack Of The Dead Men - A great heavy intro riff leads into a fairly good track which has a weird vocal delivery on the chorus which makes sense since the subject matter of the song is an attack of post chlorine gas Russians. A subdued solo, the outro is very building. - 8/10
Devil Dogs - A speedy intro leads into a rather quick track which doesn't seem to pack a large punch behind the speed. Overall an enjoyable but notably weaker track than those that have come before. - 6.5/10
The Red Baron - A keyboard intro leads into a driving track which packs quite the punch, a great anthemic track with an amazing chorus absolutely amazing - 10/10
Great War - The title track comes in with a church choir. The choir and keys really amplify this track to make it powerful and like the previous track quite anthemic. A great solo section ensues and the choir comes back in full allowing for the band to come in with a vengeance. - 9/10
A Ghost In The Trenches - Coming in immediately following the previous track. Upbeat again with impressive vocals but not the song as a whole doesn't separate itself from what has come before. - 7.5/10
Fields Of Verdun - The upbeat first single from the album comes in next strong and aggressive the song with another strong chorus. I find the uplifting nature of this track such a stark contrast to the actual subject matter while it makes for a great song doesn't really allow the full horror of the subject matter to come through. Nice solo - 9/10
The End Of The War To End All Wars - A piano intro comes in as the final true track of the album begins however that soon is removed as the band comes in with a fury. This track gets the darkness just right, the low vocals bring gravitas to the war. While the upbeat sections fit it quite well at the same time. - 10/10
In Flanders Fields - A great album closer although not a true track.
Overall 83%
The Dissident
Ancient Mariner
214/365
Killer - Alice Cooper
Format: CD/Digital
Under My Wheels - Alice and company open up their 4th album with a concert staple the aggressive Under My Wheels quite the heavy track for '71 and the band delivers it quite well with some nice orchestral segments and Alice's vocals rasp as ever on the track. - 9/10
Be My Lover - Opening up calmly with Alice singing over a decent riff. A more commercial track which hasn't really got its hooks in me over time. I do like that the band references themselves in their story telling it makes the whole Alice Cooper persona more established. A decent listen - 7/10
Halo Of Flies - Transitioning from the abrupt end of the previous song is the epic track Halo Of Flies a long drawn out intro featuring various elements of the band Alice comes in around the 2 minute mark. The band continues on the being atmospheric, transitioning into heavy with Alice taking a very distinct forefront. Honestly I think the production of this song holds it back from being an absolute monster - 9/10
Desperado - Coming in with some acoustic guitar and string work. Alice sings calmly confessing what he is. Not a bombastic track by any means but a nice calm track with some nice moments throughout. It doesn't really fall into the category of an acoustic track or of an upbeat track it sits somewhere in the middle quite nicely. - 8/10
You Drive Me Nervous - Getting back to a more upbeat style, it seems like it could be a good track, this song however doesn't pull me in as Alice delivers a less than stellar vocal performance the band has moments but it as a whole doesn't really fit into a cohesive song. - 6/10
Yeah, Yeah, Yeah - Similar to the previous song in terms of Alice's vocals. The band on this one works quite well for the most part but the song still doesn't really go anywhere at any rate. Overall slightly better than the one before the middle solo section more annoys me than actually contributes to the song - 6/10
Dead Babies - Dark from the start as one would expect with a song called Dead Babies, Alice sings coldly over the intro. Before a baby cries and Alice returns to his more well known singing style, the subject matter of this track is quite dark but not just from the perspective of the baby, the reasons for the baby being dead through the neglect of the parents is discussed at length. - 8.5/10
Killer - Fading in from the previous track, the title track closes off the album, starting off dark a lengthy instrumental section ensues which makes sense seeing as this is the song where Alice often gets decapitated on stage but the live version is miles better since it has a purpose and could easily have been drawn out live instead of in the studio. Overall a decent ending to the album - 7.5/10
Overall 76%
Although as a whole a rather enjoyable album
Killer - Alice Cooper
Format: CD/Digital
Under My Wheels - Alice and company open up their 4th album with a concert staple the aggressive Under My Wheels quite the heavy track for '71 and the band delivers it quite well with some nice orchestral segments and Alice's vocals rasp as ever on the track. - 9/10
Be My Lover - Opening up calmly with Alice singing over a decent riff. A more commercial track which hasn't really got its hooks in me over time. I do like that the band references themselves in their story telling it makes the whole Alice Cooper persona more established. A decent listen - 7/10
Halo Of Flies - Transitioning from the abrupt end of the previous song is the epic track Halo Of Flies a long drawn out intro featuring various elements of the band Alice comes in around the 2 minute mark. The band continues on the being atmospheric, transitioning into heavy with Alice taking a very distinct forefront. Honestly I think the production of this song holds it back from being an absolute monster - 9/10
Desperado - Coming in with some acoustic guitar and string work. Alice sings calmly confessing what he is. Not a bombastic track by any means but a nice calm track with some nice moments throughout. It doesn't really fall into the category of an acoustic track or of an upbeat track it sits somewhere in the middle quite nicely. - 8/10
You Drive Me Nervous - Getting back to a more upbeat style, it seems like it could be a good track, this song however doesn't pull me in as Alice delivers a less than stellar vocal performance the band has moments but it as a whole doesn't really fit into a cohesive song. - 6/10
Yeah, Yeah, Yeah - Similar to the previous song in terms of Alice's vocals. The band on this one works quite well for the most part but the song still doesn't really go anywhere at any rate. Overall slightly better than the one before the middle solo section more annoys me than actually contributes to the song - 6/10
Dead Babies - Dark from the start as one would expect with a song called Dead Babies, Alice sings coldly over the intro. Before a baby cries and Alice returns to his more well known singing style, the subject matter of this track is quite dark but not just from the perspective of the baby, the reasons for the baby being dead through the neglect of the parents is discussed at length. - 8.5/10
Killer - Fading in from the previous track, the title track closes off the album, starting off dark a lengthy instrumental section ensues which makes sense seeing as this is the song where Alice often gets decapitated on stage but the live version is miles better since it has a purpose and could easily have been drawn out live instead of in the studio. Overall a decent ending to the album - 7.5/10
Overall 76%
Although as a whole a rather enjoyable album
The Dissident
Ancient Mariner
215/365
Facelift - Alice In Chains
Format: CD/Digital
We Die Young - Low and heavy riffing opens up the debut album of Alice In Chains, and the bands debut single. Alice has takes no prisoners with this short and aggressive rocker. I quite enjoy the song Layne's vocals are perfect over top of the heavy band. - 9/10
Man In The Box - Another AIC classic track comes in next, a powerful chorus over the midpaced track. Layne delivers amazingly, a well put together track which doesn't feel like it is bordering on the 5 minute mark. A nice solo subdued solo ensues before Layne lets loose another killer chorus cry. - 9/10
Sea Of Sorrows - Piano introduces track 3, starting slower before picking up the pace a little bit the band plays pleasantly, the track is decent, but it doesn't have that killer chorus to pull me in or a particularly catchy riff. That being said AIC's harmonies are great as always- 7/10
Bleed The Freak - Following the fade outro of the previous track this track fades in with some calm guitars and harmonized low singing. The band comes in heavier picking the pace up slightly. The song fades out and some chatter is heard, inaudibly. Another enjoyable track - 8/10
I Can't Remember - Once more starting calm the band comes in with Layne singing in his melancholy tone, Jerry's guitar work is dark and heavy but at the same time atmospheric and during the solo majestic. - 8.5/10
Love, Hate, Love - The longest track on the album comes in with a synth guitar intro? Layne sings darkly and the song clearly is going to take the turn with him instantly the band gets heavier. The song is the furthest away from mainstream rock and metal that the band has gone to on the album thus far. Distant vocals and pained throughout. - 9/10
It Ain't Like That - Getting back to a more direct approach some heavy riffing and the synthy guitar sound comes back for this track. A Sabbath esc riff is heard behind some of the verses giving a very dark feeling to the song at times. - 8.5/10
Sunshine - Jerry Cantrell's tribute to his mother who died a couple years prior to the album's recording, dark but still upbeat in section, well delivered, the solo is incredibly fitting. - 9/10
Put You Down - Another decent track, the band has put together a well constructed debut album, this is one of the weaker tracks. Good vocal delivery and some nice guitar work but altogether it isn't amazing - 7.5/10
Confusion - More upbeat than the previous track, however the length of the album is starting to wear, the songs sound quite similar and the dark drone that comes with it can be a little much to take in for the entirety of the album. That being said Confusion has the return of the synth sound which helps add some differentiation. - 8/10
I Know Somethin' (Bout You) - Quite a different intro leads into the penultimate track of the album. The track really doesn't seem to go anywhere and frankly while the intro is quite different it doesn't do too much aside from have a nice solo section - 7/10
The Real Thing - The final track of the album begins slowly then comes in heavier as all the others have done before hand. A stronger track but it does have all the tropes which at this point are a little worn. - 8/10
Overall 82%
Facelift - Alice In Chains
Format: CD/Digital
We Die Young - Low and heavy riffing opens up the debut album of Alice In Chains, and the bands debut single. Alice has takes no prisoners with this short and aggressive rocker. I quite enjoy the song Layne's vocals are perfect over top of the heavy band. - 9/10
Man In The Box - Another AIC classic track comes in next, a powerful chorus over the midpaced track. Layne delivers amazingly, a well put together track which doesn't feel like it is bordering on the 5 minute mark. A nice solo subdued solo ensues before Layne lets loose another killer chorus cry. - 9/10
Sea Of Sorrows - Piano introduces track 3, starting slower before picking up the pace a little bit the band plays pleasantly, the track is decent, but it doesn't have that killer chorus to pull me in or a particularly catchy riff. That being said AIC's harmonies are great as always- 7/10
Bleed The Freak - Following the fade outro of the previous track this track fades in with some calm guitars and harmonized low singing. The band comes in heavier picking the pace up slightly. The song fades out and some chatter is heard, inaudibly. Another enjoyable track - 8/10
I Can't Remember - Once more starting calm the band comes in with Layne singing in his melancholy tone, Jerry's guitar work is dark and heavy but at the same time atmospheric and during the solo majestic. - 8.5/10
Love, Hate, Love - The longest track on the album comes in with a synth guitar intro? Layne sings darkly and the song clearly is going to take the turn with him instantly the band gets heavier. The song is the furthest away from mainstream rock and metal that the band has gone to on the album thus far. Distant vocals and pained throughout. - 9/10
It Ain't Like That - Getting back to a more direct approach some heavy riffing and the synthy guitar sound comes back for this track. A Sabbath esc riff is heard behind some of the verses giving a very dark feeling to the song at times. - 8.5/10
Sunshine - Jerry Cantrell's tribute to his mother who died a couple years prior to the album's recording, dark but still upbeat in section, well delivered, the solo is incredibly fitting. - 9/10
Put You Down - Another decent track, the band has put together a well constructed debut album, this is one of the weaker tracks. Good vocal delivery and some nice guitar work but altogether it isn't amazing - 7.5/10
Confusion - More upbeat than the previous track, however the length of the album is starting to wear, the songs sound quite similar and the dark drone that comes with it can be a little much to take in for the entirety of the album. That being said Confusion has the return of the synth sound which helps add some differentiation. - 8/10
I Know Somethin' (Bout You) - Quite a different intro leads into the penultimate track of the album. The track really doesn't seem to go anywhere and frankly while the intro is quite different it doesn't do too much aside from have a nice solo section - 7/10
The Real Thing - The final track of the album begins slowly then comes in heavier as all the others have done before hand. A stronger track but it does have all the tropes which at this point are a little worn. - 8/10
Overall 82%
The Dissident
Ancient Mariner
The first Scorpions album I ever bought
216/365
Humanity: Hour 1 - Scorpions
Format: CD/Digital
Hour 1 - Heavy drumbeats for the Scorpions and a robotic intro leads into the bands "concept" record. Klaus comes in singing in a fairly different tone from the 80s heyday of the Scorpions but he isn't any less distinct. Guitars are also heavier sounding than their earlier work. Solo isn't super impressive as a whole but has some nice moments. For an aging band this song sounds quite fresh and original. - 8.5/10
The Game Of Life - Another heavy rocker comes in 2nd clearly showing that the Scorps don't intend on backing down. Verses are calmer in this track than the first but that chorus is strong as ever. This song paints some nice imagery and the band continues with some nice hard rocking keeping the song fairly catchy throughout. It does further the robot apocalypse narrative a little. - 9/10
We Were Born To Fly - Wailing guitars follow a drum beat. The band calms and Klaus comes in singing very clearly, the man's pipes sound fantastic thus far on the album and this ballad is no exception, the chorus has the band come in a little harder once more, the song is one which I could have seen becoming a much more well known track had it been released several decades prior but Klaus performs admirably. Production wise the song can be wearing at times but as a whole it is well done. - 9/10
The Future Never Dies - Another ballad comes in next, who would expect Desmond Child and Scorpions to do double ballads... well everyone. Another strong song not nearly as heavy as the previous ballad, cheesier but with a nice building feeling to it throughout the chorus. Matthias lets out a nice short solo and Klaus delivers admirably throughout. - 8/10
You're Lovin Me To Death - A short guitar solo intro leads into a midpaced track with Klaus singing calmly with some grit over the riff. The prechorus is hampered by the backing vocals. Chorus itself isn't amazing this is the first real step down from the first 4 songs. Some nice guitar work is done in between the verses and chorus'. Solo is quite well done. - 7.5/10
321 - The heaviest song thus far comes in and brings the band back on track. 321 is unrelenting throughout in the vein of Blackout's Dynamite although a little lighter than its 80s relative. Chorus is easy to sing a long to and the Klaus lets out the upbeat rocker with a lot of energy throughout. - 10/10
Love Will Keep Us Alive - Slowing back down for a more bonefide ballad the band brings out some acoustic work. Klaus' singing is the centerpiece of the track and he delivers it well although I've never been a fan of the ballad itself it but Klaus nearing 60 at the time of the album's recording delivers a really strong performance. - 7.5/10
We Will Rise Again - A falling riff leads back into some heavier riffing. As Klaus comes in the band backs off but the chorus comes in and the band sells the message Klaus is conveying. The band itself doesn't sound like typical Scorpions, while Klaus cements the fact that it indeed is the mighty rockers. - 8/10
Your Last Song - A sappy ballad, the delivered quite well but not amazing as a whole but once again a fairly nice solo from Jabs. - 7/10
Love Is War - The last true ballad of the album which frankly I had forgotten how many ballads were on this album, it isn't amazing but it isn't bad by any means the Robot Apocalypse seems to have disappeared at this point as there is time for lots of love songs. An upbeat chorus is featured in this song with a solid prechorus. - 7.5/10
The Cross - Doing away with the love songs The Cross comes in and gets right back to rocking hard and is quite a strong song as a whole - 9/10
Humanity - The second title track closes off the album, beginning calmly the song soon takes a turn becoming darker, the song is a miniature epic in the vein of China White and Animal Magnetism, completely different from the normal Scorpions track but unlike the previous two actually getting played live for fans. A great closer to the album. - 9/10
Overall 83%
216/365
Humanity: Hour 1 - Scorpions
Format: CD/Digital
Hour 1 - Heavy drumbeats for the Scorpions and a robotic intro leads into the bands "concept" record. Klaus comes in singing in a fairly different tone from the 80s heyday of the Scorpions but he isn't any less distinct. Guitars are also heavier sounding than their earlier work. Solo isn't super impressive as a whole but has some nice moments. For an aging band this song sounds quite fresh and original. - 8.5/10
The Game Of Life - Another heavy rocker comes in 2nd clearly showing that the Scorps don't intend on backing down. Verses are calmer in this track than the first but that chorus is strong as ever. This song paints some nice imagery and the band continues with some nice hard rocking keeping the song fairly catchy throughout. It does further the robot apocalypse narrative a little. - 9/10
We Were Born To Fly - Wailing guitars follow a drum beat. The band calms and Klaus comes in singing very clearly, the man's pipes sound fantastic thus far on the album and this ballad is no exception, the chorus has the band come in a little harder once more, the song is one which I could have seen becoming a much more well known track had it been released several decades prior but Klaus performs admirably. Production wise the song can be wearing at times but as a whole it is well done. - 9/10
The Future Never Dies - Another ballad comes in next, who would expect Desmond Child and Scorpions to do double ballads... well everyone. Another strong song not nearly as heavy as the previous ballad, cheesier but with a nice building feeling to it throughout the chorus. Matthias lets out a nice short solo and Klaus delivers admirably throughout. - 8/10
You're Lovin Me To Death - A short guitar solo intro leads into a midpaced track with Klaus singing calmly with some grit over the riff. The prechorus is hampered by the backing vocals. Chorus itself isn't amazing this is the first real step down from the first 4 songs. Some nice guitar work is done in between the verses and chorus'. Solo is quite well done. - 7.5/10
321 - The heaviest song thus far comes in and brings the band back on track. 321 is unrelenting throughout in the vein of Blackout's Dynamite although a little lighter than its 80s relative. Chorus is easy to sing a long to and the Klaus lets out the upbeat rocker with a lot of energy throughout. - 10/10
Love Will Keep Us Alive - Slowing back down for a more bonefide ballad the band brings out some acoustic work. Klaus' singing is the centerpiece of the track and he delivers it well although I've never been a fan of the ballad itself it but Klaus nearing 60 at the time of the album's recording delivers a really strong performance. - 7.5/10
We Will Rise Again - A falling riff leads back into some heavier riffing. As Klaus comes in the band backs off but the chorus comes in and the band sells the message Klaus is conveying. The band itself doesn't sound like typical Scorpions, while Klaus cements the fact that it indeed is the mighty rockers. - 8/10
Your Last Song - A sappy ballad, the delivered quite well but not amazing as a whole but once again a fairly nice solo from Jabs. - 7/10
Love Is War - The last true ballad of the album which frankly I had forgotten how many ballads were on this album, it isn't amazing but it isn't bad by any means the Robot Apocalypse seems to have disappeared at this point as there is time for lots of love songs. An upbeat chorus is featured in this song with a solid prechorus. - 7.5/10
The Cross - Doing away with the love songs The Cross comes in and gets right back to rocking hard and is quite a strong song as a whole - 9/10
Humanity - The second title track closes off the album, beginning calmly the song soon takes a turn becoming darker, the song is a miniature epic in the vein of China White and Animal Magnetism, completely different from the normal Scorpions track but unlike the previous two actually getting played live for fans. A great closer to the album. - 9/10
Overall 83%
Lampwick 43
Barstool Warrior
I just realized somthing.
Congrats!
124 + 216 = 340. And then when you add in the few reviews by Wogmidget, that means you should be almost at 365 reviews in this thread.
Congrats!
Diesel 11
As you scream into the web of silence...
I’m screaming
Lampwick 43
Barstool Warrior
Is that a good thing or a bad thing?
The Dissident
Ancient Mariner
I quite like this although do we count the albums that Both Diesel and I have reviewed twice or do we remove them from the whole tally?
Lampwick 43
Barstool Warrior
You can do whatever you want, I'm not the boss here.
The Dissident
Ancient Mariner
217/365
A Day At The Races - Queen
Format: CD/Digital
Tie Your Mother Down - A symphonic intro leads into one of Queens most upbeat and aggressive tracks. An absolutely amazing track, the band is on fire throughout. Brian May's joke title stuck through demos and now we have this amazing opening track - 10/10
You Take My Breath Away - Calming down from the opener Freddie is heard in conjunction with the band providing harmonies. Once the intro is done a piano section ensues and Freddie sings beautifully over the calm piano. The song is a full piano ballad until the last minute and a half where the symphonic from the introduction of the album returns. Some harmonies ensure. As a whole song it feels drawn out without a real climax. - 6.5/10
Long Away - Acoustic guitar opens the next track before it goes back to electric as Brian comes in singing, his singing is quite well done and the band comes in as backing vocalists. Queen had so many amazing vocalists in the band, Brian and Roger didn't hold a candle to Freddie but wow could they deliver on the songs that they sung. Quite enjoyable while not being a remarkable track - 7.5/10
The Millionaire Waltz - A piano begins playing a waltz beat, before switching into a faster melody upon the keys. Freddie returns to lead vocal duties. Mays guitars are multilayered and reminiscent of Bohemian Rhapsody. For a short section the song shifts away from the waltz into a heavier rocking section before shifting back into the slower waltz, a unique track to say the least. - 7.5/10
You And I - Piano introduces the next track, Freddie sings over the piano accompanied by some acoustic guitar, some nice guitar work from may in the background. Another pleasant track - 8/10
Somebody To Love - Enter the big queen ballad, the whole band fits in perfectly on this monstrous hit song. Freddie sings amazing, the backing vocal choir is the perfect addition to the song. - 10/10
White Man - Starting low and calm, however the chorus occurs and the band comes in quite heavy and the band get out some frustrations, the second verse has the heavy backing of the chorus. A track which really was improved following the first chorus. - 8/10
Good Old-Fashioned Lover Boy - Pianos open yet another track, Freddie's vocals are accompanied by the producer Mike Stone in addition to the band. A short track, not much special to this one but not a bad listen- 7.5/10
Drowse - Roger Taylor takes lead vocals on this track, his singing feels a little distant throughout, his higher register clear from the opening notes. Not nearly as catchy as his last vocal outing from A Night At The Opera. - 7/10
Teo Torriatte (Let Us Cling Together) - The album closes off with another song introduced by pianos and Freddie singing calmly over them. A nice sentimental ballad with a chorus sung in Japanese for as a tribute to their fans in Japan. Overall a decent track - 7.5/10
Overall 79%
A Day At The Races - Queen
Format: CD/Digital
Tie Your Mother Down - A symphonic intro leads into one of Queens most upbeat and aggressive tracks. An absolutely amazing track, the band is on fire throughout. Brian May's joke title stuck through demos and now we have this amazing opening track - 10/10
You Take My Breath Away - Calming down from the opener Freddie is heard in conjunction with the band providing harmonies. Once the intro is done a piano section ensues and Freddie sings beautifully over the calm piano. The song is a full piano ballad until the last minute and a half where the symphonic from the introduction of the album returns. Some harmonies ensure. As a whole song it feels drawn out without a real climax. - 6.5/10
Long Away - Acoustic guitar opens the next track before it goes back to electric as Brian comes in singing, his singing is quite well done and the band comes in as backing vocalists. Queen had so many amazing vocalists in the band, Brian and Roger didn't hold a candle to Freddie but wow could they deliver on the songs that they sung. Quite enjoyable while not being a remarkable track - 7.5/10
The Millionaire Waltz - A piano begins playing a waltz beat, before switching into a faster melody upon the keys. Freddie returns to lead vocal duties. Mays guitars are multilayered and reminiscent of Bohemian Rhapsody. For a short section the song shifts away from the waltz into a heavier rocking section before shifting back into the slower waltz, a unique track to say the least. - 7.5/10
You And I - Piano introduces the next track, Freddie sings over the piano accompanied by some acoustic guitar, some nice guitar work from may in the background. Another pleasant track - 8/10
Somebody To Love - Enter the big queen ballad, the whole band fits in perfectly on this monstrous hit song. Freddie sings amazing, the backing vocal choir is the perfect addition to the song. - 10/10
White Man - Starting low and calm, however the chorus occurs and the band comes in quite heavy and the band get out some frustrations, the second verse has the heavy backing of the chorus. A track which really was improved following the first chorus. - 8/10
Good Old-Fashioned Lover Boy - Pianos open yet another track, Freddie's vocals are accompanied by the producer Mike Stone in addition to the band. A short track, not much special to this one but not a bad listen- 7.5/10
Drowse - Roger Taylor takes lead vocals on this track, his singing feels a little distant throughout, his higher register clear from the opening notes. Not nearly as catchy as his last vocal outing from A Night At The Opera. - 7/10
Teo Torriatte (Let Us Cling Together) - The album closes off with another song introduced by pianos and Freddie singing calmly over them. A nice sentimental ballad with a chorus sung in Japanese for as a tribute to their fans in Japan. Overall a decent track - 7.5/10
Overall 79%
The Dissident
Ancient Mariner
218/365
Blizzard Of Ozz - Ozzy Osbourne
Format: CD/Digital
I Don't Know - Opening with some ominous sounds before Ozzy comes in singing. Randy compliments him quite well with some quick guitar chops being shown off the bat. Chorus is a little on the weak side. Overall a decent start to the album with a killer solo from Rhoads. - 7.5/10
Crazy Train - The classic track comes in next, Ozzy's vocals sound much better overall on this track. Amazing performance from Randy. Riff is incredibly catchy and strong. Amazing solo. - 10/10
Goodbye To Romance - Slowing down Ozzy sings calmly stating exactly what the song title suggests. This slow ballad doesn't really work for me, it doesn't suit Ozzy and even Randy's solo isn't really feeling inspired. - 6.5/10
Dee - A short acoustic track which really serves no purpose segues into the next track - N/A
Suicide Solution - Coming in heavier once more Ozzy returns to his rocking style and sings darkly over the music. Not an amazing track but one which does suit Ozzy much more than the ballad before it. - 8/10
Mr. Crowley - The haunting organ style intro of another of Ozzy's classic tracks comes in. Ozzy thus far has been moderate hit or miss aside from the previous classic track, this falls under the latest catagory. Mr. Crowley is a dark rocker with a fantastic solo from Randy and Ozzy delivers some great vocals. I personally prefer a cover version of this song by The Ripper and Yngwie but the original is still a great track - 9/10
No Bone Movies - A nice riff introduces this next track, chorus is rather weak repeating the odd title... although the subject matter of the verses seems to hint towards a fairly easy to identify alternative title for the track... Overall the riff is great but the rest isn't the greatest. - 7/10
Revelation (Mother Earth) - The longest track of the album comes in next with acoustic guitar and what sounds like flutes in the backing. Ozzy sings mournfully, a song about the future and how Ozzy feels the world will be crumbling around the people who his generation is leaving the world behind to. An oddly deep track from the rocker. Quite a nice song musically and vocally quite clear. The last half of the track is an instrumental which begins calm but Randy soon gets heavier. - 8.5/10
Steal Away (The Night) - The album closer comes in with a fury, weaker chorus once again but still a fun rocking track. - 8.5/10
Overall 81%
Will likely be a week or so before the next review seeing as it will be 60% of the way through the 365 albums... Also @Diesel 11 and I have only overlapped 16 albums thus far
Blizzard Of Ozz - Ozzy Osbourne
Format: CD/Digital
I Don't Know - Opening with some ominous sounds before Ozzy comes in singing. Randy compliments him quite well with some quick guitar chops being shown off the bat. Chorus is a little on the weak side. Overall a decent start to the album with a killer solo from Rhoads. - 7.5/10
Crazy Train - The classic track comes in next, Ozzy's vocals sound much better overall on this track. Amazing performance from Randy. Riff is incredibly catchy and strong. Amazing solo. - 10/10
Goodbye To Romance - Slowing down Ozzy sings calmly stating exactly what the song title suggests. This slow ballad doesn't really work for me, it doesn't suit Ozzy and even Randy's solo isn't really feeling inspired. - 6.5/10
Dee - A short acoustic track which really serves no purpose segues into the next track - N/A
Suicide Solution - Coming in heavier once more Ozzy returns to his rocking style and sings darkly over the music. Not an amazing track but one which does suit Ozzy much more than the ballad before it. - 8/10
Mr. Crowley - The haunting organ style intro of another of Ozzy's classic tracks comes in. Ozzy thus far has been moderate hit or miss aside from the previous classic track, this falls under the latest catagory. Mr. Crowley is a dark rocker with a fantastic solo from Randy and Ozzy delivers some great vocals. I personally prefer a cover version of this song by The Ripper and Yngwie but the original is still a great track - 9/10
No Bone Movies - A nice riff introduces this next track, chorus is rather weak repeating the odd title... although the subject matter of the verses seems to hint towards a fairly easy to identify alternative title for the track... Overall the riff is great but the rest isn't the greatest. - 7/10
Revelation (Mother Earth) - The longest track of the album comes in next with acoustic guitar and what sounds like flutes in the backing. Ozzy sings mournfully, a song about the future and how Ozzy feels the world will be crumbling around the people who his generation is leaving the world behind to. An oddly deep track from the rocker. Quite a nice song musically and vocally quite clear. The last half of the track is an instrumental which begins calm but Randy soon gets heavier. - 8.5/10
Steal Away (The Night) - The album closer comes in with a fury, weaker chorus once again but still a fun rocking track. - 8.5/10
Overall 81%
Will likely be a week or so before the next review seeing as it will be 60% of the way through the 365 albums... Also @Diesel 11 and I have only overlapped 16 albums thus far
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