دود ?
Anyway
,
I'm sorry, but
Mob Rules must be one of the weakest "classic" albums Dio ever was on, counting Rainbow, Sabbath and his solo career. It all felt like a really rushed attempt to recapture the magic and success of H&H, but the songs were given not enough time to ripen and grow. Over and Over might be a nice closer, but it completely pales next to Lonely Is the Word the year before or Shame on the Night two years after. E5150 is a return to the tradition of the "atmospheric" interlude, after the last album made it seem they would leave those behind for good. The title track is speedy and energetic, with a proper amount of aggression... but it's way too trivial compared to all the other stuff I love the band for. Edge, Night, Voodoo... they're all
nice, I guess, but there's really no reason to return to them or to pay them any particular attention, unlike even the lesser tracks off H&H. In the end it's mainly about The Sign of the Southern Cross, which is, like,
the Rainbath song for me, better than anything on The Devil You Know, Forbidden and probably even H&H, just the best thing ever and Country Girl, whose unexpected charm sets it against the rest of the album and makes me want to dance and prance. Despite that, with its juiciness and its consistency (and its intriguing feeelz),
Be'lakor get my vote, because I can't in good conscience vote for an album with one of the most awesome tracks and the rest of it mostly filler. I know MR has its staunch defenders here, but then again - what hasn't? And I don't love Dio as much so as to get crazy about the album just because of him alone.
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I don't like the Gothenburg bands, never have, possibly never will (I admit I don't try all that much - there's better things to do with my life) and sure,
The Jester Race is probably one of the best stuff you can come across there (along with
The Red in the Sky Is Ours and
At War with Reality) and probably the stuff worth coming back to, I'll still give this to the run-of-the-mill
MegaDave album, in spite of everything I lumped on it the last time around. I admit that it's the second time around (after last time with Darkthrone) I am voting for Megadeth as this type of brand loyalty against a possibly better album of another band that's not my favourite/isn't in my style and I really intend to cease to do so in the future.
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I wonder if there is an album I'd vote for Motley Crue against. Yeah, I guess considering this forum's obsession with Rush and Judas Priest (see below), I'd vote for them just because, because the final rounds of this is really going to be a randomly selected amount of Maiden, Priest and Rush albums and I'm really getting sick of that, but this time around I think I'll go with the 00s datedness of
Alter Bridge over the 80s datedness of Muhtley Cruh. Also, wouldn't it be just awkward, if such a nice Catholic guy like me contracted syphilis all of a sudden?
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And seriously, fuck this forum's blind obsession with Judas Priest... Black Sabbath, on the albums following
Master of Reality (and in a way even on that one) proved and showed that they were not just able to be one of the (if not
the) first metal bands, but also one of the (if not
the) first band to push on the genre's boundaries, transcend them, help developing it in the wider musical paradigm. SBS and
Sabotage are not just great metal albums full of riffs and catchy melodies - they also contain a lot of emotional variety, personal approach and personality (which is something even
Sin After Sin genuinely lacks - the uniqueness is mostly in the sphere of sound, not in much else), a colourful palette of genres. You have the album's masterpiece, Megalomania, switching from a dazy, haunting first part into the speedy, crunchy main romp, but it also shows two different approaches of artist's looking at himself. Two differing varieties of self-doubt and self-hate. Packed up in a wonderful musical soundscape. You get Symptom of the Universe, beginning with the breakneck proto-thrash, switching midway into this Latin, laid-back, subdued, very cool section where it stays and actually never returns (Starostin actually says that Iommi turns into José Feliciano here for a moment, in jest of course). You get whatever The Writ is, including that comical snippet in the end. You get Supertzar - whether you like it or not, it's an absolutely unique experience and not just in the Sabbath discography.
This is what shows that Sabbath really
were influenced by the Beatles - it's not the stress on melody (which is there), but this strong push at trying to better oneself, to be the best, to be the innovators and to make it all very
personal. It's no wonder that with Dio they never played live anything off these latter albums, with Dio and his theatricality that he brought into the band, it'd be a very weird combination, not fitting in the least. Dio's the escapist guy, the fantasy guy, the horror guy even, not a confessional type.
Now
Sin After Sin does show certain attempts at shaking the metal paradigm as well (as one of the very few Priest albums) before fully embracing the formula - you get the Baez cover, you get The Last Rose of Summer (still one of the most surprising and intriguing things Priest ever did), but it seriously lacks the amount of scope and artistic development that those first 6 1/2 Sabbath albums show. That's why I always find it silly to compare the Ozzy and the Dio era - especially with denigrating the former - Dio-era merely joined the most basic Sabbath approach with some of that Rainbow magic and ceased developing altogether, the Ozzy era, while having the admittedly weaker vocalist, showed innovation, complex riffs on almost every song there (already seen on H&H - Neon Knights is a fine song, but isn't it a bit underwhelming when you realize that this is the guy who wrote the riff to A National Acrobat? Or Symptom of the Universe?) and an actual desire to be the
best band ever, not just the
best metal band ever.
There was I time I wondered if out of SBS's and
Sabotage's songs you could pick some selection to create the best album ever, but probably no - it'd either be too crunchy, too poppy, too weird, because the balance would be broken. And the way the albums are structured (SBS slightly more than Sabotage) is important as well, the albums are great as-it.
But of course, Judas Priest are going to win. Fuck it. Okay, from now on I'm going to always vote against JP. I've really had enough. Even when they're going to be against Motley Crue. Or Dokken or something. I'll see what I'll do when they come up against Rush, I'll maybe refrain from voting altogether then, but from now on, it's #noRush and #noPriest. Just like
Knicks has with his Armored Saint. À propos, talking about him
Sabotage is a middling Sabbath record
Seriously one of the most hurtful things you've ever said to me.
Also
@Ariana -
this (meaning you voting for JP) is what I get for consistently supporting Alter Bridge? Shame on you.