The Yearly Metal Project (With a Twist - See inside): 1982
- Thread starter Mosh
- Start date
Is there a more badass metal lyric than Career of Evil?
Sinister, tongue firmly in cheek (or is it?) and just so over-the-top zero fucks given
Punk poet Patti Smith with the words.
She dated keyboard player Allen Lanier and co-wrote a handful of BOC songs.
I plot your rubric scarab, I steal your satellite
I want your wife to be my baby tonight
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
Pay me I'll be your surgeon, I'd like to pick your brains
Capture you, Inject you, leave you kneeling in the rain
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
I'd like your blue eyed horseshoe, I'd like your emerald horny toad
I'd like to do it to your daughter on a dirt road
And then I'd spend your ransom money, but still I'd keep your sheep
I'd peel the mask your wearing, and then rob you of your sleep
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
Sinister, tongue firmly in cheek (or is it?) and just so over-the-top zero fucks given
Punk poet Patti Smith with the words.
She dated keyboard player Allen Lanier and co-wrote a handful of BOC songs.
I plot your rubric scarab, I steal your satellite
I want your wife to be my baby tonight
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
Pay me I'll be your surgeon, I'd like to pick your brains
Capture you, Inject you, leave you kneeling in the rain
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
I'd like your blue eyed horseshoe, I'd like your emerald horny toad
I'd like to do it to your daughter on a dirt road
And then I'd spend your ransom money, but still I'd keep your sheep
I'd peel the mask your wearing, and then rob you of your sleep
I choose to steal what you chose to show
And you know I will not apologize
You're mine for the taking
I'm making a career of evil
The history, occult and horror themes of metal have become something of a cheesy cliche.
But they are awesome when done right and Secret Treaties has to be one of the genre's most influential albums in that area.
The twisted lyrics are some of the best the genre has ever produced.
They show don't tell and they're poetic, smart and about as creepy as it gets.
ME262 features WW2 from the Nazi perspective.
The dirty forbidden sex of Dominance.
The horror movie/sci-fi plots of Cagey Cretins (mindless killer), Subhuman (drowning and rebirth), Harvester of Eyes (metaphor or literal?) and Flaming Telepaths (mind control).
And then there are the elements best represented by Astronomy that were supposed to be part of the Imaginos saga — a paranoid concept album about history and alien world domination — that failed to fully form here and were revisited in the 1987 album of the same name.
It's the sorta stuff that a fan of horror and sci-fi should find irresistible.
And it definitely helped form a major element of the metal that was to come.
*****
For the record, virtually every song on this album sounds better (heavier) live.
But they are awesome when done right and Secret Treaties has to be one of the genre's most influential albums in that area.
The twisted lyrics are some of the best the genre has ever produced.
They show don't tell and they're poetic, smart and about as creepy as it gets.
ME262 features WW2 from the Nazi perspective.
The dirty forbidden sex of Dominance.
The horror movie/sci-fi plots of Cagey Cretins (mindless killer), Subhuman (drowning and rebirth), Harvester of Eyes (metaphor or literal?) and Flaming Telepaths (mind control).
And then there are the elements best represented by Astronomy that were supposed to be part of the Imaginos saga — a paranoid concept album about history and alien world domination — that failed to fully form here and were revisited in the 1987 album of the same name.
It's the sorta stuff that a fan of horror and sci-fi should find irresistible.
And it definitely helped form a major element of the metal that was to come.
*****
For the record, virtually every song on this album sounds better (heavier) live.
SixesAlltheway
Ancient Mariner
Always liked Career of Evil, in a sort of James Bond villain kind of way, but looking at the lyrics black on white they truly are very sinister. great song!
Career of Evil was a very standout track for me.
Both Queen albums released this year are excellent. Sheer Heart Attack is my favorite of the two, but they're both quality.
Queen II is an interesting one because it's one of the very few albums that seems to get respect in both the progressive rock and metal communities, yet it isn't really either. It's one of those albums where I can't really pick out specific songs as favorites, everything blends together so smoothly that I just listen to it and enjoy it as a single piece. It really does feel like two side long suites at times.
Sheer Heart Attack is one of my all time favorites. The second half has some weaker moments, but at its best it is among the greatest work Queen ever did. Brighton Rock is a really unique rocker, although I could do without the guitar noises in the middle, everything else is awesome. The real highlight of the album for me is the sort of mini suite that is Tenement Funster/Flick Of the Wrist/Lily of the Valley. I've also come to really appreciate In the Lap of the Gods after revisiting it for this thread.
Here's a pretty small detail but totally relevant to this thread. Brian May does some pretty heavy pinch harmonics in Flick Of the Wrist. This is a technique that I mostly associate with the 80s shredders such as Randy Rhodes. Later on, Zakk Wylde would go on to abuse this. It's a signature Metal thing though and as far as I've heard, no other guitarists covered in this thread have used it. I think it was one of those things that became hip once Eddie Van Halen started doing it. Later on, he would implement tapping as well in News of the World, a year before the first Van Halen.
Fly To the Rainbow continues with the more psychedelic qualities of early Scorpions, but there's some heavy material here too. The very first track wouldn't be that far out of place on Blackout, for example. But there are also extended jams such as Drifting Sun, which is obviously a vehicle for Uli Jon Roth to show off. Overall though, I think I prefer the debut. This sounds like they're caught between two sounds and are still figuring it out. There are some enjoyable tunes though, for sure.
Both Queen albums released this year are excellent. Sheer Heart Attack is my favorite of the two, but they're both quality.
Queen II is an interesting one because it's one of the very few albums that seems to get respect in both the progressive rock and metal communities, yet it isn't really either. It's one of those albums where I can't really pick out specific songs as favorites, everything blends together so smoothly that I just listen to it and enjoy it as a single piece. It really does feel like two side long suites at times.
Sheer Heart Attack is one of my all time favorites. The second half has some weaker moments, but at its best it is among the greatest work Queen ever did. Brighton Rock is a really unique rocker, although I could do without the guitar noises in the middle, everything else is awesome. The real highlight of the album for me is the sort of mini suite that is Tenement Funster/Flick Of the Wrist/Lily of the Valley. I've also come to really appreciate In the Lap of the Gods after revisiting it for this thread.
Here's a pretty small detail but totally relevant to this thread. Brian May does some pretty heavy pinch harmonics in Flick Of the Wrist. This is a technique that I mostly associate with the 80s shredders such as Randy Rhodes. Later on, Zakk Wylde would go on to abuse this. It's a signature Metal thing though and as far as I've heard, no other guitarists covered in this thread have used it. I think it was one of those things that became hip once Eddie Van Halen started doing it. Later on, he would implement tapping as well in News of the World, a year before the first Van Halen.
Fly To the Rainbow continues with the more psychedelic qualities of early Scorpions, but there's some heavy material here too. The very first track wouldn't be that far out of place on Blackout, for example. But there are also extended jams such as Drifting Sun, which is obviously a vehicle for Uli Jon Roth to show off. Overall though, I think I prefer the debut. This sounds like they're caught between two sounds and are still figuring it out. There are some enjoyable tunes though, for sure.
Stardust
Rainmaker
Heh, revisiting...funny.
1975
AC/DC - High Voltage/TNT (Australian only)
Aerosmith - Toys In the Attic
Alice Cooper - Welcome To My Nightmare
Armageddon - Armageddon
Black Sabbath - Sabotage
Deep Purple - Come Taste the Band
Elf - Trying To Burn the Sun
Hawkwind - Warrior On the Edge of Time
Kiss - Dressed To Kill/Alive!
Led Zeppelin - Physical Graffiti
Montrose - Warner Bros. Presents
Queen - A Night At the Opera
Rainbow - Ritchie Blackmore's Rainbow
Rush - Fly By Night/Caress of Steel
Scorpions - In Trance
Thin Lizzy - Fighting
UFO - Force It
The most important thing about 1975 is the formation of a certain metal band in East London. This is also Hawkwind's last album with Lemmy, who was fired early in the year. This won't be the last we hear from him though!
Lots of great albums here and for the most part it's made up of established bands. Not as many new up and coming bands, so this year is mostly about bands who have really found their sound and are putting out future classics. However we do have the debut albums from AC/DC, although they were only released in Australia. The rest of the world would have to wait another year for them.
As far as classics go, there are some huge ones here. Queen, Aerosmith, and Alice Cooper (who returned without his band in what is considered his first solo album) all released what could arguably be considered their best albums this year. There's also the legendary Kiss Alive! which became their breakthrough hit and literally saved the band. UFO continues to build momentum with their first American charting album. Also, Ritchie Blackmore leaves Deep Purple to start his solo band Rainbow, recruiting an unknown singer named Ronnie James Dio (and most of Elf). We also have the return of Black Sabbath and an ambitious double album from Led Zeppelin.
However, 1975 wasn't a good year for everybody involved. Rush continued to struggle with finding their sound and after the failure of Caress of Steel, their future was in serious doubt. On the bright side, they had completed their lineup by recruiting drummer and lyricist Neil Peart. Deep Purple suffered the loss of Ritchie Blackmore and managed to make a final album before disappearing for the rest of the decade. Scorpions continued to struggle finding commercial success, however with In Trance they are beginning to find the glam rock sound that would eventually make them successful. We also have the final album from Elf, who (unsuccessfully) attempted to continue the band while also being in Rainbow.
AC/DC - High Voltage/TNT (Australian only)
Aerosmith - Toys In the Attic
Alice Cooper - Welcome To My Nightmare
Armageddon - Armageddon
Black Sabbath - Sabotage
Deep Purple - Come Taste the Band
Elf - Trying To Burn the Sun
Hawkwind - Warrior On the Edge of Time
Kiss - Dressed To Kill/Alive!
Led Zeppelin - Physical Graffiti
Montrose - Warner Bros. Presents
Queen - A Night At the Opera
Rainbow - Ritchie Blackmore's Rainbow
Rush - Fly By Night/Caress of Steel
Scorpions - In Trance
Thin Lizzy - Fighting
UFO - Force It
The most important thing about 1975 is the formation of a certain metal band in East London. This is also Hawkwind's last album with Lemmy, who was fired early in the year. This won't be the last we hear from him though!
Lots of great albums here and for the most part it's made up of established bands. Not as many new up and coming bands, so this year is mostly about bands who have really found their sound and are putting out future classics. However we do have the debut albums from AC/DC, although they were only released in Australia. The rest of the world would have to wait another year for them.
As far as classics go, there are some huge ones here. Queen, Aerosmith, and Alice Cooper (who returned without his band in what is considered his first solo album) all released what could arguably be considered their best albums this year. There's also the legendary Kiss Alive! which became their breakthrough hit and literally saved the band. UFO continues to build momentum with their first American charting album. Also, Ritchie Blackmore leaves Deep Purple to start his solo band Rainbow, recruiting an unknown singer named Ronnie James Dio (and most of Elf). We also have the return of Black Sabbath and an ambitious double album from Led Zeppelin.
However, 1975 wasn't a good year for everybody involved. Rush continued to struggle with finding their sound and after the failure of Caress of Steel, their future was in serious doubt. On the bright side, they had completed their lineup by recruiting drummer and lyricist Neil Peart. Deep Purple suffered the loss of Ritchie Blackmore and managed to make a final album before disappearing for the rest of the decade. Scorpions continued to struggle finding commercial success, however with In Trance they are beginning to find the glam rock sound that would eventually make them successful. We also have the final album from Elf, who (unsuccessfully) attempted to continue the band while also being in Rainbow.
Forostar
Ancient Mariner
+ 1! Absolutely. Such an impressive wall of sound indeed. Awesome synthesizer. Incredibly haunting music (and singing!). Always thought that this clip portrayed its feeling so well:
Warrior on the Edge of Time is probably my favourite Hawkwind album, although I must say I haven't explored later work yet. I'd like to do this at some point, but right now I am not eager to order these albums (don't see many of these in record stores, though).
Simon House on violin, Mellotron, VCS3 & keyboards is of vital importance. Nik Turners mesmerizing sax work shines on several places on the album. Lemmy contributes with his final Hawkwind song: Motorhead!
I'm hoping this last Hawkwind album does something for me, but so far nothing has really piqued my interest. Pretty disappointing, they always came off as a band I'd find interesting and turned out they weren't. On the bright side, I'm pumped for Motorhead!
Toys In the Attic is a pretty good album. I actually remember first hearing it around the time I was in 6th grade, knowing it was revered as one of their best albums. I think they might've been playing it in its entirety at the time. Anyway, I was very disappointed. I think the problem was more that I was starting to crave different kinds of music and Aerosmith just wasn't cutting it. I can listen to that album now and get more enjoyment out of it. The first four songs are awesome, though the rest is a bit of a mixed bag. Despite its popularity, I really dislike Sweet Emotion. The band sounds really tight on this album though. They sound like an established band who know what they're doing, yet this is only their third album.
Welcome To My Nightmare has the quirkiness of the old Alice albums, but definitely sounds like a solo album rather than a full band effort. The arrangements and styles vary from song to song, with Alice (the singer) being the only constant throughout. It's also a very 70s album and pretty heavy on the glam side. I like it though.
Wasnt impressed by Armageddon. Lots of overblown songs that seem lengthy just for the sake of it. Seems like a prime example of the type of music that spawned the reaction of punk rock.
Sabotage is another Sabbath favorite. Very much continuing the style of Sabbath Bloody Sabbath but not quite as strong. This is a very angry album, spawned by conflicts with the record company. It kind of reminds me of Burnt Offerings by Iced Earth in this regard. I like Sabbath when they're aggressive and heavy though. Songs like Symptom of the Universe are clearly influential to thrash metal. Unfortunately, this would be the last solid offering from Ozzy fronted Sabbath.
Toys In the Attic is a pretty good album. I actually remember first hearing it around the time I was in 6th grade, knowing it was revered as one of their best albums. I think they might've been playing it in its entirety at the time. Anyway, I was very disappointed. I think the problem was more that I was starting to crave different kinds of music and Aerosmith just wasn't cutting it. I can listen to that album now and get more enjoyment out of it. The first four songs are awesome, though the rest is a bit of a mixed bag. Despite its popularity, I really dislike Sweet Emotion. The band sounds really tight on this album though. They sound like an established band who know what they're doing, yet this is only their third album.
Welcome To My Nightmare has the quirkiness of the old Alice albums, but definitely sounds like a solo album rather than a full band effort. The arrangements and styles vary from song to song, with Alice (the singer) being the only constant throughout. It's also a very 70s album and pretty heavy on the glam side. I like it though.
Wasnt impressed by Armageddon. Lots of overblown songs that seem lengthy just for the sake of it. Seems like a prime example of the type of music that spawned the reaction of punk rock.
Sabotage is another Sabbath favorite. Very much continuing the style of Sabbath Bloody Sabbath but not quite as strong. This is a very angry album, spawned by conflicts with the record company. It kind of reminds me of Burnt Offerings by Iced Earth in this regard. I like Sabbath when they're aggressive and heavy though. Songs like Symptom of the Universe are clearly influential to thrash metal. Unfortunately, this would be the last solid offering from Ozzy fronted Sabbath.
SixesAlltheway
Ancient Mariner
Just watch this interview/TV segment to realize how groundbreaking the Zeps, Sabbaths, Who's etc were at the time....
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Graffiti and Opera are probably the most celebrated albums from 75 and deservedly so. Ambitious stuff from legendary bands.
But a real underdog album here is Fighting.
This is where the real Lizzy began to emerge.
Lynott's skills as a balladeer started to take off, Gorham and Robertson elevated the idea of the twin guitar attack with some crystal clear harmonies that are clearly a template for Maiden and some incredibly tasty leads. The songs mix some truly heavy moments with a real laid-back California groove at times. The use of light upper fretboard power chords and the ways Downey is always pulling the beat along give it an almost jazzy flavour at times.
Not an all-time album, but very much worth a listen.
But a real underdog album here is Fighting.
This is where the real Lizzy began to emerge.
Lynott's skills as a balladeer started to take off, Gorham and Robertson elevated the idea of the twin guitar attack with some crystal clear harmonies that are clearly a template for Maiden and some incredibly tasty leads. The songs mix some truly heavy moments with a real laid-back California groove at times. The use of light upper fretboard power chords and the ways Downey is always pulling the beat along give it an almost jazzy flavour at times.
Not an all-time album, but very much worth a listen.
Sabotage might be my favourite Sabbath album. One of the first and greatest prog metal albums, even if nobody calls it that. "Megalomania" in particular is criminally overlooked.
Both Sabotage and Sabbath Bloody Sabbath have some pretty proggy moments, even Rick Wakeman plays on Sabba Caddabra. I was reading about the album and saw somewhere that they were unhappy about the direction the band was going with SBS and wanted to get back to their roots, which seemed odd to me. Sabotage is definitely heavier but very much a spiritual successor to SBS. Both albums are amazing anyway.
Physical Graffiti is an album I didn't find until after my Led Zeppelin phase had come to a close, for some reason I wasn't really aware of it. So finally hearing it was awesome, at least an hour of new Zeppelin material! Most of it was among their best stuff too.
It's a good album, especially the first disc. Had that been released on its own (+ In the Light) it'd be their best album easily. Every song is great and it continues the variety shown in Houses of the Holy. Plant's voice has aged gracefully and the band has matured as songwriters. Interestingly, the two long songs on disc one are my least favorite on the disc, despite me usually being an epics kind of guy. It's not that they're bad, the other songs are just that much better. Some of them get repetitive, but this is made up for with the rhythm section of Bonzo and John Paul Jones always keeping it interesting.
The second disc has some great moments but really feels more like leftovers and filler. Granted, most of it is actually leftovers from other albums, but I think the only outtakes worth putting on here were the two from Houses of the Holy, which goes to show how great an album it is that even the outtakes are top notch. The Led Zeppelin IV outtakes were clearly left off for a reason. It's cool they decided to release that stuff but the outtakes on disc two are easily the worst songs. Other songs, like Night Flight and Ten Years Gone are awesome. And of course In the Light.
This isn't necessarily a heavy album, but it's much more raw and aggressive than Houses of the Holy. Kind of indicative of the direction rock music was going, especially in the following year. So it's worth looking at for that alone.
It's a good album, especially the first disc. Had that been released on its own (+ In the Light) it'd be their best album easily. Every song is great and it continues the variety shown in Houses of the Holy. Plant's voice has aged gracefully and the band has matured as songwriters. Interestingly, the two long songs on disc one are my least favorite on the disc, despite me usually being an epics kind of guy. It's not that they're bad, the other songs are just that much better. Some of them get repetitive, but this is made up for with the rhythm section of Bonzo and John Paul Jones always keeping it interesting.
The second disc has some great moments but really feels more like leftovers and filler. Granted, most of it is actually leftovers from other albums, but I think the only outtakes worth putting on here were the two from Houses of the Holy, which goes to show how great an album it is that even the outtakes are top notch. The Led Zeppelin IV outtakes were clearly left off for a reason. It's cool they decided to release that stuff but the outtakes on disc two are easily the worst songs. Other songs, like Night Flight and Ten Years Gone are awesome. And of course In the Light.
This isn't necessarily a heavy album, but it's much more raw and aggressive than Houses of the Holy. Kind of indicative of the direction rock music was going, especially in the following year. So it's worth looking at for that alone.
Forostar
Ancient Mariner
The album never felt proggy to me but indeed, Megalomania is fantastic. Great balance between out of this world riffing and haunting atmosphere. But during the riffing at some point we get these great keyboards and Ozzy contributes a lot as well. Makes Sabotage the best post-Vol. 4 album with Ozzy. I might like like it more than the first two Sabbath albums even.
My favorite album on this list is without a doubt A Night At the Opera. I love the way the songs blend into each other, it's like a giant medley. I think they also really proved that you could have a big, lush sound without the help of any synthesizers, on this album. I love every song is great and at least 3 would be in my Queen top ten. Nothing really metal on this though, no Ogre Battles on this album. The riff on Bohemian Rhapsody (you know the one) is pretty worthy of Metal though IMO.
Don't want to be redundant and save the talk of the Rush albums for @JudasMyGuide 's thread, but just wanted to say that Bastille Day is probably the closest Rush has gotten to heavy metal.
Don't want to be redundant and save the talk of the Rush albums for @JudasMyGuide 's thread, but just wanted to say that Bastille Day is probably the closest Rush has gotten to heavy metal.
SixesAlltheway
Ancient Mariner
I think Nazareth Hair of The Dog deserves a mention for 1975. Title track for example has a great heavy riff, albeit boogie inspired...And Dan McCafferty had the Halford metal vocals before Halford did...(although under construction at this time 
)
)
Cornfed Hick
Ancient Mariner
The whole album is criminally overlooked (as is Vol. 4). I like H&H and Mob Rules better, and s/t and Paranoid were more important, but Sabotage is probably my favorite Ozzy-era Sabbath album, and I turn to it more than other albums. There isn't a weak song on the album, even the acoustic intro to "Symptom" is edgy and compelling (read: cocaine-fueled).
I agree with everything that's been written about A Night at the Opera and Physical Graffiti -- those are the best of that year.
I wouldn't call Nazareth "metal" but that's a fun album. Plus, it's my favorite story of a conflict between band vs. label: evidently the original title of the song and album was supposed to be Son of a Bitch, for obvious reasons, but this upset the record company, so it morphed from Son of a Bitch --> Heir of a Dog --> Hair of the Dog.
1976
AC/DC - High Voltage/Dirty Deeds Done Dirt Cheap
Aerosmith - Rocks
Alice Cooper - Alice Cooper Goes To Hell
Black Sabbath - Technical Ecstasy
Blue Oyster Cult - Agents of Fortune
Budgie - If I Were Britannia I'd Waive the Rules
Judas Priest - Sad Wings of Destiny
Kiss - Destroyer/Rock and Roll Over
Led Zeppelin - Presence
Queen - A Day At the Races
Rainbow - Rising
Rush - 2112
Scorpions - Virgin Killer
Sweet - Give Us A Wink
Thin Lizzy - Jailbreak/Johnny the Fox
UFO - Heavy Petting
Uriah Heep - High and Mighty
For many bands, 1976 is a breakthrough year. After the success of Alive!, Kiss returns with their most celebrated studio album in Destroyer, Judas Priest returns with a proper heavy metal album, and Rainbow Rising. After several albums of varied success, we get the most famous albums from both Blue Oyster Cult and Thin Lizzy. And of course Rush triumphantly survives the axe of its record label with 2112. There's also the fan favorite Rocks by Aerosmith and the debut of AC/DC for everybody besides @Unknown One . Both of those AC/DC albums, by the way, are albums that even this prog snob can get behind.
However 1976 comes with a few clunkers. The cracks are finally starting to show in Black Sabbath with what is commonly considered one of their weakest albums. There's also the controversial Presence.
But I think it's safe to say that the great albums this year definitely exceed the weak ones. Lots of future classics here!
AC/DC - High Voltage/Dirty Deeds Done Dirt Cheap
Aerosmith - Rocks
Alice Cooper - Alice Cooper Goes To Hell
Black Sabbath - Technical Ecstasy
Blue Oyster Cult - Agents of Fortune
Budgie - If I Were Britannia I'd Waive the Rules
Judas Priest - Sad Wings of Destiny
Kiss - Destroyer/Rock and Roll Over
Led Zeppelin - Presence
Queen - A Day At the Races
Rainbow - Rising
Rush - 2112
Scorpions - Virgin Killer
Sweet - Give Us A Wink
Thin Lizzy - Jailbreak/Johnny the Fox
UFO - Heavy Petting
Uriah Heep - High and Mighty
For many bands, 1976 is a breakthrough year. After the success of Alive!, Kiss returns with their most celebrated studio album in Destroyer, Judas Priest returns with a proper heavy metal album, and Rainbow Rising. After several albums of varied success, we get the most famous albums from both Blue Oyster Cult and Thin Lizzy. And of course Rush triumphantly survives the axe of its record label with 2112. There's also the fan favorite Rocks by Aerosmith and the debut of AC/DC for everybody besides @Unknown One . Both of those AC/DC albums, by the way, are albums that even this prog snob can get behind.
However 1976 comes with a few clunkers. The cracks are finally starting to show in Black Sabbath with what is commonly considered one of their weakest albums. There's also the controversial Presence.
But I think it's safe to say that the great albums this year definitely exceed the weak ones. Lots of future classics here!
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