The episode provides a sharp structural analysis that treats track sequencing as a deliberate architectural feat rather than mere coincidence. It successfully elevates the metal album into a sophisticated study of narrative symmetry.
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Heavy Metallurgy Presents Ep #264: Albums That Begin and End with Killer Songs w/ TyAdded:
Hey everybody, welcome. Greetings. Hope you had a great week. It's Friday. It's uh Heavy Metal Energy episode number 264.
I'm one of your hosts. I'm Marty. It's good to see you, Alan. How you doing, man?
>> I'm doing pretty good. It's summer. I've spent three hours mowing grass today.
So, uh, if I spontaneously fall asleep, you you guys just, you know, can kick me out and carry on. But no, we've had a good week. Uh, took the family on a short little vacation. So, we got out of town for a couple of days, just did a whole lot of nothing. Just had fun and hung out. So, yeah, it's been a pretty good week. Hope everyone in the chat is doing well. Lots of folks already checking in and uh yeah, excited because we have a brand new guest, >> Ty from Living Deadwax. Good to see you.
I forgot to pull up the media assets.
Oh, there we go.
Y >> good to see you, man. How you doing?
>> Yeah, I'm good, man. Thanks for guys for having me. I was telling you in the dugout, I've been watching you guys for like three years. And it's funny, Allan mentioned mowing grass because I love mowing grass and my grass. I have I'm I'm finally probably getting rid of it this year because living in Arizona, it's more maintenance than what it's worth.
>> And uh >> I used to listen to you guys all the time mowing grass.
>> Listen to listen to the VODs and listen to the episodes while doing the yard work. So, >> right on.
>> Good deal.
>> Yeah, I like mowing it, too. As long as I've got the time to do it, if I'm not rushed or anything, it's it's fun. But uh yeah, sometime and today was a perfect day for it. The wife and kid went out and about. Weather was good.
Like I I can do that and just take my time and mow.
>> Package a bunch of orders today. So I'm down to about 200 packages left with Ponopticon orders. So >> cheers everybody for being patient.
Thank you so much. The shirts are printed finally, but hopefully by Monday or Tuesday everything will the queue will be back at zero. So, thank you everybody for being patient and hanging out. Um, and I do before we uh talk to Ty and learn a little bit about his channel, I did want to give a little shout out to Decible Books >> for I think it's finally available. I don't know. Obviously, it arrived for me and Allan's post box. So, office or >> pre-orders have shipped, but I think it is just generally available now, too.
>> Yep. This is Sodom, the official authorized biography by Hogar Schmank.
>> Dr. Hoger Schmanker.
>> Doctor. Well, there's no doctor here, but uh >> Well, there there is on the inside of the cover.
>> I haven't I haven't I cracked it open to look at a couple of the pictures cuz I'm a picture guy. Thankfully, >> the middle.
>> Yeah, there's enough pictures in here that'll keep me interested. But no kidding. Sodom will keep me interested.
But the book looks fantastic. A lot of pictures visually, graphically lay it out very well. Um, I know Albert and crew have been slaving on this one for a while um with a translation. So, >> a once German only um edition is now seen English. So, if you're a big Sodom fan like we are here, definitely check it out on Decible Books. There is a link in the description of this show for you to go click on and go snag yourself a copy. I'll be reading that here in the coming weeks. Hey, Miss A, what's shaking? And it's good to see everybody here. But Ty, >> yes, sir.
>> Tell us a little bit about Living Dead Wax there. I'm new to the channel. I'll be completely honest. It's weird how things I don't ever see and then suddenly it pops up. Maybe it was one of the uh metal tags is where I uh >> might have um been made aware of your show. Have you done the metal tag before?
>> I did. Yeah, I did the uh the 20 Yeah, the the one at the beginning of this year I did. Uh that was the first one I've done. Uh yeah, we me and my buddy started the channel about like three years ago and I watched a lot of you guys, a lot of SOT and I was like I'm just going to I'm going to take their idea. You know, the best ideas are taken ideas, stolen ideas. So I'm like I'm going to >> Well, what we doing isn't new either. So I mean it all rolls downhill.
>> Exactly.
>> Pete Partardo. Never heard of the guy who's that >> Pete Partardo. Yeah, >> we all never listened to Venom in my heyday after he is completely original.
But we uh um >> yeah, I was just like, let's take their idea cuz we always bullshitted about music anyway. So, and you know, he's got a big vinyl collection. So, we're like, let's do the let's do a channel like this. So, we started doing it. We weren't doing it live, just like a weekly podcast thing. It mostly started out as collection updates and then we started choosing topics and stuff. We did about a year of that and then we kind of ran I I was more not like dedicated but I like the homework aspect of this [ __ ] because it allows me to active listening listen and I like taking notes and it it I get connected with the music again not like the old you know not like when I'm just listening in the background and stuff and just streaming and uh I used to write about music I did for four years in journalism and I would just pitch album reviews all the time like yeah I'm going to I actually reviewed the Symphony X album that's on the uh the wallpaper for the high school paper. So I'm like, "Yeah, I'm gonna review the Symphony X. What's that?" Oh, don't worry about it. I'm just going to review it. It'll be great. Um >> so did that and did that in college. So I'm like, "This will be kind of an extension of that." So we were doing it and did really good and he just didn't want to do the homework and stuff. And we had a lot of like overlap with our interests in our music, but we honestly had a lot of differences too. like what he was passionate about is not anything that I'm passionate about and vice versa. So >> well that that makes good conversation though, you know, good debate.
>> It does if you're willing to listen to the music. So sometimes you can't, you know, you can't have a conversation if the other person doesn't want to listen to the the albums to talk about. And I think it was kind of bipolar like I'm going to show the a Blood Bath album and then he's going to show a Blink 182 album or something. Oh, well that's a that's a vast difference.
>> And I grew up on a lot of 90s stuff, too. So, I can kind of [ __ ] my way through talking about most things, but uh yeah, it was kind of bipolar. So, anyway, uh last end of last year did the metal tag and I'm like, I'm going to give it a go. And my three-year-old daughter started, you know, getting into watching YouTube and stuff. So, she got a kick out of it and started introducing her to music. And yeah, that's I was like, I'm going to give this give this a go cuz I've done a couple YouTube channels before. My wife and I had one talking about movies and Blu-rays and stuff. That did pretty good. Then we had the kiddo. So that changed things. So I was like, "Yeah, I'm going to give it a go." And my daughter gets a kick out of it. And worst case scenario, it'll give her something to watch and say, "Oh, my dad wasted all his money on this [ __ ] Cool."
>> So this is what my college education went. Awesome, Dad. Thanks.
>> Yep. Exactly. 100%. So >> yeah.
>> So yeah.
>> Well, awesome. It's good to meet you.
It's good to uh get to know about the channel a little bit more. People linked in the description to uh Living Deadwax.
Go check him out over there. He has kind of a recentlyish a nice dive into the Halloween. Um >> Yes, sir.
>> dive.
>> I only threw flipped a couple tables during that conversation he had there.
So, it wasn't too bad. It wasn't too too bad. But >> that's funny.
>> Alan, did you have any more stuff for Ty? No, I think you covered it really well there. And uh No, it was a good Halloween ranking. Everyone's going to have their differences of opinions, but I liked the way you uh worked through it pretty systematically and had the tier system up for it.
>> Yeah, it's hard too many I would drastically move from your tiers.
>> Yeah. I mean, you pro I mean I don't know. You might would have you might have ranked Chameleon even lower than I did. So, I don't know.
>> You ranked it as low as you could. I can't fault me. That's all a man can do.
>> But yeah, I love doing the album rankings. It's just like some of them are daunting. Like I did my rush one and did the Halloween one, did the maiden one and I'm like it's sometimes it's a lot when you're doing them by yourself like the >> Mhm.
>> you know. So, but yeah. No, it's definitely fun.
>> I was on Whatnot the other night uh last weekend. We were me and the kid were listening to music in the music room and uh we were both on whatnot on the same guy and a guy put up uh Chameleon for 10 bucks. I asked the guy, "How much is it?" And he's like, "10 bucks." I'm like, "You going to get it, Parker?" And he's like, "Not for 10 bucks." I'm like, "Whatever. It's worth 10 bucks." So I bought it. I'm like, "Well, ungrateful little bastard." So I bought it. I'm like, "I should give this to Allan, but I just know it's just going to get mystically shuffled along to someone else." So the kid will have his copy of Chameleon. I said, "So you're telling me the album sucks?" He's like, "No, it doesn't suck. I just it just doesn't it isn't as good as the others." I'm like, "Yeah, fair enough."
>> For 10 bucks, he could have bought two good albums and whatnot.
>> Right. Right.
>> There you go. Yeah. Just listen to Giants. That's what you need. Giants is a sick song.
>> There's some good songs on there.
>> There's four passable songs on a very long album.
>> Yep. But we're not here to talk about that tonight. We're here uh Ty was kind enough to come up with a bunch of really cool topics and um >> had a good list >> good list of stuff. We always >> extend the courtesy to the guests to come with a topic because you know Alan and I do this every week and it's nice having fresh ideas trickle in. So, um, we chose one of them. And Ty, what are we talking about tonight?
>> Yeah, we're going to do a bookended album. So, albums, they may or may not be classic albums, but they have a killer opener and a killer closing track. Um, I was telling Marty in the dugout, I tried to make this even harder than I needed to on myself and not include albums that had intros. So, if like if it was a numbered intro track that was like a minute of just ambient [ __ ] I was like, "No, I'm not going to include the album. I did not follow those rules. I said to hell with it real quick. I said, "Nope, I'm going to skip the intros and the outros." Anyway, go ahead. Sorry to interrupt.
Um, yeah. So, I I and I did. Yeah, I definitely included the intros and the outros. I tried to avoid doing uh like bonus tracks. I tried to just include the original >> the original release, how it came out when you bought it. There might be one or two of here that I bent the rules a little bit, but >> but yeah, I thought that was a good topic. And I kind of I told you earlier I just shotgun blasted topics at you cuz I'm like I've watched so many episodes but I don't I'm like I don't remember what they have and haven't covered. So here's a bunch. Choose what you want.
And then when you chose it I'm like oh [ __ ] I actually have to do this now. So >> yeah. Yep. Yep.
All right. Well, since you're the guest, you can get the party started here near with our first round here.
>> All right. It's like show and tell. Here we go. Um, I know you guys are Mexican radio fans.
>> You got to be [ __ ] me, bro.
>> No, it's not that.
>> Well, good. It's getting late, Ty. Uh, >> shortest guest appearance. Wow. See you later.
>> Yeah.
>> No, that was a that definitely I I actually like that album quite a bit, but definitely not. Mexican radio is a classic opener. Um, >> it is.
>> I'll start with this one.
>> I'll I'll start Yeah. Infamous, I guess.
Um, >> not just famous, infamous.
>> Exactly. Uh, I'll start with this one.
It's a newer newer band, newer album.
They got a new one coming out. Uh, Storm Keep, Tales of Other Time. Came out in 2021 from guys from Denver doing some melodic symphonic black metal.
Absolutely love the album cover. This this stuff is just like crack to me.
Like that like that album cover. So, you see that album cover, I know exactly what I'm getting into. Uh, but you start out with The Sear. Uh, it's a 9 minutes of epic melodic black metal. Love the track. And it's a opener to a cool concept as well. The track introduces us to our main character, the Seir. Uh, you get some great headbanging riffs, some good solos, awesome synth, majestic acoustic guitars, and then you get some just amazing production out of these guys. It's absolutely insane what bands can do. Uh today bands not even on major labels what they can pull off now. Uh it's sets up the album nicely and what you should expect for the next 43 minutes as well which I love in an opener. I love like okay I know what I'm getting into here. Um it's a brisk 9 minutes captures the feel of the entire album within it and uh grabs your attention. And to me they are eating Demi Borgers lunch now like the the new Demu like would just went in one ear out the other. And I've been spinning this for four or five years now. Um, and then you get inter the eternal majesty manifest to close it out. 8-minute conclusion to the story. Uh, and the track really has a lot of aggression in it, but really good atmosphere and it kind of straddles that line really nicely. Um, you get some seriously catchy riffing as well on that song, which I love. Uh, but some awesome synth too that adds to that that fantasy atmosphere. Uh the track slows down at like the three minute mark and you get some awesome solos with some harps accord sounding synth which is very cool. And the track is just filled with great melodic guitar, awesome atmosphere, awesome pacing, good blast beats, and they are sincere. Like when you're when you're doing like a nerdy subject like this, uh being sincere goes a long way. Like you could tell when you're not into it. And to me it it goes a long way. Super very very cinematic.
the whole album is. But yeah, I like think Summoning mixed with Emperor mixed with Demi Borger mixed with Dissection and then some kick-ass power metal on top of that. Uh that's what I think about when I think of this album. So yeah, very good. And two good songs.
That's another thing I did. I tried to think of if I was going to introduce somebody to these bands, would I pick these two songs? So that's kind of kind of what I thought when I was making my picks.
>> Right on. And it comes with a completely pointless map, everyone. Um, >> yeah. Yeah.
>> Hey, hey, hey. If you're trying to navigate that fantastical land, you'll be glad you have that map, mister.
>> Not not going to be wandering into that map, that land anytime soon. George, >> well, you're waiting for your burger and fries at Chuck-E-Cheese. You know, keep you entertained.
>> That's right.
>> They're watching the wondering where your burrito was at.
>> George, thank you so much for the super chat, man. Everybody go check out George G's Room of Rock at Rules. George Rules, as you all know, he's been on the channel before.
>> Thanks, man. Indeed. Indeed.
>> All right, Alan.
>> Yeah, cool pick. And the new Storm Keeps do out in just a couple of weeks.
>> Yes.
>> And I've listened to the promo a couple times and >> I'm not going there right now.
>> I haven't I haven't cracked the promo yet. I've been meaning to. I haven't got around to it.
>> I'm so hyped for it. So, that's good.
>> Yeah, I'm I was very interested to hear it and then I heard it and now I have questions.
>> I haven't even listened to the advanced singles that they have on Spotify and stuff. So, I'm kind of media blackout on it. So, I guess we'll find out.
>> Yeah, I I need to sit down and like pay more attention like you said. It's been more kind of like let's just kind of, you know, give it a quick listen in the background, but it would definitely started kind of raising some eyebrows.
We shall see, though. We shall see.
>> All right.
>> All right, man. What you got?
>> All right. Well, some albums rule, but other albums rain. Uh, we'll start with something very easy here. It's already been brought up in the chat. Bastard Slayers, Rain and Blood.
Wait, getting a little extra glare. So, let's slide that out. Here we go. Uh, so yeah, I mean, obviously, you know, one of the watershed moments for Thrash Metal during the 1980s. And can you pick a better example of a bookended album?
You know, the stuff in the middle is fine, but it starts, of course, with Angel of Death, which is one of the most recognizable Thrash songs of all time, and it ends with Rain and Blood, which is one of the most recognizable Thrash songs of all time. So, yeah, they absolutely set this one up to start with a bang and end with a bang. They're also the two longest songs on the album. Of course, the album, everything in between is much much shorter than those two tracks. So, it's an interesting album structure that they kind of begin with a normal length song and then they just kind of like, you know, bam, bam, bam, bam, keep, you know, hitting you, you know, over and over with these, you know, very short, tight, aggressive, you know, two to three minute songs and then they end on one more like normal length song. It's almost like, what? What do you mean all the songs were short? Here we're It's ending normally. what what happened to you? Were you not paying attention? So, yeah, it's an it's a weird album structure. Of course, has a very short overall runtime, but absolutely iconic tracks to begin and end the album. I mean, the tracks in between could be mediocre and the album would still be hailed as great just based on the strength of those two songs alone. Fortunately, lots of stuff in the middle of the album is very, very good as well. So yeah, seemed like an obvious one to start with and uh cheers to those already mentioning it in the chat.
Slayer Rain and Blood, my first pick for an album that starts incredibly well and ends incredibly well.
>> And it's funny in the dugout after the album club this past Wednesday, we were kind of talking about this topic a little bit and cool.
>> Rain and Blood came up and >> I picked it as well. And Raining Blood is a great song. I agree. this this definitely should be on this list, but I think Postmortem >> gets a great assist because that that those two songs together makes something really really special. The the buildup and frantic explosion of P postmortem into the, you know, the thunder and stuff. It's >> it's uh I think it's essential to have postmortem before Raining Blood, but um yeah, great great pick, man.
>> Yeah. Yeah, definitely one of the more obvious ones, but some of those they're obvious for a reason. So, >> yeah. Exactly. Yeah. And for I always feel like on these topics if we have to hit some of the obvious ones at least.
Otherwise, it's like why why did you do the topic and avoid all the things that people want to hear you talk about.
>> Yeah, exactly. 100%.
>> All right, Marty, your turn to uh step up to the plate and show us what you got.
>> All right. Well, we're going with uh Battles in the North by Immortal. I had at the heart of winter in my hand because that to me is a perfect riff album.
The last song on that album is a really good song. It's just not one of the best ones on the album. So, I felt like I had to pivot a little bit. And I of course remembered Blick Mighty Raven Dark, the the closing track on here. This is another super short record. This thing's only 35 minutes long, but it ends on that epic uh super grim. You know, the the the video of them running between the two mountains is always hilarious.
But the album starts with Battle in the North. And you know, this is textbook early immortal.
Super fast. There's the rumors going around that Abath played the drums on here and they sped up the drum take the drum tape so it it was even faster.
But um Demonaz's, uh riffing style is just great. The melody lines are completely unique. You can tell it's immortal, you know, with the opening chord progression, but when he finally kicks into the speed and those tremolo picked chord uh progressions, it's just absolute classic immortal. And you know, they changed, they got faster. And then with At the Heart of Winter, they changed to a more riffbased um little more well-rounded. I think I think this was kind of a you know they started off with a battery worship and then they kind of came into their own sound but it kind of hit its zenith on Blizzard Beast. It's just very fast and a little over the top. Something had to change. But here this is a great start, a great end. This is a great album.
There's no doubt about it. Even the cover, the cheesy cover, it's just so good. So good. I love that whole era of Norway. The whole Norway black metal thing during the 90s was so exciting.
>> I like the promo cover better. The >> Yeah, you like the snow. Yeah. Yeah.
>> Yeah.
>> Yep.
>> All right.
>> Cool pick. Interesting.
>> All right. Ty.
>> I'll uh I'll just piggyback off you.
I'll kind of go out of the order that I had. I'm going to choose uh 2009's All Shall Fall.
>> That's a great record and nobody talks about it.
>> Nobody talks about it. It's cuz it's it's following uh Sons of Northern Darkness and then they basically didn't exist and they may still they kind of exist now depending I like the new albums with just demon eyes doing them but uh um yeah it kind of gets I don't think I don't think it lives up to Sons of Northern Darkness but as far as the the opener and the closer you get the title track as the opener and uh I think like you said the album's kind of unfairly treated and it features some great tunes including these two Um, you're immediately greeted with the gate slamming. So, you know, just like on the album cover. I I love that type of [ __ ] I love the call back when you can hear in the music what's on the cover and in the gatefold and all that type of stuff.
And then you get signature Aboth, you know, guitar tones. Like he's one of my favorite guitar tones ever. I got to see him live open for Danzig um last two two years ago last year and that was just sick. They just played Immortal Tunes so it was awesome. Um, yeah, his playing and tone some of the most signature in all of metal. Um, you also get a good great act. You know, I can't really do it, but you know that classic that was pretty good.
>> And not even a minute in they do it. Um, drumming moves things along uh, quickly.
It's a six-inute track. At the three minute mark, you get a great interlude with some awesome bass work and then some booming drums. The drum sound on it, I love it. And then 340 onwards is just signature immortal. It's epic. It's simple. It's heavy. Um Peter Tactran too. I don't know if I ever pronounced his name right. That dude he gets some of the best productions on black metal records. Um Unearthing Kingdom is the closer. More massive rips riffs just classic frostbitten atmosphere. It's mid-paced kind of classic immortal at this time frame what they were doing.
They knew what they did and they did it well. Uh, very melodic, built around those riffs, feels triumphant, but very cinematic.
Lots of vocals are super good. I mean, they drip with character. Like his snarl snarl is just a hook within itself. Uh, it's a song that makes you feel like you're galloping through a field of ice and snow on horseback, which is what, you know, Immortal wants to picture. So, um, yeah, it's a kick-ass song. And uh yeah, I say if you have always, you know, liked Immortal, like I feel like this album gets slept on and overlooked.
And it's it's more of the same, but they know what they do and they do it well.
And I love the fact that they wear their influences on their sleeve and they don't over complicate [ __ ] Like this is what we are. This is what we do well. So sometime sometimes the simplest stuff can be the heaviest stuff. And I I dig this record and I dig those two songs especially.
>> Good pick. Good album.
Way better than Damned in Black. And I I think it is. Yeah.
>> Yeah.
>> Yeah. Damned in Black is not a favorite in there.
>> Kind of a rocking album. It's still good, but it's just Yeah, >> it's not terrible, but I would put it pretty low.
>> Yeah.
>> Okay. If we're doing Norwegian Black Metal, I shall also shuffle the stack a little bit here. Um, we'll go with uh debut from Gorgoth opening. And the tracks of course are in Norwegian, so bear with me. But yeah, opener, uh, Negve Slack, sure. Um, very good track.
Opens, it sets the tone for the album really, really well. I think it gives you a really solid idea of what they're aiming for. Encapsulates the album nicely. Um, the closer is the gem though of the two. This one's a little bit weighted towards the closing track.
Menurg, sure.
>> Where' you call me?
How dare you say that about my mother?
Uh, this track is fantastic. It really stands out on the album, not just as the opener or closer, but it's got a really tight structure to it. And at the end, you know, they keep, you know, adding a few sections. It feels like the song will end at a certain point, but it doesn't. It has, like, you section that, you know, builds a little more of an epic vibe to it. You can tell it's one of the Infernace penned tracks on here.
the songs he wrote tended to have that bigger epic sweep to them, whereas um the tracks written by the drummer tend to be just the more kind of faster bludgeoning ones. And but even after the epic part, the song still doesn't end.
It has yet another section where they sort of just really ramp up the intensity one last time. And there's this really weird guitar effect. It's kind of spacey sounding that is added in as well. It's just kind of like, whoa, where the hell did that come from? And then the song really quickly, you know, just winds down at the end. So it's almost like, you know, this great case of, you know, just whiplash towards the end of build it up, but don't let it end. Build it up again. Let it blast off. Add this one last cool thing completely out of the blue and then end.
So yeah, the album ends fantastic.
Makes you want to go just go back right to the start. And the lead track once again sets everything up absolutely perfect for the album. So yeah, Gorgoth's Pentagram uh really good opening track and fantastic closing track. So I like the way this album is bookended and most of the stuff in between here works very well too. I'm very very late to Gorgoth.
I don't know their catalog very well at all, but this one I latched on to.
I like uh I like I like bands like Gorgaroth where there's like the six they have like six albums so it's not intimidating >> like if you want to get into them you don't feel like ah [ __ ] there's 30 albums to listen to here and a thousand demos and all that.
>> Talk about a bandit though. It just couldn't you know during the height of the black metal explosion they were there >> but they they ran out of gas. They just couldn't get their [ __ ] together. It seems like they kind of petered out and then they got back and was doing it again and then the the falling out and the court [ __ ] It's just like >> Yeah, they were on weird labels early on too which didn't help, I'm sure. Didn't maybe have the same kind of visibility or distribution. So, no, that's a good observation about them, Marty, because looking back, they're one of the stronger bands that came out of that first wave of Norway, >> but they definitely don't get put on the same tier as your Dark Thrones and Bersomes and Mayhems and Immortals and such, >> but they should be. It feels like they definitely should be on that same tier.
>> Yeah, agreed.
>> All right. Well, I should get some sort of royalty for as much as I've talked about this album, but it is an absolute favorite. Mind Wars, Holy Terror.
>> The album starts off with Judas Reward, ends with Christian Resistance.
This album is for me is complete banger after banger, riff after riff. And right away on Judas Reward, the speed is definitely a thing, but what trumps the speed is the type the quality of melodies that they're playing uh within the context of really fast. And then of course propped up to the front is Keith Dean, the vocalist, who somehow finds a melodic strand to grab a hold of and actually pitch sing through um some amazingly complex and fast music. So yeah, Judas Reward, first time I heard this, this is the first album I heard by them. And um you know, hair as soon as Judas Reward kicks in it, hair on the back of your neck, stand up type of thing. And then Christian Resistance, I mean, the whole thing, the the if you couldn't tell from the cover, the contempt for Christianity is uh the driving force behind probably not only the band name, but uh the concept of this album. And we end with uh the lyrical line, nonewithstanding keep Christian resistance. All are martyed and their minds to all. Troopers of the baptism must fight in the name of Jesus Christ we massacre. I mean just and the way he sings it. He is like this just firing off these words along to the beat and but still holding pitch, holding tune, holding key and delivering the contempt through uh the lyrics. It's amazing. It's this band was amazing. And Keith Dean was amazing. And if you have not heard Mind Wars by Holy Terror, the first track, the second, the last track are absolute great, but everything in between. It is bookend bookending a fantastic album. So I know Allan is more of the debut fan, but >> I mean, >> both are great. Both are great albums.
>> They're like one's 9.5 and the other is 9.25 or something. You're splitting hairs.
>> Yep. Great band.
All right, Ty, you're back.
>> All right. Um, I'll go with one that I might have to say the G word. It might make people mad, but uh, we'll talk about it. They kind of get passed in the metal circles. So, which I always love because all the people are like, "Oh, I don't like I don't like grunge, but I like that band." It's like, okay, then you like some grunge then because they're they've released two of the most depressing, grungiest records of all time. This being one of them. So, Allison Chains is >> It's a great record.
>> It's amazing. Yeah.
>> Um, yeah. 1992, hard rock, grunge, whatever you want to call it. Uh, you open with them bones. I mean, the whole album's stellar, but you open with them bones. You get the immediate hook of Lane Scream. Um, Jerry wrote the song in 78. The chorus is in 44, so automatically you're kind of picking up like this isn't like every other hit song out there on the radio.
>> Love that ascending riff, too, at the opening riff. D.
Great.
>> Yeah, it sounds so much cool. Exactly.
And it doesn't sound like a typical hit song from 92. Uh it's one of the most darkest, depressing records ever written. And Them Bones tackles uh that subject of morality like right out of the gate. Um you know, basically we we all just end up a pile of bones one day, no matter what you believe. So enjoy your time. That's basically the message of the song. Um yeah, and for a band that had already had their share of tragedy at by this point even, uh it's kind of a tongue-in-cheek almost sarcastic look at it. Um, but poignant nonetheless. They do a really good job at it. Uh, filled with great riffs like Marty was mentioning. One of my favorite Jerry Cantrell solos ever. Some great bass work by Mike Star. Completely underrated guy. Obviously, he left the band after this, but I got >> Sun Garden for a minute, too.
>> Mike Star. No, no, he really didn't. I don't think so. I don't He didn't really do much.
>> I could be wrong. I could be way off on that.
>> He didn't really do much after this. Um, but yeah, I've seen them five or six times live. They've opened the majority of the shows at them bones, so they know that it's grades. Not a note is wasted.
Extremely catchy. It's under three minutes. Then you end with wood, which like the bass intro to Wood rivals Peace Cells as like one of the most iconic bass intros ever of all time.
>> Great song, too. Holy [ __ ] >> Yeah.
>> And it's a tribute to Mother Love Bone frontman Andywood who died of a heroin overdose. So, you know, you listen to this entire album, you listen to those songs, and I've never done heroin. I never want to do heroin, but I feel like I've done a little bit of heroin just listening to dirt sometimes and how many times I've listened to it. Uh Wood Lane's vocals on the chorus is amazing.
You get the harmony with harmonies with Jerry, which is their calling card.
Wood's a time with song, man. It's an ending to a terrific, terrific album. So yeah, if for some reason you've never spun this and you're like I don't want to listen to any of that Seattle [ __ ] like this is I mean Facelift, this and the followup are all tremendous albums.
Uh but Dirt is essential for sure.
>> Alex Wick Witchfinder says he was in Days of the New after Alison Chains.
>> There you go.
>> All right, good pick one.
All right, this one goes out to Metal Overkill Dave in the chat because he already shouted it out. It was also one of the first things I thought of for this list. It's an obvious one, but again, sometimes you got to call out the classics. Iron Maiden with Power Slave.
This album contains four of the most identifiable Iron Maiden tracks ever made. And oddly enough, it's the first two and the last two. So, the middle tracks are where you kind of get into some of the deep cuts, and people like a lot of those just fine. But you start with Aces High, which is about as strong an album opener as you'll find on any traditional heavy metal album. And it ends on Rhyme of the Ancient Mariner, which sets the template for every 9 10 minute epic story type of song for heavy metal for the next 42 years and counting. It's an interesting album structure because you also have Powerlave right before Rhyme of the Ancient. So ending the album on these two very long form epic tracks which was not common in 1984 not something Maiden had attempted this length. They had some longer songs before sure they had a few in the sixinute range with like Phantom of the Opera and Hallow would be the name. They knew how to do big epic tracks, but two of them in this duration was very unusual and could have been seen as kind of risky. Kudos to the label for letting them do it, not insisting that they break them up or trim one of them down or something like that. Powerslave is iconic and excellent, but for me it pales next to Rhyme of the Ancient Matter. That is the song. There are very few songs that can really just pull you into the story and make you live it line by line the way that song does. Marty, you've commented before on just the whole sort of middle bridge section where most of the instrumentation falls away and you just have the sound effects of like the ship creaking uh and such.
>> You are on that boat. you are dying of thirst right alongside the protagonist.
>> Um there is no telling how many thousands upon thousands of kids went to their high school library and looked that book up on the strength of this song. And that's what I want those types of songs to do. I want them to find an excellent way to take that story and set it to music and make people want to go out and learn more about the story. And it's funny because the album starts completely different with Aces High followed with Two Minutes to Midnight.
You've got two just flatout rocking songs. Uh epic, great for sure, but straightforward sing along, great melodies, great energy, normal length songs. They don't really set you up for what's going to happen at the end of the album where they're going to go all in on this grandiose vibe, but it really does work.
Again, sometimes I complain about longer songs. They work great in this context.
I think the duration of those songs just reflects the size and scale of Egyptian archaeology and architecture. You need this album to have some giant monolithic songs on it because that's the whole theme for this era of Iron Maiden. So, I dig the long songs. I dig the short songs at the beginning.
The the album starts and ends with classics that every Iron Maiden fan knows by heart. Had to be picked. And uh Dave, cheers. You called it out before I could even get to it. Good job, man.
>> Yeah. And Milo, he threw this out in the chat. I'm like, "God, I didn't grab it.
How could I not grab it?" So, here's another super obvious one for me, but Awaken the Guardian. We've got the sorceress uh beginning of the album and ends with Exodus which ends on a very emotionally charged beautiful song. Uh but the sorceress leads this album off.
And if there was ever a soundtrack for, you know, a witch in North America, I think this song would be it. Yeah, I was just reading through the lyrics as Allan was going through his thing and you want to talk about awesome, amazingly penned lyrics and these verses are super dense.
I mean, John Arch, he plasters a lot of this music with his vocals, but the lyrics are so well done and the topic is so cool and the twist he takes on the whole concept is very interesting. The atmosphere and the music and the recording, it all kind of piles into the mental the mental image. You can see the woman with the cloak maybe carrying a torch to see through the night uh finding her way and I don't know it's absolutely killer and it like I said ends very with a very emotionally charged um th that song and um Guardian are two tearjerker songs for me. This whole album is just perfect. It's a perfect album. And this is my hangup with this band. Yeah, they they continued on. They became more proggy. They've become better musicians.
They became more creative.
I was too hung up on the greatness of this record to be okay with the change.
You know what I mean? And even though we did that deep dive with uh Jeff, I listened to a lot of the stuff and I appreciate it. It's so talented, but I feel guilty for listening to it. I feel like I'm cheating on the true cheating on the the true fates warning and I just prefer John Arch to Ray Alder. That's that's another thing. But yeah, Awaken the Guardian. What an absolute great album from start to finish. But the two songs that bookended are fantastic fantastic tracks.
All right, Ty.
>> Yeah. Yeah. I need to get a non cassette copy of that.
>> You do?
>> So I need to I need to find one. I never run into it. I never run into any favor to be honest with you. And I like all the the later stuff, too, because I'm a big Russian dream guy and >> that's the vibes they were capturing.
So, >> um I'll go I'll kind of piggy back off Allan. There's uh somebody said in the chat, there's a lot of Maiden you could probably pick for this topic.
>> Uh they were kind of masters of that of starting and ending an album really well. Um, and I saw them in was it on the Somewhere Back in Time tour when they did Rhyme of the Ancient Mariner live and that was just obviously amazing. But, uh, I'm going to go with Somewhere in Time.
Not my not my favorite Maiden album. I think Seventh Son of Seven Son is their best record they ever did, but uh, that's a different episode. Um, you get the opener caught somewhere in time. uh you know >> it that that guitar sense to open up and they opened up the last tour with that song and just hearing that song live was amazing. You get that guitar sense to open up and it immediately signals like you're in for a new album. You're in for a new maiden. Powerlave ended that era, we're into a new era now. Um you build into a massive Bruce vocal. Uh, he's got a bit more gruffness to his vocal here, which I enjoy. And he kind of got that as they went on too in, you know, doing all the touring they did for sure. And you get a super catchy chorus. You get the galloping along for seven minutes.
Some classic Steve Harris work. Uh, it's an awesome track, man, that fits perfectly. It captures the vibe of the album, the Bladeunner vibes they were going for. And like I said, it was awesome to see him open with live. And then you get Alexander the Great, which is basically like the baby brother to Rhyme of the Ancient Mariner, and it's completely overshadowed by that, but they played it live last time I saw him, and they that was the first time they ever did, and it was awesome, man. I think it's a stellar tune, and I think it's really underrated, too. Uh, and it's back when Steve Harris could actually write an 8-minute tune that didn't need to be trimmed in half. Uh, I love Maiden, but that's not even a hot take at this point, but uh, he could really he really could write an amazing eight to 15 minute song. And I don't know what the hell happened, but it happened. Um, yeah, Alexander has some great dual leads on there. Another awesome Bruce vocal. Bit more restrain too than the other epics, which I think it lends itself to like the history retelling of the story. Um, yeah, fittingly epic, uh, cinematic ride for its topic and like I said, awesome and great to hear it live as well. So, yeah, there's a number the only one I almost picked um, Powerlave and I was like, man, number of the beast and I'm like, invaders and I'm like, invaders is not good, but invaders.
>> Yeah.
>> Yeah. Yeah. Tim picked uh, number of the beast in the chat a little bit earlier, but yeah. And he admitted he's like, "Yeah, invaders is some folks are going to disqualify this because of invaders."
Which is fair.
>> All right, Alan.
>> All right. I forget who shouted this out. It was one of the first comments as we got going tonight. Apologies, but it was one I thought of it the other night, literally while I was laying down and got back out of bed, wandered through the house. I must put that on the stack now because it's absolutely deserves to be there and I may not remember it tomorrow. It is Jetus Priest with >> Painkiller. Uh Painkiller, the title of track is the lead track and it's become one of the real iconic songs in their log.
>> Yeah.
>> Just, you know, the the first opening little drum uh section from Travis Scott.
>> People instantly know that song. I I have caught myself just like, you know, randomly tapping that out on desks and stuff in class and people look at me like pl pain painkiller. I mean, it's that identifiable and it sets the tone for the entire album. Just like Tai was saying, you know, that was a new era for Iron Maiden. Absolutely. All synths were used in the creation of this record. This is a new era for Priest. They were sort of done with their mid to late 80s party drug diance and it was time to get back to business and they wrote a real barn burner of an album and Painkiller shows you that yes, we're we're done with the parental guidance songs and there will be no cover of Johnny be good on here or anything like that. We are absolutely just going to focus. They had tinkered with it a little bit on the previous album to be fair. Tracks like Ram It Down did sort of preview what they could do here, but this time they made the whole album that way.
Everything on here is fantastic in my opinion. I do know there's a section of the Judas Priest fan base that doesn't enjoy this album that it's a little too different from the classic era. It sounds a little too modern moving into kind of a powerl direction. I get that if you'd been listening to Priest since 1976 and loved all those albums and then you heard this, I'm sure it was really, really jarring.
That wasn't an issue for me because of my age. Uh, Painkiller being the epic opener. Then the closer, one shot at Glory is this massive triumphant sendoff to wrap the album up just brilliantly because they've done all of these great power speed metal anthems. You have, you know, one or two change ups along the way, such as uh Touch of Evil, which was the lead single they did a video for, but then you get to one shot at glory, and that is like the perfect song to just ride off into the sunset at 100 miles an hour, too. It is the perfect way to close out this album. It's all fists in the air. It's all foot to the floor.
I it's the perfect track from this album to end it on an album chalk full of great tracks. Nothing else would have fit in that final slot like this one. So yeah, Painkiller absolutely nails the opening. It comes out with All Guns Blazing. Not really because that track comes a little bit later, but it comes out with Painkiller. All guns blazing.
See, people who know the track list are laughing right now.
>> Yeah, >> everyone else is like, "What the hell is he doing? But yes, you come out with Painkiller, which has become the most iconic song probably of Priest's catalog post Screaming for Vengeance, maybe.
>> I don't know. We'd have to think about that. But definitely the most iconic song they've done through from the 90s forward. And then One Shot at Glory.
Yes. Um, that's a chef's kiss kind of way to wrap up an album that is all just fuel, speed, nitro straight ahead. Love the album. One of my favorites from Priest and love the way it starts. Love the way it ends.
All right. Uh, well, this is easily my favorite enslaved album. Eld >> H.
>> God, this the special thing about this record is uh what's his name? Harold Helguson, the drummer. Very busy drummer, but plays with a lot of feeling. And I love how his kit is produced. It's so punchy and it's pushed kind of forward in the mix. I love it.
It really makes Evar's frantic riff writing style seem that much more uh like it's burning. It's awesome. But uh this starts off with um 793 Slagot Lindes Farna uh which is the battle of Lindesfarna.
Um complete battery worship here. You got the um you know the acoustic guitar comes along. Gruda is singing in his clean his clean tone. Very epic, very triumphant. It feels like it could have been a track on Hammerheart. uh except the music is a little bit I think enslaved were a little bit more um little more interesting with their songwriting styles here. But it does get the track does get heavy. Um but it's just a very atmospheric triumphant opening to a great album. It when that warmth of the acoustic guitar falls away and the rest of the album picks up, it's kind of it's a bit jarring because it is such a raw but punchy production. And then the the last track, like I said, it again with the frantic riffing, the speed. Gruda is just spitting the venom. And the track does kind of go, it reintroduces the um the acoustic guitar in there. There's like a chanting style in the clean singing again. Um this is just a fantastic record. And it's kind of funny how it it seems to always be overlooked in Enslaves catalog. Whenever people talk about early enslaved, it's Frost. It's Frost this, Frost that. Fine. That the album is cool, too. But >> I think they got uh Evar started figuring out the songwriting a little bit more, the direction a little bit more. Of course, they started to get a lot more Prague in uh influences. They went I also really like um Below the Lights. There's there's a lot of really good stuff on Below the Lights. Uh Issa, another favorite. Um great band. I don't love their entire catalog, but they are completely a unique voice in the Norwegian sound and style and scene, I meant to say. And uh like I got to respect them for that for sure. Good good band. Great great record. That's such a fantastic record.
>> I think that one does I think it's sandwiched between two albums that get more attention. Like you said, Frost before it, but also Bloodheim after that is a favorite of many people. And so I think old can get a little lost in between the two. It's a bummer because it rips. It's a great record.
>> Yeah. Yeah, it it really is. No. And this is a nice uh reissue they did. I want to say this came out for a record store day >> one year. That's super clean. Super nice copy.
>> Did they accidentally submit the files uh as Grayscale instead of uh CMK?
>> Maybe.
>> Um Yeah, >> that's a very record store day thing to do.
>> Yeah, that classic uh logo, too. Love it.
>> Yeah, love it. Love it. Great album.
All right, I'm gonna go with If you're going to come over to my channel, you're going to hear about a few bands. You're going to hear about them often, and this is one of those bands you're going to hear about, and they are they are loved by a lot of metal heads, but let's just talk about Rush here a little bit. So, uh, Rush's Hemispheres 1978, uh, their most proggiest album they ever did. Probably their heaviest album as well. Um, like any progressive metal album you've ever listened to, any progressive death metal album you ever listen to, they owe a huge debt to this album. Uh, the opener, Signis X1, Book Two, Hemispher's 18minute epic. It's the sequel uh to the closer of Farewell to Kings. So, that's really cool for the the nerds out there. Um, it's a six-parter of a song. Perfectly captures what 70s Prague Rush was about. Uh, it's probably their peak of their abilities as well. The story is a really cool sci-fi tale mixed with philosophy. Uh, and it's one of Neil's probably coolest pen stories, one that I really love. Uh, cuz they didn't they only did really one true concept record, but they did a lot of this like sequels to songs and stuff.
Um, if you appreciate bass, you have to hear this cuz Getty's I mean the bass is basically a lead instrument. Um, you get really good hard rock riffs, great acoustic p passages. Um, Getty's voice probably at its best here. Uh, becomes a little less grading uh when they get more uh poppy with the next record and then moving pictures. Um, but an absolute amazing song. The music serves the story. Uh, it's not just there for them to flex their muscle and and their chops, but yeah, it's it's a great song.
And then you end on the band's first instrumental and maybe their best and most infamous uh, Lilla Strange. Uh it's multi-part piece and it was all inspired by Alex Lifson's dreams that he had which are super funny. And he would explain these dreams to people and um uh to the band and they'd be like, "Oh, we're going to make songs about this."
Uh that song nearly broke the band. Uh they were like, "We can't do another album this progressive again." Uh then and then Permanent Waves was the followup. Um they also wanted to record the song in one take and not piece together. So, it took them longer to record that entire song than it did Fly by Night, their second album.
>> I remember that quote from them. Yeah.
>> Which is absolutely insane. Uh, it's a stunning piece of music, though. It's well worth listening to. If you've never listened to Rush, I would suggest those two songs. If you can get into those two songs, you're in for the Proggy Rush.
And then you should be in for like moving pictures and permanent waves and stuff. And if you like bass, you have to listen to this cuz like I said, Getty's bass is front and center. Neil's obviously the shining star of the band, but I think Getty and and Neil Getty and Alex are ser especially Alex is seriously underrated. But awesome song, amazing record. One of the best Prague albums of all time, too. People always say yes, Close to the Edge, but uh and then you get nice man ass on there, too, that everybody, you know. So, for all the people who love that, not in judging if you do. So, there you go. Yeah. Rush Hemispheres.
>> All right, Alan. Cool pick. All right, another Norwegian one. Seem to be hitting that.
Uh, >> I got a bunch of it here.
>> Yeah, pretty frequently. I feel this one is pretty obvious, but absolutely fits the bill. Mayhem de Satanis opens with Funeral Fog, which was an older song, of course, but this time out, of course, you have a different vocalist. This was everybody's introduction with, you know, Attilla.
And nobody really sings quite like Attilla does on this album.
I think most folks enjoy it. I'm sure there's some contention out there that feels the song is only correct if Dead sings it.
>> They'd be wrong.
>> I I I like the older versions, too, like on, you know, live and lipstick. I do like Dead's renditions of Funeral Fog.
It's one of the most recognizable iconic songs in the Mayhem catalog. It was an interesting one to start the album with.
Maybe because it was so wellknown, maybe it was expected, but to take the older track that everybody knows and loves and have such a unique new vocal take on it, it was an interesting choice that could have been off-putting to folks who didn't see it coming. Nevertheless, I love the way Attila does it on here.
By the end of that song, I mean, you already know you're in for a pretty wild ride just on the vocal performance, not even touching on the great instrumentation that's going on underneath it. But then the album also ends with the title track, De Mysteries Dominion.
And this one, I feel, is maybe Attilla's biggest shining moment on the album.
He's great throughout, but this one you just he gets, you know, this big booming voice that reverberates when they do like, you know, the chorus for the track. And it's over the top, but in an incredibly good way. It's It's not over the top cheesy or over the top just trying to be extreme or overly fast or anything. It's just like this song is going into a sonic space we have not done on this album. we have not done on any previous recording. And anybody else that wants to try following in our footsteps, hey, good luck with that.
Let's see if you can top it. And I'm not sure anybody ever has. So, you start with a new twist on the Mayhem song of all time, and you ended on a title track that really just has this grandiose mad monk fully reing in his vocal insanity. Uh, can't ask for much more than that to start an album and close an album. So, yes, Mayhem's Day Mysteries Dumb Susan, classic album. We all know the backstory of it. We don't need to dwell on it long, but it definitely fits the bill for opening up in a fantastic fashion and closing in just a completely insane performance.
>> Agreed. Yep.
All right. Um, well, I had to cheat and uh go past the intro here, but I don't feel that bad about it. Um, corner rip.
>> Ah, >> after we get through a a brief uh piano intro, which with the synthesizer giving like an airy breath behind the piano line, it feels suddenly very classical, very um well, atmospheric, very cinematic. And then we get into Reborn Through Hate. I love this record. This might be my favorite corner record, which is saying a lot because I love No More Color. Um I love Punishment as well. New one's good.
Not this caliber though. They've, you know, changed a bit over the years, but uh Reborn Through Hate. Right away they hit you with a very catchy chorus.
Reborn Through Hate will smash your neck until you die. Um, but then uh right away you are noticing how technically charged and talented the the the riffs are, the the songs are. And as a three-piece, it holds together remarkably well. And that atmosphere carries throughout the record the way this thing was recorded. And then we have to Toteen Towns at the end. Another very intense ending to this album.
I don't know, man. These guys are roies for Celtic Frost. You would think a little bit more Celtic frostisms will would have rubbed off on these guys. And even the um >> Tom even sang >> sang on the demo, >> Death Cult demo um which is cool, but the music still is very much its own thing. I don't know, man. This is a classic record for me. And Reborn Through Hate and Toten Towns, great book ends to an amazing album.
>> Nice call, Marty. Yeah, I always love that. Yeah, Reborn Through Hate. I'll smash your face until your dad's like, "Okay."
>> Yeah.
>> Yep.
Awesome. All right, Ty.
>> Yeah, that that Death Call demo is in the uh the deluxe edition of the new album. So, it's pretty cool they put that in there.
>> Oh, really? That's weird.
>> Yeah. Yeah. If you buy the the two discs two disc, the one I have, it's uh Yeah, it's in there just as a bonus disc. So, it's pretty cool. Um All righty. Let's uh let's go let's stick with some black metal here, but we'll go to Sweden this time. Uh let's talk about this album.
I'll pull up the cassette here.
>> Uh Dawn with Slaughter Sun. And I don't know if it was one of you guys that talked about this, but that's I that's what got me into this.
>> Oh, we've we've very much have talked about that album a lot over the years.
>> If we hoped you found it, that's great to know.
>> No, I'm I'm pretty sure. Um but yeah, knowing the world opens like the tracks just fast. Very melodic, too. Super fast, but melodic riffs. Oh, yeah. It's very impressive.
>> Soaring melodic riffs. Yeah.
>> Yep. Yep. And you immediately recognize this song. It's not just aggression that's moving the song forward. The melody really suits it as well. Uh really fits the depressing themes that they go for uh throughout the entire album. Um, and it's easy to compare like any of these bands to Dissection obviously, but Dawn, they were definitely doing something different with their lyrical content, with their melodies, the epic scale that they create with it. Um, the opener is a really great highlight of that, and I feel like if you can get into the opener, like you're going to love the entire album. Uh, you're also greeted with one of the best black metal productions of all time. I truly believe that. I mentioned him before, but but Peter Tactran, again, is dude's a genius. Um, obviously he's worked with Blood Bath, too. Um, but yeah, it's cold. It's calculating. Still feels very real. A great drum sound, too. Audible bass, too, on a 1998 black metal album.
It's really impressive. Just a masterpiece of a song. And then you get Mel Addiction Murder to close it. Again, a massive drum sound. Absolutely amazing. It's a great closer. Kind of sums up what you've just listened to.
Melodic riffs, massive relentless drums, great atmosphere. 11 minute song. So, it is a little long, but it makes you feel like by the end of it like you're headed for a mental breakdown, which I think is kind of what they were going for. Um, you also get some brief uh acoustic moments, too, that kind of break it up, keep you on your toes. Uh, but yeah, great black metal vocals. Absolutely love and adore this album. Super good.
>> Aaron with the hot take. Audible bass equals commercial black metal.
>> Okay.
Yeah. All right, Allan.
>> Okay, this one I didn't think of right away and I should have because it fits the bill perfectly. My two favorite songs on the album are the first track and the last track. It is Motorhead Sargasmatron.
This is a weird album in their catalog.
This is where you're definitely out of the classic early stuff. the the classic lineup is long fractured. You've already done what? One album, the Brian Robertson album. Uh, >> another perfect day.
>> Yeah. Then there's another Yes. And then there's a little hiatus. You know, there's actually a they take a break for a couple albums. They come back on a different label >> and you get Orgasmatron, which has a very mid80s production sound to it and such. So, it feels different in a lot of ways. It was also my introduction to Motorhead, which is a weird place to get introduced to Motorhead, but it worked out okay. Anyway, it does start and end with two classic tracks. The opener is Death Forever, and I love this song to death. This is the kind of song if I ever, you know, have to, you know, die by, you know, running screaming into battle and just, you know, you know, beating things with sticks until someone, you know, caves in my soft melon head. This is the song I want to just be screaming at full volume. Death Forever absolutely rolls just, you know, this, you know, huge riff to it. Very simple. It's got that again mid80s electronic sounding production to it that makes it feel a little buzzy, but I I adore that song. It's It's the perfect you ride into battle and Valhalla awaits kind of track.
A lot of the tracks in the middle of this album I'm okay with, but they're not personal favorites. There there's probably one in here somewhere I would put if I was doing like my own Motorhead playlist. But you get to the closer and you've got Orgasmatron, which has become one of their signature songs over the years. It's just this unusual track for Mohead. It's a slower track. It's got a sort of doomy, more sinister vibe to it.
You know, it lurches forward in a very methodical pace compared to what you're used to for most motorhead.
I don't know if the song got there on its own. Seleura, of course, covered this at the height of their popularity, which probably didn't hurt matters any, let's be fair. So, yeah, I don't know how much of Orgasmatron's popularity was just it made it into the set list and never left. and how much of it is the sepurra influence. And I do like the sepurro version. I thought they did a decent job on it. They don't change it very much, but it's motorhead. There's only so much you can change without just completely wrecking the song where it wouldn't even if you're going to turn it into some kind of 13minute Prague masterpiece, why'd you pick Mohead to cover? That just doesn't quite add up.
So yeah, orgasmatron.
It's in the middle of that 80s catalog.
It's not going to be at the top of most people's lists, I don't think, but certainly not a bad album. And it does have two it has two defining tracks. So, >> yeah, >> I I can't fault it. I keep it on the shelf. And again, as my first Motorhead album, I've always had a little bit of a soft spot for it. Although, I can recognize it's not on the same level as a lot of the albums before. And you even some of the albums that came after were a bit stronger than that one.
Death Forever.
>> Right on.
Okay. Well, talking about classics, Black Sabbath, Heaven in Hell.
>> Oh, good pick. Good pick.
>> We start off with uh Neon Knights, end with Lonely is the Word. Again, ending, you start with a banger. Neon Nights is, you know, 349. It's short. Introduces Ronnie to the Aussie con the Aussie fans. And really, it's a match made in heaven. See what I did there? And um this album is just damn near I have a hard time picking between this and Mob Rules for favorites. It changes, you know, the kid and I uh he got a copy of it off of whatnot. So, we were driving around town running errands, cranking it super loud, and seeing him excited about how good this is, it's it's just a testament to timeless music, and you don't need modern trends to um have something be worthwhile many, many, many decades after it was released. So, it's uh this is an absolute classic record. and Ronnie James Dio and Tony Iaomi together. It was the same with, you know, Dio and Richie Blackmore. That was a great union as well. It's just Dio makes a band better.
Dio just makes a band better. Um, >> sounds like a butter commercial or something.
>> Your toast a little dry. Try spreading on some warm creamy Dio. Dio makes everything >> a little bit better. Yeah. Yeah. But uh, yeah, >> they have Yeah. like you know mob rules kicks for the you know the the fade out >> right um I don't know much more to say lonely is a word it's interesting to end on more of a um a sullen somber ending but again it gives Ronnie a little more chance to really dig in and vamp a little bit with his voice and really hit some higher tones for him and really sew the emotion. I I love this record. What a great what a great snapshot in time that is. And nothing against the Aussie era. I love the Aussie era, too. But >> god damn, it's >> Maybe it's a different band with Dio.
It's kind of >> It shouldn't have been called Black Sabbath, maybe. But >> it it's it's my favorite Black Sabbath.
It it just is. I even am really coming around on the Martin era, too. Anyway, that's another topic as well. You know, Marty, that's an interesting point on the them wrapping that up with kind of, you know, the slower, more sullen song because they did the same thing on Mob Rules.
>> They did.
>> That one that one also wraps up in similar fashion. And I feel like there's probably at least a couple of DO albums that did the same thing.
>> Yep.
>> So, I wonder if he went through a phase where that was kind of like his idea of like here's how you kind of wind down the album but still have a really good song.
>> Yeah. You start off hitting them hard and then you add a little class and a little, you know, the album e es and flows and that's what you need to keep people interested and that's why these albums stand the test of time because >> the composition the thought that goes into it. It's >> more than just verse chorus verse chorus bridge verse chorus verse chorus.
There's some there's a journey within the songs and within the whole um way the album plays out and that's what you need. Absolutely. These old-timers knew how to do the [ __ ] right? They just did.
>> They I mean, they also had too the limitations of vinyl.
>> So, they they couldn't just wank on for an hour and a half like a lot of modern bands do cuz oh, we got to fill the CD or now we don't even have CD limitations.
>> Yep.
>> So, it's tight, concise. I always thought ending on the title track would have been like a better like bolder choice, but I thought about both of those as well. I love both.
>> You know what? That's a good idea. But I do like the way this I mean Heaven and Hell is kind of right in the middle of the album. It says track four out of eight tracks.
>> Yeah.
>> Yeah.
>> It would make a great ender and because it is an ender on Solitude Deterrence is a Dagio album. It's the last track on that one and it absolutely crushes as a closer. It probably helps that the rest of that Solitude of Tenner album is kind of boring. But uh >> I would bet >> I I have the album in front of me, but Heaven and Hell probably ends side one, doesn't it? So that would make sense.
Wishing Well, Wishing Well would make sense being the f first track. Let me look. I can look up real quick.
>> Yeah, >> you have a more upbeat track starting off side two. Of course, Die Young is a good start as well. Uh, Heaven and Hell, where are you at?
>> Heaven and Hell.
>> That's not Heaven and Hell. This never should have.
>> It is. Yep. Heaven and Hell ends side A and side B starts with Wishing Well, then goes into Die Young, Walk Away, which is a great song.
>> They were just kind of replicating it on side B. Yep. Yep.
>> Kind of the same vibes as side A.
>> Side A, side B.
>> They each have they start off ass kicking and they end >> more introspective or melancholic, I guess. Anyway, >> classic.
>> All righty. I'm going to go with I'm I was trying to get this going in the Discord today. I don't know if it I'm trying to do Cal and Brood Fridays, so maybe. I don't know.
>> Ah, great great album.
>> Yeah. 2013 Echoes of Battle. They're the only album I know. Isn't the Isn't the one of the dudes Invisothth? Isn't that his other band? Which >> Yeah, he's got a ton of projects.
>> Yeah. Which Invisigoth is one? Yes.
>> Isn't Gallerade one of them too or another really good one?
>> Um super like drop this and then just I'm done with this. Crazy to me.
Artistic people are insane to me because like if I made this album, I'd be like, "Okay, I'm just going to make this album over and over again."
>> You know, the thing of it is with him though, I I'm not saying anything bad about the guy. is super talented. But the Gallerade is kind of an Agalok band >> that is a summoning band and the Visiggoth is the epic metal, you know, kind of Manila Roadish. So, I mean, I I want to hear him. I don't want to hear him.
>> I want to hear him. I mean, that Calaman Brood record is amazing summoning worship. Amazing.
>> The thing is though, maybe they would have been able to do that if he would if they would keep going with some of the projects, but the projects don't go along enough to even put put himself in there. maybe. Um, but yeah, like you said, I think it's probably the best summoning worship ever um to me. I don't know them all, but it's really great.
>> There's even two on that LP, there's even two uh covers special on the uh LP version of it.
>> Yeah. So, I'm I'm kind of cheating here.
Book of the Fallen is the ender. But yeah, City of Azor Fire, the epic 10-minute piece perfectly sums up what you're going to listen to. Matches the album cover, which I love. Uh, and it's a long album, but it it goes by pretty quickly. Uh, if you like real drums, go somewhere else. This is this is not the album for you. Um, but if you like feeling to me, I know this is inspired by Stephen Ericson uh, the Mousin Book of the Fallen series. I'm not familiar with that, but I'm a big Witcher fan.
Uh, so like if you want to if you want to if CG Project Red wants to get these guys to do the soundtrack, The Witcher 4, I'd be all for that. Um, but yeah, you get immersed into the vast landscape, the fantasy world and you get some amazing key work. Great clean vocals, too. Kind of shockingly good as well. Good harsh vocals. Uh, awesome melancholic guitar work. Builds to an awesome conclusion for the opener. And the song is is is a lot like an onion.
There's a lot of layers there. And really, the more you peel off, I guess the more you cry, I guess. But yeah, it's 10 minutes, but it doesn't feel it.
Uh, Book of the Fallen. Song feels enormous. It is enormous. It's 15 minutes long, but you open with some awesome clean vocals, really good keys, gradually builds. You get the tremillo picking. Uh, you get some awesome fake drums. Um, doesn't feel long. It doesn't fall into the genre tropes like repetition, which I appreciate. Um, it's a gradual build. Continually evolves until you get to some truly awesome sections toward the end. And the track basically summarizes the entire album which I love with a good closer like I said before. Um I don't know maybe this is better than some of the modern summoning might be a hot take but uh because it doesn't fall into that repetition and the dynamic vocals with the clean and the harsh really add a ton to that not falling into the repetition and guitar work too keeps things interesting. Uh yeah, great imagery. The last three minutes and 30 seconds of the last track is just like essential essential. And I love when you can look at I I'm pretty good at knowing what I like now, you know, in my older age. Uh, and you look at this album cover and you know exactly what you're getting into and I appreciate that. It's like there's no, we're not trying to hide anything we're doing here. So, >> yeah, I love that album >> and I wish we got a followup.
>> That would have been cool.
That would be cool because yeah, that whole I have not read the books of Mazan, but it's one of those worlds where the author covers something like 33,684 years worth of history of that world.
So, it's not like you follow just the same characters, you know, on their little adventure. You're following like 130 generations of people in that world.
So, there's more than enough material to delve into.
Yep.
>> Hey, and Marty, you know what would have made that uh Caladan album even better?
A map that shows you that world.
>> Yeah, it would have >> the nerdy the nerdy stuff, man. Come on.
>> Exactly. I mean, you're trying to keep 33,000 years of history straight in your head. It wouldn't hurt to give us, you know, a little bit of north, south, east, west, so we can see where these empires rise and fall. You know, just saying maps are useful.
>> Yeah.
He's quiet because he knows I'm right.
>> I map once and put it away. I'm like, "Well, I'm never going to look at that again." But I like the record. So, >> I came at it from the uh the the record label guy. Like, you want a a standalone mini poster map. You open up that map, you look at it, and it's kind of dumb.
It doesn't give you much information.
It's like a drawing. I don't even remember there being words on the page.
I just looked at it and went, "Man, I'd be furious if I was the guy had to put this out."
>> Okay. I I will give you that from yes from the uh from the record labels uh perspective having the band request the map would probably be highly irritating and no I think the map was a fun cool inclusion to be clear but >> it would have been cool to put it like you where you open up the center of the CD book the map would have fit there perfectly. It' have been great right there but no had to be a standout fold out eight panel [ __ ] whatever.
>> Anybody can put it in the middle of a booklet. A monkey could do that.
>> It would have been make your release more affordable. Monkey monkeys got to eat. Anyway, >> monkey could eat the map.
>> Eat the map. Yeah, we'll get a goat.
We'll get a goat a liinal goat. And uh we've been fine.
>> We're straying here. We're straying pretty hard.
>> Okay, this one might be somewhat controversial, but I think it's actually a good fit for this. It's I'm going to choose uh Guns and Roses, Appetite for Destruction.
This one opens with Welcome to the Jungle. I understand most of us have heard that song more than enough in our lifetime. I need to hear it again.
>> Nevertheless, it is the song perhaps more than any other that defines my particular generation. You know, not Marty's. Marty's five years older than me. There's there's enough separation there where this probably wasn't much of an impact. I'm going to guess on Marty's crew, but with my, you know, class coming through intermediate and into high school, this was the soundtrack.
Welcome to the Jungle was the song. So, you're starting with one of the most iconic songs of the last half of the 1980s for anything that's remotely hard and heavy. So, yes, the album starts well. The interesting part is the album Closer. It ends on Rocket Queen, which is a strange track on this one. I always liked the song, but I always had a little trouble sort of processing the song because it feels a little out of place. It almost always struck me as a B-side or something. And then talking with >> Hard to process with a boner.
No, I was talking with Philillip over at you chromium dioxide. We had him on a couple of years ago and I think we were talking about this but it was after the show was over somehow we just got to chatting about things and he mentioned that yeah Rocket Queen was one of his favorite songs on the album. I was like oh okay that's really interesting. Why Rocket Queen? Because it is that unusual track and what he pointed out makes sense. It's it's a weird song. It's different structure. It's not as heavy or as aggressive or anything, but it also ends the album on this kind of oddly positive uplifting note, you know, with some of the last lines being, you know, oh baby, I love you and stuff.
Whereas, you know, most of them, you know, it's definitely wallowed a bit in the sleazy side of things, which is okay. That's why it did so well. That's one of the reasons people loved it. But Rocket Queen has a little different tone to the song.
And it was an interesting way to close the album with a song that isn't just another Night Train or uh another, you know, it's not a sappy ballad like Sweet Child of Mine. It's not another one that's more crude. Um, sorry. Yeah, it's not one that's meant to just, you know, shock or anything like that.
It's a different track, but it it's almost ends on this kind of high note for the album. And so you start with the band's signature song. I guess some would say Sweet Child of M. I've always thought Welcome to the Jungle was the Guns and Roses song, much more so than Sweet Child. And then you end on this just really cool different track. So starts well, ends incredibly well. I will stand by my pick of Appetite for Destruction, Guns and Roses. Someone mentioned Guns and Roses in the chat earlier, but I think they picked one of the Use Your Illusion albums, which for some reason I never connected with those. I always felt like if you took the best songs from both and put it into one album, you'd had a good album, but spread across two. It felt a little bloated, but that was just uh my take on it. They obviously did quite well with those. All right, Marty, that's enough GNR. We'll pass it over to you.
take us back to Norway here uh with some more uh black metal debut. This is Chronet Till Conga by Doheim Scarard. My favorite album by this band.
>> Um there's a intro, brief intro to this, but it goes into a slact good and right away you are introduced to a sound that is it sounds very Norwegian, but yet doesn't sound like anybody in Norway during the time of this coming out. I don't remember exactly. Uh, this came out in 93 or five. I can't read the font. But, um, yeah, you got Fenrris on bass here, which it's kind of cool because the bass is very predominant in the mix. And he's doing he isn't just playing root notes here. He's got little little folky melody lines he's or bass lines he's playing throughout there. And you know, even though this band can blast, do the standard blasting, you know, the tremolo riff styled um riffs, they they do go into a folk pagan territory where songs there's a little bit of a bounce to them which we get on uh the final the final track on here, When Heaven Ends, there's just a kind of an interesting march to the song. And again, Aldderon, I believe, is the singer on here. Where am I? Uh, Vic Gotnik does backing vocals and yep, Aldderon does the lead vocals here. Um, >> like the planet.
>> A L D R A HN Aldron.
It's not Aldron.
>> A little different, but it's probably pronounced the same.
>> Yeah, >> that's no moon.
>> That's a space station. Uh he um his voice is kind of a shouted style which again is a bit different when everybody is so like razor throat screaming in most of the the bands during this era.
Um Alderon he's got like I said a shouted it gives it the the album a bit of a different vibe as well. So I've always loved this record and they quickly changed. They got a little bit more, I guess, traditional black metal style for um their area with the uh Satanic Art EP and then um um M um Diabolical Possession I think was the second full length. Sounds like a different band in a lot of ways. And then of course they went completely electronic on 666 International and got weird which the Norway thing they that was that was one of the arcs you could spin off onto was going weird and they did um Norweg that's what our our friends at Radical Research call it Norweg. But yeah, check out this if you've never heard Chronetil Conga. Very good album.
>> Yeah, that's a cool one. I' I've tried 666 International a couple of times and I just feel like I need to write out of order across my forehead because my brain will not process that album.
>> Yeah.
All right, Ty.
>> All right, we took this long. Might as well do it now. Uh Halloween went with uh >> went with 20 uh 20 uh was it 2021, right? Yeah, 20 uh 2021 feels like Feels like it was just yesterday. uh the self-titled you get out for the glory to open it. Awesome awesome track. Uh it's, you know, Michael Wth pen tune and then you get uh Kisky immediately and I feel like that's a choice. It's just Kishky and Hansen on there. It's just immediately telling the fans like, okay, this is like kind of a Keepers era uh song. I think it was very intentional that they did that. Uh works tremendously. E Sales sounds great.
Sounds great live. Saw them what last month. Amazing bands in top form here to me. Uh Kai's voice is a hook in itself. Like I like the way his his his smoker's voice is kind of aged and you know all the alcohol and everything else.
>> It is. But it adds I like it. It adds some color especially when you're listening to it on the albums.
>> Yeah.
>> Um it's just it's a totally different tone obviously than uh uh Kisky and Andy. Song rips. Uh to me it revival uh rivals a lot of the classic Halloween stuff. Chorus is uplifting, heroic, and catchy. Uh the song drives forward for nearly the entire seven minutes. Great celebration piece of the band. Then you close with Skyfall if you don't count the bonus tracks that they always seem to give you. Um but Skyfall, one of the bands, to me, one of the band's best epics. I put it up there with Halloween and Keeper. Uh the combination of all three singers makes it probably the most unique epic they've ever done, too. Uh it's 12 minutes, but super catchy. song moves between the fast-paced sections.
You get all the melodic choruses that Halloween's known for. Nice progressive interludes, too. Great guitar harmonies that they're known for. It's really kind of like a greatest hits track. Uh like here's what we do. Well, enjoy. Um yeah, also too, shout out to Marcus's bass on here and also Danny's drumming on Skyfall. Excellent. And I'm really glad that they went back to great great album covers, too. So, >> oh, it's been long overdue. They've had they've struggled for many many a decade with album covers.
>> All right, Alan.
All right, let's see. Well, this one's been waiting long enough. We'll go ahead and uh yeah, we'll get to Rust in Peace brought up.
We've talked about this album a ton over the years, but the opening and closing songs are highlights on an album that is just loaded with >> highlights. Yeah.
>> Yeah. You've got, you know, Holy Wars, The Punishment Do becomes one of the staples of Megadeith.
Everyone knows the song, loves it. And again, I It's a new era for Mega Death on this album. They're a bit cleaned up.
The lineup's now really tight, extremely talented.
The jump from the previous album to this album is significant to say the least. And just within that first song, there's so many moving parts, so many changes. It works fantastically.
And of course, the closer, Rust in Peace, Polaris.
Interesting. A lot of the albums we've mentioned tonight have had the title track as one of the two. This would be another example of that. This one now, like you mentioned one of the albums earlier, Marty, this one does benefit from the setup of Dawn Patrol right before it. Some people complain about Dawn Patrol. I think it's really cool.
Just this neat creepy little thing, but it sets up Rest in Peace Polaris perfectly.
And yeah, that track really Dave could have just stopped at that point. His legacy would have been cemented if he never did anything. if he had just retired on the strength of that album.
Of course, you have kind of a non-stop parade of hits for the rest of the album. Doesn't hurt matters any, but Holy Wars has just Yeah, it's it you really one of those songs that takes you on a journey. You get the little eastern parts. It's, you know, you're following again with the character like we talked about with Rhyme of the Ancient Mariner and some of the other tracks earlier. It really sucks you into the tale that Dave is weaving there. And yeah, rest in peace. I just I love the way he spits out some of the lyric lines, you know, I spread disease like a dog and just like that just he puts all the emphasis exactly where it needs to be there.
Dave, no one's ever going to accuse him of being one of the greatest singers in heavy metal history, but sometimes he really does nail it and rest in peace is one of his best vocal performances.
So, had to be mentioned here. Easy pick, I think, but nonetheless, very deserving. Perfect. Rest in peace.
>> All right. Well, Ty broke the seal. I was holding holding my cards, but uh we'll start we'll start here. Uh walls of Jericho. Yeah, we got the Walls of Jericho um London Bridges thing falling down, but um I skipped that because I cheat. I cheat. And I >> think that's fair for that. Yeah, >> Ride the Sky is an iconic song. It is probably one of the better songs written. Uh, a little bit of speed metal, whole lot of power, mostly speed metal, let's be honest here. What an amazing song. Iconic to this day, never gets old. And of course, we end with the social political How Many Tears, which is another fantastic song. a little bit longer, a lot more emotional turns in it, but still those epic melody lines which Halloween have always been known for.
And oh, you know, we might as well just continue on here with Keeper of the Seven Keys. We start off with I'm Alive.
Obviously, this is the album that introduces uh Michael Kiska to the band.
And we have a more Halford Bruce Dickinsonesque vocalist. One of the best that ever done it, let's be honest. Oh, Jeff Tate, you can throw that in there, too. He's in the mix as well here.
>> Yeah.
>> Um, >> but uh, yeah, what a great start to an amazing album. And they end with the Halloween, which was the video for the album. And is this Yeah, Halloween was one of the videos for this.
>> Yep. I think it was an abbreviated version.
>> Yeah, it was a very abbreviated version.
Yep. Which they had to do with Skyfall as well.
>> And it's just a um Yeah, it's a Kai song. It seems like Kai's songs are always the ones that get picked and they have to chop them down a bit. Um I don't know. This is absolute uh classic. And then of course we're going to Keepers 2 with Eagle Fly Free.
First time I heard that song. My cassette copy. I bought it in the mall, threw it in the vehicle again. Hair on the back of my neck stood up. Double bass fueled. It's a lesson in European power metal 100%. And then we end with the the epic 13 minute 38 second long keeper of the seven keys title track. A lot of twists and turns. It is a journey in itself.
Absolute this band can do very little wrong in my book and immortal. Immortal best band on the planet right now as far as I'm concerned. Have been for a long time.
>> Ty agree. I agree. All right. Let's uh kind of a more obvious one, I think. Uh but uh 76, Lizz's Jailbreak. Obviously, start start out with Jailbreak. It's a massive song.
I never tire of it, though. I mean, the dual leads, Phil's vocals, they're all just earworms, man.
>> It's such a tough sounding song. Yeah.
>> Yeah. 100%. No matter how many times you hear it. Uh the first time I think I heard it was from watching uh Detroit Rock City, uh the movie.
>> Yeah, that's a fun movie.
>> Yeah, I love that movie. I don't know how they I don't know how the Kiss fans feel. I don't know. Maybe Marty could uh elaborate a little bit more, but yeah.
>> I'm sorry. I was typing. What did What did you say?
>> Uh Detroit Rock City. I was talking about Jailbreak.
>> Do that song.
>> I've never seen I've never seen that movie.
>> You call yourself a Kiss fan. My god.
>> I would suggest watch. It's funny. It's funny for what it is.
>> Kiss has not had a good record of being in movies. Let's just barely Right.
>> Okay.
>> Yeah. They're not really in it until the end when they go to the show. Uh, but it's kind of funny because the band allows them to like make fun of them.
But it's it's that they poke fun at Kiss and it's it's it's a cool I like I dig the movie. It's great soundtrack. But anyway, um, yeah, I mean, try not try to listen to Jailbreak and not, you know, not along. It's almost impossible. Um, it's everything that makes Lizzie great captured in a song.
>> Uh, and then you get Emerald, man. I mean, Steve Harris owes so much to Emerald. There's so there's so much proto Maiden in Emerald.
>> Yeah.
>> Um, you know, it's Irish history, the mythology, all that stuff. Maiden took all that. Obviously took all the twing guitar work. Uh, Robertson and Gorum are awesome. I think Emerald's like one of their best songs they ever did. Uh, and it has that song has Maiden obviously, but it has their fingerprints all over metal, especially Emerald. Uh, awesome track and it's hard to stand out especially because this this album is so great and when you have obviously huge songs like The Boys Are Back in Town in Jailbreak and you know to have an epic closer that rivals that it shows the band's range and they're they're true talent and they were truly a talented band and I honestly think if they were around today like they would be even bigger than they ever were 100%. Because like everybody loves Lizzie now.
Everybody knows, you know, all the all the old Metallica and everybody else, you know, >> shouting out Lizzy. Like, it's a shame that they they weren't around to to reap the rewards because I think they truly would be.
>> Yeah.
>> Allan.
>> Yeah, a great pick. Um, and you're right, Emerald in particular influenced a lot of bands. I remember reading something from the guys in Broca's Helm that Emerald was a song they were fascinated with and I would never have figured that out, but yes, you can hear that in some of the Brokers Helm music and Brokers Helm was a huge influence on Sloth FG and so yeah, like No Emerald, >> which may or may not be coming up again here in a minute.
>> I I suspected there's a possibility, but yeah, I mean, you take that one song off that album and you might never have a Lord Weird S fig. That's That's weird.
Uh, let's see. Some folks were talking about this in the chat a minute ago and um I think Ronnie I think Ronnie mentioned this album and I agree. It was already in my stack. If we're going to pick a man of war album for this uh I'm going with Fighting the World. Uh not most people's favorite Man of War album.
It's the first of the Atlantic albums.
So it is where they start to fit into the cheesy template a little bit more.
There is still a lot of really really good stuff on this album though.
>> Uh, Fighting the World, the opener is fine. It's the big grand anthemic, you know, get everybody pumped up, fists in the air kind of, you know, anthem track.
Fine way to start the album. Fun song, good song. The Closer seals the deal, though. Black Wind, Fire, and Steel is an absolute scorcher of a tune. And it always surprises me how many people want to complain about this album being like, you know, lame or wimpy or stuff like, did you listen to the last song? Did you play it to the end or or did you just stop after, you know, blow your speakers? If you stopped after Blow Your Speakers, I understand your dissatisfaction, but that means you only made it to track two. You need to get to track nine. Uh, Blackwind, Fire and Steer showed this band absolutely could play as fast and heavy as they wanted to. And they did this from time to time. It's not the only time. Man of War just went full out Blitz on speed.
Even years later on Triumph of Steel, you would have uh the ending to what is it? Dragon's Whip.
Uh, I haven't played that one in ages, but yeah, they could absolutely crank up when they wanted to. It's just not what they became known for. It's not something they did song in, and song out, but when they do it, it's extremely effective. So, yes. Yeah. End with just this immortal slab of speed, metal, hell, and black uh wind, fire, and steel. You opened with a great anthemic tune. In between, you've got your moments, too. Uh, what else do we have?
Violence and Bloodshed is fine. Carry On is fine if you just want another really melodic, catchy sing along tune.
Defender uh is fine.
>> I like that.
>> Yeah, Holy War is another one where they start getting those beats per minute cranked up a little bit on the chorus.
So, yeah, there's good stuff on here.
The more I look at this, really, is it just blow your speakers that people are whining about? Okay, you've got one goofy cheesy track. Uh >> and they picked that for the video for the album, >> of course. Well, there again, that's, you know, that's going to happen when you're dealing with a bigger label.
>> I think the single for that record was Defender, though. I have a a single of Defender in my >> I think you're right. I think Defender was a single for it. So, yeah, it's actually a very strong track list. The more I'm looking at it, I don't And the album takes a lot of crap for no particular reason other than that. Come on, get over it. Every album can have one bad song and you can move on and still admit it's a great album. Fighting the World still part of Manowar's classic run of albums. Man of War had a great a great career from album number one all the way through.
Let's think.
>> It went for a while. It went for a while. Some of those Atlantic records >> metal is six. I guess you could have you'd have to say the sixth is, you know, the last one you could really defend as a top album because album number seven is Triumph of Steel and and that that album has some big issues.
>> Good [ __ ] on there. I like Louder and Hell is a good album. I like that album, too.
>> Which one, Marty?
>> Louder and Hell.
>> Yeah, Louder and Hell. I'm not nuts about. I feel like in the 90s is where they kind of started losing their way a bit, but uh they >> they're not solid start to finish Killer, but there there's good songs on all of it. They still have their moments. Yeah. Yeah. But yeah, those the first at least six Man of War albums are really top-notch stuff. Fighting the World is part of that sequence. That's why I picked it, >> right?
>> And it has good first and last songs.
>> Yeah. I'm just like a Hail England guy, so I can't I can't add much.
>> Well, you have some homework to do. You need to get into Glory Ride. That record rules. Um well, the debut Battle Hymns.
Come on, man. Get >> Battle Hims is such a is a weird album, though. Battle Hems is not the place to This is not a band where you start at the beginning of their catalog, I don't think.
>> Yeah, but the heavy songs on that make that album really special, >> but the Yeah, the the Bside has the heavier tracks. It kind of preages what would come. The Aside is fun. I like the songs on the Aside, but it sounds nothing much like what they would do later on. It's >> it's more rock. Hard rock.
>> It is. It's this weird kind of Yeah.
hard rock. Very full of a lot of chutza.
It's got a weird vibe to it, but a fun vibe. And then, yeah, into Glory Ride is really good, but it's a all the songs are very long. It's kind of a slower, dooier album. And then you get to the pair of albums from 1984, and uh they cement their legacy.
>> Yeah.
All right. Well, Ty mentioned Thin Lizzy, and we just talked about this record at length on uh Wednesday's album Club, Lord Weird, Slagg Traveler. their third full length album. One, two, three, four. Fourth full length album.
Sorry. And um this thing, hail this band, man. They're weird. I don't know what it would be. If you're bothered by the uh the vocals, man, work through it because this is a perfect riff album.
There is not a bad song on here. I was really liberal with my cheating on here.
There is an intro called the the spinward marches. It's just kind of like a a little guitar thing. And then it gets into high passage, low passage, which is a fantastic song. Right away they they knock you over the head with these Lizzyesque twin lead lines and hard split on the mix. There's a left channel, a right channel for the guitars. They're panned hard left and right. They're each playing something different. This is a very deep deep well-crafted perfect record. And then they end it with a addendum Galactis.
Again, there's absolutely perfect riff album. There is nothing. And the the thing of it is it's different. It's a little off-kilter, but the riffs are perfect and the album is exciting. The songwriting is exciting. It's a concept record uh revolving around the uh the RPG game of the same name. And instead of writing these long overbloated songs, they're all shorter 3 to four minute songs.
Listen to this record, man. If I've been beating it over your head this week, that's your homework. You got to listen to Traveler. It is a killer record from start to finish.
>> Yeah. Sometime later this year, there might be a Lord Weird Sloth FG uh discoraphy episode in the cards. We've talked about it and just haven't circled back to it yet.
>> We really should. And because that's going to be that's going to be great.
That's going to be a fun one.
>> Yep. We'll probably Well, um it's it has not slipped uh off the list. I just we haven't got to it.
>> Yep.
>> It'll happen.
>> All right, Ty, you need to get that Traveler even though it's expensive.
Good luck.
>> All right. I watched the album club. I have never listened to that album, so I gota >> but I watched the episode, so I gota >> I gotta give it a shot. Uh my buddy uh friend of the family and co-orker Mike always talks about that the tabletop game Traveler though, so I found it interesting that there's an album about it. So, it's like that's the only it's the only other context I've ever heard anybody talk about that is that >> I never heard I was a D&D guy. I never heard I even heard of Traveler.
>> My Yeah, he's a huge DND guy, too. And then he always he's like, "Oh, I remember Traveler." And he always talking about Traveler. But yeah, he enjoyed it. Um I saw somebody mention this and this is on my list, so I'll bring it up. Um 1993, Carcass's Heartwork. I'm a huge melodic death metal fan. So, obviously the the entire genre owes so much to this album.
Uh Barry Dreams opens it. Awesome song.
Melodic, brutal, a great groove. Still very heavy though. Production is great.
Love the production on this record. Uh Jeff's vocals great in the mix. Uh Michael and Bill, I thought Michael and Bill just such a great duo. I think they play well off each other. Uh the melodies and solos become really integral to the sound as well. Uh it obviously be the blueprint for so many bands to follow. Uh I think the most probably impressive part of Barry Dreams though is how concise it is. It's under four minutes long. It introduces the entire new era of Carcass very well. You get crushing riffs, the memorable melodies, really cool arrangements, and an emotional depth too that they really hadn't shown before prior to this that much. Um, and then you get Death Certificate uh to close it out on the on the regular version. And uh it's not as iconic as Barry Dreams or even the title track, but I think it's a really cool song. Uh again, you get some great guitar work. Uh and I think it's a good example of their melodies not really killing the song and making it too soft.
Instead, you get some great depth and uh memorability memorability to the song there. It's insanely catchy and dable and head headbangable for lack of a better term. Uh lyrically too, uh death certificate too. It really explores like the themes of mortality like bureaucracy dying uh and the reduction of kind of just life to a death certificate in records and another statistic. Um, so yeah, I really dig the song and you get a massive riff at 2 minutes 45 seconds that kind of drives the song home and it's just stellar and uh yeah, they played a lot of this album when I saw them live a few years ago and it was stellar. So yeah, carcasses heart work.
Had to bring them up here.
>> Oh, cool pick. Did not think of that one.
Yeah, there's I mean there's a lot of carcass you could go with, but that I'm just a huge Melo death fan. So, it just holds a really special place in my heart for you know, I know some people don't like it because they obviously prefer the older >> carcass, but you know, I you got to keep in mind, too, I'm young enough where most of this stuff I'm coming back in hindsight, so I didn't have the shock of like, oh, this band is totally different now. So, >> Right. Yeah. Well, I mean, even like me, I came on board with necroticism, so they were already leaning in that direction pretty hard. Yeah.
>> Yeah.
All right, Ellen.
>> All right, one minute.
>> You should probably answer that, Marty.
>> Yes, >> Revolution Calling.
>> I didn't pick it because of the intro.
>> This This is one where I am going to fudge a little bit with the the intro stuff because the intro is really setting up the story more than anything.
It's not necessarily setting up the music. Uh, so I felt okay with it, but we talked about it a lot last week. It also kind of fits here. It opens with a great pair once it gets Yes. past technically you start with I remember now, which again is just it's the voice over. It's the scripted part.
It's introducing the character of the story. You know, Anarchy X builds a little bit and then you get to Revolution Colin followed by the title track. So, it's a incredible start to the album. Revolution calling, you know, oozes attitude. It immediately submerses you into the world that they're building here with the main character.
The production uh absolutely is unparalleled. Queens Reich's albums before this are incredible albums. They both have productions that could be stronger. They don't hurt The Warning or Rage for Order. I kind of like the sound of Rage for Order, >> but >> it's weird.
>> It is a little weird. It's It's It's a very 1986 production, which I mean, it's a 1986 album. It probably should have an 86 production, >> but then you hear this, and it's just like, "Oh, holy crap, that's You can sound like that with a bigger budget and uh the right people in the right places." So, yeah. Revolution calling absolutely the perfect, you know, startup to the album.
And then at the other end, you wrap everything up with Eyes of a Stranger, which is does a great job of closing the album, kind of bringing elements of the story together, and it's a fantastic standalone song as well. Queens Reich around this time were incredibly good at doing these moody, melancholic, but also catchy songs.
Songs with that kind of atmosphere often wouldn't work as hits just because they're kind of downers. They're kind of depressive. That's not what made a great hit song in the mid and late 1980s.
People in most times and especially that time frame wanted things that were more poppy and peppy.
Even through Rage for Order, a lot of the best songs that made would make great singles from that album are the ones that have this kind of just very gray resigned melancholy to them. And Eyes of a Stranger just has that, you know, permeating throughout every line. Um, it's a great way to close the story.
It's a great way to close the album.
It's Jeff Tates and Company. Most people would say it's their Magnum Opus. I think I do prefer Rage for Order just a tiny bit as an album. It's It can go back and forth. This one sounds better.
This one wins on production.
>> Um, Rage Order, everything else though, the aesthetics of the album, the track list of the album. I I've always been really fascinated. The first time I heard it, I didn't get it, and the second time I heard it, I loved it. Mind Crime, um, opens and closes fantastic.
You've got great moments throughout the album in between. So, yeah, even though we just talked about it last week, it fits the bill tonight. So, just recycled it onto the next stack of CDs and trot it back out. So, yep. Operation Mine Crime once again for the win.
All right, Marty, your turn.
>> All right. Well, remember beginning mentioned them in the chat and I actually had two pulled. I could have pulled more, but uh going with Manila Road. I chose Mystification.
Yeah, we start off with Haunted Palace.
And then we end with Death by the Hammer.
And uh this is a little bit more aggressive of a Manila Road album. There was a period where he was kind of getting influenced a bit by the thrash that was going on, but he did not stray from the core Manila Road sound. And that of course is his jam-esque solos, uh, guitar playing.
You could tell he come from the 70s.
He's influenced by 70s he uh, hard rock.
Um, songs are wellcraftrafted on this record, the whole thing. Mystification, Mask of the Red Death, great. Dragon Star, probably my favorite track on the album. Agreed.
>> Love the song.
>> Absolute classic.
>> And had to go with my first Manil Road album, uh, Atlantis Rising.
>> This is their, uh, first comeback record. Again, we covered this on the album club ages ago. Starts off with the heavy song, Megalodon, uh, which is just really catchy.
And again, you've got a different singer in uh um you got uh Brian Hellroy Patrick on vocals, guest oh not guest vocals, his vocals as well. He has very much a Mark Shelton style to his voice, but he is a little bit cleaner where uh Mark at this point his voice still sounds like him. He's just sounds like a gristled old wizard at this point. But there's on this megalodon there's another guy singing on it too. I think it's on this song.
um with a little bit more aggressive uh vocals just like a guest performer. And then the album ends with War of the Gods, which is just another really well-ritten kind of plotting heavy song, but the melody lines in it are great.
The singing is great to hear the band come back and, you know, and I had very little point of reference. I got this promo in the mail and had to review it.
And after our friend Jeff Wagner got me a made me a mixtape of a bunch of his favorite Manila Road songs. So I had that I had this promo and then I saw them live for this record too and the whole thing combined made me a fan like why how did I miss this band over the years and I've been playing catchup ever since. I got them all now but it was a it was a a long road uh to get there.
And don't be afraid of non-classic Manila Road albums. This thing rules. This is a great record. Love it.
All right, Ty, you're back.
I'll mention I'll mention this one. I'll do it for for me >> and the wife a little bit here. Uh, one of our favorite kind of mutual bands. We bond over a lot of music and that's always fun. Uh, it's always nice to have that between us. But, uh, Nightw Wish, Century Child, 2002, >> uh, >> good record.
>> You open obviously Symphonic Metal Masterpiece. This is when they really embrace that kind of cinematic vibe to everything. Um, >> Bless the Child, you get the great choir at the beginning. Tomas's keys are just instantly recognizable. Uh, dude's genius to me. I've seen him live twice and just absolutely amazing. Uh, and then you get massive drums, massive drum sound, which I'm a sucker for. Uh, fullon cinematic affair. Like nothing stripped down here. We're bombastic, over the top, just embracing it. Uh, the band really established themselves as like the premier band doing this type of sound. Um, Tarzer's vocals obviously powerful. They have a tone of vulnerability to them on that opener, which I enjoy.
>> You also get great great bass tone by Marco. Marco is a huge part of this band. and I wish he was still in the band. Um, >> but to me, like Bless the Child is one of my all-time favorite Nightwish songs, and I think it perfectly balances heaviness with the cinematic approach they wanted to to do, the soundtrack type songs. Uh, then you get Beauty of the Beast. Uh, probably my favorite epic they've ever done, 10 minutes, taken through three different movements. Marco again adds a ton to the song. Uh, he and Taria, again, one of the best duos ever in metal. They perfectly balanced each other. Uh, you also get Phantom of the Opera on here too, but that's not the closer. Um, musically, track showcases everything that made this lineup special. Huge orchestra, soaring keyboards, heavy guitar riffs, great drumming. Production is truly massive and impressive, too, because it's still it still kind of is an intimate song as well. So, truly underrated Nightw Wish song. I think this album doesn't really get talked about a lot too because then Once came out and that's obviously when they really started blowing up. So yeah, this one's this one's great if you haven't gone back. I like Wishmaster as well. But uh I will always cherish this album.
>> Yeah. Oh, that's a good pick, Ty. And yeah, the that Bless the Child such a good opener on that album that that u that is Nightwish at their best right around that album.
>> Yeah, agreed.
>> All right.
>> I wish they still sounded like that.
Haven't been a fan of the more recent stuff. Yeah.
>> All right.
>> Oh, sorry. Go ahead, Ty.
>> No, go ahead. Yeah, I like I like some of I like the last one. It's funny the the Yester Wind or whatever, but the previous the album before that, my wife and I listened to it like one time and we just remember watching like the one single they had and it just she she was like it reminds me of like a serial commercial cuz they're like in a wheat field or something. So, we just call it the serial album. That's >> Yeah. Yeah. That's the the the last two or three albums for my wife and I.
They've become like you buy them, you play them once, >> you put it on the shelf, you forget it even exists.
>> Yeah. Five years later, you stop Tom's like, "Oh, wow. There really have been three albums since uh there was one we >> which sucks too because I love Floor."
Like they're amazing live. She's a great >> She's a Yes. It's It's almost u It's almost the John Bush, you know, syndrome here. You've got a great singer and but now they're just making albums with a band that just don't ever move the way I want them to.
>> Sad.
>> All right, Ellen.
>> All right. Well, if Marty's picking another road, he he missed the obvious one, which is Crystal Logic.
>> I chose I chose other I knew that was for sure. I could have picked most of the records.
>> Oh, yeah. There's plenty of good ones to pick. And this one, you know, we do have to cheat a little bit. There is the prologue, but again, the prologue is like a spoken intro to set up the, you know, intro track, and it's a great prologue. I've always liked it. You >> in the misty jungle by the sticks, lost city of the dead.
>> Hey, Marty, you know what would help you find your way to that lost city of the dead?
>> Don't need it.
>> A map.
>> A map.
>> My I have an internal compass like no other.
>> Look, look, man. You know, Mark spends a good chunk of this song explaining to everybody, don't you get lost in Necropolis. Easy way to make sure you don't get lost.
A map.
>> I don't need a map. I know where I'm going.
>> Mhm. That's why you forgot to mention Crystal Logic. Yeah.
>> Never admit you need a map. Never.
>> Anyway, yes, the uh this album starts with my favorite Manila Road song, Necropolis.
My introduction to Manila Road was not this album. I had heard what's it called? Into the Abyss years earlier and did not care for it. It's like Marty mentioned with Mystification.
It's one of those thrashier era albums and I'm just not the biggest fan of thrashy Manila Road. I understand why, you know, he might have moved in that direction. I was actually just reading a very kind of late interview with Mark. I think it was from 2017 and they touched on that. He's like, "Yeah, you know, I was hearing thrash and other stuff and it just kind of worked its way in. It wasn't necessarily like a conscious decision. I wasn't trying to become a thrash band or become popular, but it just made sense for the music to move in that heavier direction the same way it had made sense for him to move in the heavier direction of this album from what came before this one. because this one is notably heavier than anything that Manila Road recorded before it. I'm just not a huge fan of that phase of the band. I don't get into the Thresh one.
So, yeah, Into the Abyss had left me kind of cold. Wasn't interested in checking out more of the band, but a friend from the old Lapland Metal Forum days, Chris the Wizard of Magma, made uh it wasn't a mixtape. Now, you got a mixtape from Jeff. I got from Chris a 90minute TDK. They had Crystal Logic on one side and Open the Gates on the other side. He's like, "If you don't like these two albums, then you do not need to bother worrying anymore, but you got to try at least these two." Got it from him on uh Friday of Labor Day weekend. I was driving up to visit my parents for the weekend. Put the tape in, you know, as soon as I got like on the interstate.
It's like, "Okay, yeah, let's let's check this out." Chris had good taste in music. I'll give it a chance. It was about a 4 and a half hour drive.
I think the the lure the lure in my brain anyway tells me I just played the song Necropolis non-stop for four and a half hours. I I would play the song. I was so blown. I just as when I got to the end of the song, I just rewound the tape, played it again, rewound the tape, played it again. I learned every I learned all the words to the song before I even got to my parents house. And your the whole site too had astronomical on it. You're that that song. Holy [ __ ] That's another holy [ __ ] moment for me anyway.
>> Well, I mean even this I mean I never even got to you it was a while before I got to the riddle master and that might be my second favorite metal road song of all time.
>> But yes, so in terms of you know great starting songs I think necropolis qualifies. Just going to say it. This one, your last full song is Dreams of Echeton, which was supposed to have been the title of the album they recorded before this. Dreams of There was an album recorded called Dreams of Echeton that was supposed to come out.
And again, the band was already moving towards heavier material.
So, by the time it came ready to release something, Mark felt heton material just didn't quite fit.
And so that got set aside. It got released much later around 2002 after the band came back on Atlantis Rising.
Mark of the Beast was released and that was the Dreams of Asheton demo >> which is a very expensive record by the way. I cannot find a copy that isn't rapey.
>> Well, you also in a way don't need it.
>> I have the I have the Ashkatan one.
>> If you have the Dreams of Escaton reissue, which came later, it's the same. Yeah.
>> Isn't the track listing backwards? it. I probably I would guess there are some differences here and there, but really I mean you've got the material if you got the other one. So there's no tracking, >> but it's a different cooler cover and you know you know >> don't feed the monkey.
>> Don't feed the monkey.
>> Yeah.
>> Uh but Dreams of Echon on here ends up being like you know the kind of long epic closer. It shows what the album could have been if they had stayed with that more 70s progressive minded direction which they do very well and they came back to that and did songs in that vein from time to time.
They're very strong songs. So yeah, Dreams of Echiton very cool outro.
Necropolis it's you know one of I've never done like a favorite songs of all time list. It seems a little feutal with so many songs out there. Necropolis would be if I started just a list brainstorming necropolis would be the first song title I would write down.
It's that good. So that is my Manila Road story. And uh yeah, if you want to find your way through the Manila Road discoraphy uh feel free to ask Marty or I. We can provide a good map to help you through their very extensive catalog of albums.
>> I prefer breadcrumbs.
>> Birds eat the breadcrumbs. The sex condor flies down, eats your breadcrumbs, and then you're just like, you know, lost wandering around and it's cold and dark and wolves start howling and you hear banjo music in the distance.
>> You just weren't meant to get to where you were going then. It wasn't The fates have uh spoken.
>> That's a very fatalist kind of statement, dude. That's right.
>> Do we need an intervention over here?
>> Right on.
>> Question that they've always seemed like an intimidating band.
>> What where do you start? Honestly, I probably would start with this one just because it's a very it's a solid heavy album. It's not too long. It's not too progy.
There's nothing odd about it. It gives you a really good introduction to their early sound. That would be my recommendation.
>> Okay, Marty, what would you recommend?
>> I mean, that's the that's the logical place to start. Uh >> Ah, I see what you did there. You don't need a map to to pick that one because that's the one that everybody, you know, Necropolis is.
>> I will say right away if if you struggle with the voice a little bit, I understand, but give it a little time.
Um, again, he sounds like a a twisted wizard. And the Crystal Logic has a few tracks that still are clinging to the the street rock vibe, like Feeling Free Again. It's the one goofy one.
Apparently, uh, someone in the studio kind of convinced him to throw that one on. It's the one track on there he regrets not having cut.
>> Yeah.
>> But it's heavy. It's unique as hell. Um, if you like that, Out of the Abyss, >> probably if you like Crystal Logic, I would say then just start working forward from that point.
>> The Deluge is great.
>> We get heavier and heavier.
>> Open the gates. Out of the abyss, like Allan said, is very thrashy, but uh, >> okay. The deluge rules, mystification rules, open the gates rules. Their first two albums, Invasion is very, it sounds like a different band and metal. It's got a few songs on it that starts to indicate where they're going.
>> But >> both are good, but they are they are different and notably a bit less heavy than >> Yeah.
>> where they were by Crystal Logic. The Dreams of Asheton stuff is cool. If you like seven, I mean, you uh are into Rush.
>> Mhm. Uh, Dreams of Ashetan is definitely Manila Road at their like 70s proggiest mostest. That's not a word, but I think you know where I was going, even if I don't have a map.
>> Gotcha.
>> Uh, so yeah, you might actually really dig that material.
>> Report back with your findings because I'd be really curious to hear where uh >> where you land with this stuff. Again, >> addition at the homework.
>> Yeah, >> I dig it.
>> The deluge. I I love that. The divine victim song is a classic for me. Hammer the witches. What a great song.
>> Yep.
>> The deluge is a great [ __ ] song. It's a great song.
>> It's got such a funny running order to it.
>> Yeah.
>> Because because you have like, you know, like the long song, but then you have like short song, short song, short song, long song.
>> Yeah.
>> Yeah. It's a great album, but it just it plays very weird with the track order.
>> Okay.
>> Anyway, we're off in the uh we need to get off that road and back on the main road here. Which >> what' you do with the map, honey?
>> Yeah. See, when you don't look at the map, this is what happens. Uh >> Uhhuh.
>> Uhhuh.
>> All right. Well, we're going to take it a little bit different direction. Um, Gorf, the second album by Germany's Nagelfar. E, there's an E in the middle.
It isn't the Swedish Nagelar. They put out albums like Vitra and Pariah.
Um, this is an amazing This is a precursor band to um Runes of Bever and Ruins of Bever is a little bit more nightmarish, but the um there's still the same there's a similar vibe here.
This album is fantastic. And they have they didn't they put out three records.
None of them are bad, but this one it starts off with it's a very long title. It's a 15-minute song intro and it's a slow build, but it gets to a point where everything drops out and there's like this clipping sounding bass tone that kick that plays a tremolo, a frantic tremolo picked uh progression and when everything comes crashing in, it is so damn exciting. It is such an explosive uh that's the true intro to the the album for me. And the song just absolutely rips. And the very last track too, another very long title is uh again just well written and unique. This is a German band. They sound like nobody nobody else during the time. Just a very menacing tone to them. Good production.
Black metal vibe for sure. I wouldn't call them a black metal band per se, but I wouldn't call them a death metal band either. They're like one of those interloper type bands that just didn't quite know where to land. And that was fine. I mean, listen to the Ruins of Bever. It's kind of the same thing.
Nightmarish.
It feels like it borrows from a couple different styles to come up with something far more sinister and atmospheric. That's where this was here.
A little bit more attention to blast beats, uh, tremolo riffs here and there, but of course, then you listen to Runes of Everest, The Rain Upon the Impure, all that stuff is very fast as well. So, this is a great album from a great band.
the start and stop, the first opening track and the last track. Excellent. But again, the whole album is very interesting.
All right, Ty.
Another thing, if you come over to my channel, I'm going to talk about Sweden a lot. So, I'll talk about Blood Bath, uh, Resurrection Through Carnage, the debut from O2. You get ways to the grave to open it four minutes.
>> You get an absolutely just unworldly guitar tone.
>> Bad drum tone though. very clicky fake drum sound. That's always been a drag about that record for me. But >> yeah, I don't think I mean that's this is the one with wasn't it uh Swano on the drums. This is the one he did the drums on.
>> Yeah.
>> And then they change afterwards. But uh yeah, I mean the main draw is that guitar tone that >> Oh yeah, that's killerous.
Um, and you know, when you're listening to the song, just when you're about to like, man, this is a lot, they decide to put like some insanely catchy part in it and you're like, "Oh, it lightens the mood and like, okay, this is amazing."
Um, I think Dan is a master of that.
Like all his stuff that he does. Um, Aarfelt's vocals obviously great. Um, yeah, Ways of the Grave highlights basically all my love of Swedish death metal for sure, especially the non-mellow side of it. Uh, and you just feel grimy at the end of the song, but it's like an awesome track. And you get Cry My Name, which might be my favorite track on the album. It's got the nice catchy little guitar riff like at the beginning that sticks in your head. Uh, and then thankfully they kind of revisit that throughout the song. Super super catchy and very heavy too. Like Swedish people are just masters at doing that type of stuff. And uh, you get a fake out ending too, which I appreciate. hit like around 250, the song completely drops out and then you're like, "Oh, it's over." And it starts back up again with the main riff. I dig that a lot. Uh yeah, guitars are buzzs. You just want to hear crazy guitar tone. Yeah.
Essential Swedish death metal. I love I love all their albums and I love all the different eras of the band with the different members. But uh but yeah, definitely check this out if you haven't.
>> Power of the Super Group. It's a funny how in metal music super groupoups sometimes took off and went further than the main bands did. You know what I mean?
>> I I mean it's a hot take, but I listen to Bloodbath. I I'm not a huge OPTH guy.
I'm not a huge OPTH guy. I like Paradise Lost. I've seen them live once. Very cool band. But like the band and uh Katonia, I like early cat I don't The last like five Katonia records are I've tried like they're in one ear out the other. I honestly like that band probably more than the main bands that have that are that are inspired that the guys are from.
>> Yep. All right, Alan.
>> All righty. This one I also have to skip an intro and an outro, but this album is so full of intros and outros you trip over them. It was unavoidable, but it still deserves mention. We are talking about now. Someone mentioned uh the debut earlier in the chat, but I'm going with album number two from Candle Mass with Nightfall >> classic.
>> Yes, >> that's my favorite. That's my favorite Candle Mass hands down.
>> It's hard to beat. I have a hard time picking a favorite from this band, but yeah, if this one had like two fewer little interludes and one more quote unquote real song, it probably would be my favorite. I there's so many bloody little tracks out of what there's 10 tracks and I think at least four of them are sort of just quick intro outro things. So it always feels like it paces again kind of strange. Anyway, you get through the uh quick intro of Gothic Stone and you get to the real opener, the well of souls and and this song sells me just within like you know the first few seconds because you have you know you know Messiah's unmistakable voice >> just you speaking those first two lane you those first two lines you know today I bind unto myself the strong name of the trinity and then the whole band just crashes in and it lands on you like a ton of lead as like holy [ __ ] that's heavy. That right there defines do metal for the 1980s.
So fantastic song. Sounds great on some of the live recordings from the era 2.
You get to the end of the album and Bewitched is this amazing song too. And it's one where Messiah's vocals you really kind of making the hair on your arm stand up just you are bewitched.
She's like, "Yeah, okay.
That's creepy and crazy and wonderful all at once." See, both of those songs are fantastic. I don't know if there's a bad song on this album. What else have we got? At the Gallows End is one of their best ever. Samaritan is even better.
>> Uh, you've got the March funeral thing.
Darker the Veils of Death is great.
Yeah, there's really just nothing on here. It's like I said, if you just had a couple, if they trimmed out a few of those little pieces, put in like one more song on the vein of the others, it could probably fight off anything else for best doom metal album of all time. And it might anyway, I'm not even saying it's out of the running.
I'm just saying I it does irk me a little bit that there are so many non songs and and it's only a 10 song track list. So when you're subtracting four, you're down to only about six full songs, which is getting into like that, you know, ex, you know, mini album kind of length for songs. So it always felt a little weird to me in that regard. But otherwise, it is a masterpiece. And yes, those open in few moments, they just drop the doom hammer on you. And Bewitch just still creeps me out a little bit to this day in the best possible way.
So, candle mass nightfall.
Perfect.
>> All right.
Forbidden evil by Forbidden. I did not pick Testament. I figured I'd go a different route with the Bay Area. And >> a lot of folks have been asking for a Testament. I kind of left it. I assumed one of you all would pick the Legacy.
>> That's a classic. I mean, not a bad song on that record either. Absolutely great.
Absolute classic. And this here, start off with Chalice of Blood. Oh, there we go. Tai's got us covered. Uh, >> excellent. Excellent.
>> And then we end with the um Powerfuls track, Follow Me. What a great kind of a different feel for Russ's vocals here.
He's still singing clean, but he's just a little bit lower, little more brooding in his performance on this one. Love the way this album ends. And again, Chalice of Blood, absolute headbanger. Chalice of Blood Waits to Fill Us. Killer.
>> That's the one I always heard back in the day. Yep.
>> Yep.
What a great band, too, by the way. And it's cool that they're back. I'm pretty interested to hear what the new album's going to sound like. I'm curious.
Cautiously optimistic.
>> Yeah, that's always the rough. You want to be optimistic and you're >> I want to be optimistic and I get burned so many times.
>> Yeah. You don't want Well, the new singer, he can do Russ pretty well and Russ handpicked him, so we'll see.
>> That's nice. You still got to write the songs.
>> Yeah. It's great if you can play the old stuff, but what are you going to do for new material, >> right?
>> All right. I'm going to go with a an obvious one, but I could have chose a couple albums from this band. It's probably maybe three or four, honestly.
Um, but Machine Heads, uh, Machine Head, Deep Purple, uh, 1972, >> uh, Highway Star. I mean, it's such a cool track, man. Uh it's cool too how they wrote it like they were just traveling with uh reporters on tour and a reporter asked Richie like how do you write songs and he's like this and he just started writing he just started writing one of their biggest songs and then Gillan just started riffing and like all right here's here's the lyrics and then they they literally played the song that night. Uh it's absolutely insane. Just just such talented dudes.
>> Yeah. The talent level at that time was nuts.
>> Yeah. And then uh yeah, John Lord's Oregon uh playing just a hook within itself. It makes you want to drive fast.
Like even if you aren't a car dude, like this makes you into cars. Like you dig the song. Uh Space Trucking, close it out. Uh Roger Glover's bass all over the song. Groovy song. Love it. Slowly evolve. Gillan gets kind of crazy in his vocal the later you go in the song, especially when they do it live. Um, yeah, John Lords again, his organ playing. It sounds like a guitar on Space Trucking, too. Like, it's it's crazy sound he gets. And then it's a song about intergalactic travelers.
Like, the lyrics are absolute nonsense, but like a band this cool could pull that song like like that off. It's a great closer, an iconic album, obvious one, but I figure I had to pick it.
>> No, that's a great pick. Yeah, >> I have never heard that whole album. Is that crazy? That's crazy. I'm liking purple. Yeah, I have Burn. I like Burn a lot. I like Coverdale era.
>> Oh, yeah.
>> Nothing wrong with burn. Yeah, it is a different lineup. Kind of a different sound.
>> All right, Ellen.
>> All right, I'm going to go get into some death metal with uh Horrendous and their sophomore album, ECIS.
Um, cool band. I've liked most of their Kellogg. I've had trouble with some of the more recent ones, but I've come around on them in the past uh six to nine months. This one hooked me right off the bat because the leadoff track, The Stranger, is one of their coolest songs. It shows a change of direction from The Chills, which is an terrific album. I really like the way that album's put together.
It was early enough in the old school death metal revival that it didn't feel like the idea had been trampled into the ground yet. It's like, "Oh, hey, here's a band that, yes, is actually, you know, playing death metal the way you kind of want to hear it, but it's a younger band." But with the Stranger, right off, they show you that, okay, this is going for a much more complicated and technical approach. Still melodic, not going overboard with it. that song I've always really liked. There's a cool shift in the middle of it and there's like a vocal line where he sings like you know and all the [ __ ] angels and just has you this great riff. It reminds me a little bit of something that you might hear from carcass circa heart work but they only do that part once or twice and it's a very short part. This song doesn't cycle. It's not a verse chorus kind of track whatsoever. So again, you start to get the sense very quickly with the album that they are composing things in a more complicated pattern. Lots of other good tracks along the way, too.
You get to Closer Titan, and that song has a different vibe from most of the rest of the album. You know, the album again, it's got melodic death metal elements already creeping in, great guitar work, technical aspects. Titan, though, is a slower kind of somber song.
It has a certain sadness to it, but it's fantastically written and executed.
It's in a way a little bit like the closing tracks on the Doo Sabbath albums that you talked about earlier, Marty, where they start by really grabbing your attention with a banger, and then they end the album with something that's, you know, very grand, very almost elegant, but sad. It's the shutting off the lights, putting the stools up on the table, tying up the loose ends, and laying this whole thing to rest at the end. So, Titan and it was a song that I didn't notice right away. The first several times I went through this album, I was hooked on the stranger. Other tracks, you know, would start to stand out. And it wasn't until I played it many times that I really focused in on the clos, who wa this is a really, really cool song. It's different from anything else on the album. I can't think of another track they've done on any of their other albums that had that same kind of atmosphere to it. But Titan is a really neat and unique way for Horrendous to close out an album. So, it begins well, it ends well, and it takes a lot of interesting twists and turns with everything that's in between it, too. A good Again, The Chills was like, "This is a cool fun album." Agis showed that this was a band that really had ideas and was going to start progressing and moving things along. Not everybody's into the band has their detractors as I guess everyone does. I don't know. I don't quite get it. I feel like Corus has followed a pretty good career trajectory even if I've had trouble keeping up with some of their strides forward at times.
>> All right.
Um, okay. We're gonna maybe an odd pick, but Kavist with uh four Kungsten Mav Ev Vitka. Nailed it.
>> You sound very, very authoritative in the foreign languages tonight. Kudos.
>> You know, I'm bilingual. Um, this album is great. Norwegian black metal band, one band. I heard they're getting back together and writing new stuff. I don't know if that's true, but uh this is a a standalone Excellent album. A lot of speed on this, but a very much um very confident, very unique. Side starts with ours manifestia. Very good song.
And it ends with Vetineta.
I don't know. This is just one of those bands you hear it and you I wish there were more records in this vein. Um again, there's nothing really. You could listen to it and tell it's from Norway during the 90s. It has that um almost folkish type of melody that they play with all strings being played in the tremolo. Something that Mayhem and Thorns perfected. Yeah, I need Marty needs a map to a Norwegian lang. I need no map. Get Roger in here. He'll tell you I'm fluent.
But uh Oh, yeah. Killer bass tone as well. This is fantastic. I have not a whole lot to say. This is another one of those off the radar type of bands that if you've never heard it, check it out cuz you're going to be impressed by this record for sure. Um, this is a reissue.
2000 peaceful reissue.
Check it out. Kavist for Kung Mav Evig Vitka.
>> Hey, you sounded you sounded more confident the first time.
>> Hey, got less confident as you went on.
Sunshines on an old dog's ass once in a while.
>> Once you realize you didn't have a map to all those phonetics, you got a little shaky there.
>> Yeah.
>> All right, Ty, what you got?
>> All right, I'll do a kind of a more modern one. I saw somebody mention them earlier. Uh, Unleash the Archersh 2017 with Apex.
>> We're a good band.
>> Oh, yeah. Power metal. I think uh you know, you listen to Awakening, the opener, introduced the album's narrative. It's a concept record. Um, amazing vocals. Britney, one of my favorite just vocalists. I was gonna say female, but literally just vocalist going today. Uh, a great true great great singer. Um, in the vein of like a a Dio like that level of like you're you you're actually good. Um um fast guitar work, memorable melodies, cinematic storytelling, great album cover as well.
Uh I think it's a really good introduction. And I think they kind of bridged the line between like US power metal and European power metal really nicely and flawlessly. You get good Iron Maiden worship with the galloping and then Britney's vocals over the top.
Awesome kind of speed metal stuff thrown in there too with the fast riffing, good melody and harmonized leads. Then the title track closes at Apex is just an absolute vocal master. Like Britney really shines on it. She's excellent. Uh her voice is the centerpiece of that song for sure. Uh leads you through the end of the album. They do get a bit proggy too, especially for a power metal tune. Uh with some different passages and stuff. Uh you get some awesome Iron Maiden inspired guitar work. Super catchy. I really don't think they have a bad album. I think they got better as they've gone along, too. I think their early days they had kind of they were kind of doing the metal core thing where they had the clean vocals and the harsh vocals and that's kind of they kind of realized like Britney is where we're going to make the money here. like that's where we're gonna draw people in and I think it's I think it's a smart move. So great album, bangers of a opener and a closer. Check out those two tracks if you've never listened to them or you want to try to get into them.
>> I don't even get why that how that worked for Lacuna Coil. You have a very talented lady singer and you put some dork with go, you know, eyeliner on doing this the harsh vocals and like >> nobody wants to hear that guy.
>> Yeah, 100%. Like gives a [ __ ] about that guy.
>> Exactly. Christina is the draw and she's a great talent too.
>> And you got her taking second stage to, you know, [ __ ] I don't know. It doesn't make sense.
>> Yeah, I saw them live once, too, and it's the same on stage. It's just like, >> why isn't she singing? She She's the one who can sing. Why are you singing? Even >> everybody but TipFam. Sorry. Sorry, TipFam.
>> They have a big following. So, I mean, people, you know, obviously >> they've been doing it a long time.
They've been around a long time.
>> I'm of course kidding. But, you know, >> they are one of those bands in that kind of style though that even early on I had trouble getting into because of that. It always felt like something was just a little off in the way they balanced that.
>> All right.
>> Oh well.
>> Oh well. All right, Alan.
>> Let's do another death metal one. This just came out, I think, last year. It is Decrepacy with Dic Morning. Uh, this band features, let's see, the drummer Charlie's in a ton of projects and has worked with a lot of bands. Uh, they have a new vocalist on this one. It's Daniel from Vastom, so folks will right away have a pretty good idea of what this is going to sound like. It's going to be ugly, sludgy, slow, deep, dungeonyy kind of death metal. And they do it extremely well. Um, the opening track, Ceremony of Unbelief, really starts sucking you down that drain a into that kind of underworld right off the bat. This is a style of music where the albums often sound good. Songs sometimes can have trouble standing out.
It's like the album has a good atmosphere. There are good riffs here and there, but this one, what really stood out to me, even the first time I heard it, was this band had actually really good songs composed for it, not just a lot of atmosphere and not just a handful of riffs or something. So, yeah, Ceremony of Unbelief. Right away, you know that you're you're sinking slowly into this swamp, and it's going to be an excellent one. The closing track is really great and really odd. It closes with a cover song, which I don't think we've had an album do this yet tonight.
>> And usually that feels kind of tacked on. It's not something you would think of as an album highlight. In this case, it's one of the rare exceptions to the rule where the cover song is absolutely one of the coolest things on here. It's a cover of a Sister of Merc Sisters of Mercy track called After Hours, which I've done a separate video on this because I went down a rabbit hole after realizing it was a sisters track. It was essentially only available as a B-side on one of their early EPs. Uh, it has probably been included as a bonus track on some reissue of the first and last and always material somewhere along the line, but it's not the easiest sisters track to track down on a physical format. Let's just leave it at that because I found it. It takes some doing.
It's a very dark, slow, and creepy track by sister standards. It's not obviously Sisters has, you know, all the old dark gothy stuff, but this track really has a very strange and unsettling vibe to it.
Having a this kind of, you know, slow, brutal death metal band pick up an 80s goth band's track and doing something with it is already interesting. They completely make it work and they make it their own. It still feels a lot like the original in tone. It still has this just really dark something bad has happened or is about to happen to the, you know, characters singing this song, but they translated out of a goth metal context and into, yeah, a slow, brutal death doom context. It's one of those things that really shouldn't work, but they did it so bloody well, you can't help but love it. It's a little analogous to something that CBN and other folks mentioned in the chat earlier when we talked about uh Mayhem with Dave Mysterious Donna Satanis that Cripsman covered that tune on an EP last year. And on paper that sounds like a horrible idea. You got this doomy epic new wave of traditional heavy metal type band and they're gonna cover a black metal staple.
My immediate thought was, "Oh, please don't. Just don't do that." And they completely nailed it. They took that song, they kept the essence of it, but they transcribed it into their genre and did it extremely well. That's exactly what Decrepacy does with After Hours from Sister of Mercy here. So, it's a really cool way to wrap up the album.
So, yeah, I thought between that and the opening track, just doing such a good job of immediately forcing you into that dark mindset for the whole journey.
Figured it was a fun one to show off here. Decrepacy, Deific Morning got some attention last year. If you didn't check it out and you like, yeah, that really slow, dark style Death Dune, please go check it out. They were a cool band.
>> Erin's asking uh about the which single After Hours was on.
>> Uh >> is it the Body Electric remake single?
>> Give me one second. It's I can pick it up in 10 seconds.
>> Okay. While he's doing that, we'll go to my pick. Well, he might only be a second.
>> No, we'll just do this. Uh creator.
Pleasure to kill.
>> Pleasure to kill. Uh, we've got ripping corpse after the choir of the damned intro and it ends with Under the Guillotine, which this another one of those perfect records start to finish.
It just completely rips. Classic German thrash metal. For the longest time, I preferred the German stuff, the noise international bands over the US stuff.
Although I love that as well, don't get me wrong. But this is the the aggression, the rawness of it, it just was perfect. It just fit thrash metal perfectly for me. What you What were your findings, Alan?
>> Uh, yeah. Uh, what I ended up getting it on, two of their EPs were reissued as a record store day thing just a year or two ago, and it's on one of these. So, you have uh let's see, it's this one, the yeah, body and soul. But yeah, the reissue also has the uh walk away Poison Dorn on the wire as the >> That is a cool Record Store Day thing I missed out on. That is so cool.
>> It was I missed out on it, too. I don't really pay much attention to record store day things, but this was a neat one. And yeah, this one EP was the only place After Hours was originally uh pressed on. It's a great EP. Like I said, there is a one of those big fancy box sets for First and Last and Always, like the 35th anniversary edition, you know, 8 CD version or some crap.
>> Yeah.
>> And I think After Hours is buried in that mess as a bonus track, but it's going to cost you a arm and a leg if you can even find a copy of it. It's a lot to just get first and last and always, you know, remixed five different ways or whatever. But yeah, if you can find a copy of this floating around for a reasonable price, you get After Hours and two great EPs total.
>> CBN is asking if you would spell out the band name and put it in the chat.
>> Oh, yeah. I sure will because yes, it is a little bit of a tricky one, so I'll add that right now. CBN.
>> All right, Ty, you're back.
>> All righty. I'll do one Allen kind of broke the seal with covers, so I guess I'll I'll put one with a cover. kind of kind of a I kind of broke my rule on this one. But uh anyway, let's talk about an album that doesn't really get talked about cuz they changed. They were starting to change here and kind of follow a little trend, but I dig it for what it is. Fear Factory is Obsolete.
1998. You got Shock that opens. I think it's an awesome opener. Like sets the tone. Got the futuristic vibe. Great vocals by Burton. Burton's one of my favorite vocalists ever. Uh you get obviously great drumming by Raymond.
dude was always amazing.
>> Oh yeah, >> he's a machine. He's a machine. Perfect for that band. Perfect for >> 100%. A perfect fit. And went into like video games. I was doing a deep dive like what happened to him. He went into like video game soundtracks and stuff which like fits him perfectly. Yeah.
>> Um you also get obviously great Dino riffs later throughout. It's a simple and effective opener. You get the cyber netic like groove that only really they did. you know, they they sounded like kind of 101. And then the closer is timelessness, but on most versions, you get cars. So, you get the cover of Gary Newman. So, I'm putting that in here.
It's obviously weird to include a cover like Allan said. But, uh, it's one of the best covers I think ever in metal and it fits the band so well. Uh, so good that even Gary Newman was on the track with him. He was also in the video with him, which you've never, if you've never seen the video, watch. It's great.
uh like PS1, PS2 era level of like computer graphics if you're into video games. Um, and like I said, it didn't appear on the original release, but it's kind of fine to hard find a copy without it because after it hit, Roadrunner is like, "All right, we got to put this back out and keep this on on the album."
Um, the cover changes just enough to necessitate it being on the album and doing the song, but it also stays faithful to the original. It 100% fits the band. Uh, Dino basically replaces all the synth with guitar. Fits perfectly. And you get a futuristic vibe. Fit the band. Love the band. I love all their uh their reunion stuff that they did. And then Burton and Dino hate each other again. So that's gone.
But but yeah, uh, Obsolete Fear Factory.
>> Got Reese Fuller from Frontline Assembly doing the synth work on there, too. He might have produced it as well, didn't he? I don't >> I think he I think so. Yeah, he did a lot of the >> Yep. Produced by Ree. Yep.
>> Yep. Yeah. Great. Great.
Electronic musician for sure. All right, Alan.
>> All right, let's get back to some classic US heavy metal. This whole album's a monster, and the first and last tracks are no exception. It is Sabotage, Hall of the Mountain King.
Starts with a very unusual track. It is called, for those who don't remember, 24 hours ago, >> and it's a strange opening track in some ways. This album is full of a lot of very, you know, flashy guitar fireworks, strong, pounding, kind of aggressive songs. John's vocals are maniacal all over it. But 24 hours ago is a little bit slower and very measured kind of track. They are not in a hurry to blast through this one. It's got a very kind of start stop kind of riff to it. Just, you know, D.
It doesn't really start flowing or picking up any velocity whatsoever as you're going. And again, John's vocals are already in that just lunatic nightmare mode that he did so extremely well.
And so, yeah, it just makes this, you know, very creepy song, but it really does get stuck in your head. It's always stood out in the Sabotage Kellogg. It was one of, and perhaps the first Sabotage song I ever heard. So, right off the bat to me, they were this very dark sounding and unusual kind of band.
Took me a while before I check, you know, got to hear more stuff. But, yeah, 24 hours ago when I would mention that song to folks like, "Oh, I only know that one song." folks would be like, "Oh, that's such a cool song. That's such a weird song, but such a cool song." So, other people kind of had the same reaction to it that I did.
Interesting way to start the album, but it's a really, really cool tune. At the other end of the album, you get Devastation, which as the name implies, it's just a really heavy, as the lyrics go, total devastation. It's the band laying waste to whatever remains standing after the first nine tracks.
This era, you know, sav, it's sabotage at their heaviest. It's sabotage at their most unhinged.
There's a lot of live recordings that have circulated from around this era of the band. And they sounded absolutely demonic live. Just brilliant live.
One particular tour they did with Megadeith and this would have been like so far so good so what era Mega Death.
So Meade Death at their most drugged out and dysfunctional.
I remember reading in old interviews that at that time the only band that could keep up with the excesses in Mega Death was Sabotage. that John and the guys were absolute just f themes for whatever people were partaking of after the show, let's say. So, yeah. And I just, you know, the darkness of these kind of tracks with 24 hours ago being such a creepy kind of tense opener and then Devastation just being this final climactic impact of a tune. It really speaks to what this album uh has to offer. great songs on an absolute we often say like your absolute favorite top album all time you I've never it's been a long time since I did any kind of like top 25 albums.
Mountain King's in that conversation. I don't know if it quite makes top 25.
Let's face it, 25 you don't have much room to work with, but Mountain King is in that conversation starting out at least. And very few albums could say that.
>> Yeah. I didn't pick it because I knew you were. So, I was think I almost pick Streets. I like Streets, too. I like the way it opens.
>> Be a great pick for this. Absolutely.
Yes. Yep.
>> All right. Well, this one I can't deny how perfect this record is. And it would be Destroyer 666 with Phoenix Rising. Oh my god.
>> Oh, interesting.
>> This album, this band, they've kind of strayed from their core um anthemic.
They're just a very anthemic band. These songs a lot of power to them. This starts off with Rise of the Predator.
Frantic riffs at the beginning and you know KK Warlut's voice is just very anthemic, very stately the way he he's got a lot of confidence in the you know not always a fan of what he has to say.
We'll just say that right now. I'm not a fan of what he has to say. But man, this record the riffs on this are so good.
And it ends on the birth of tragedy.
Absolutely killer riffs in this song.
Absolutely killer riffs in this song.
Another one of those perfect albums from start to finish. There's just every song is catchy. They redo The Eternal Glory of War on here from their debut, Violence is a Prince of This World. It's less warm metal and just more fist pumping anthemic. Awesome. Um I figured you'd like that, Simon. I pulled this one. But if you haven't heard this band, this is a place to start for as far as I'm concerned. Absolutely great.
Such a good record.
T >> I feel like I feel like there's one we're dancing around, but I'm just going to wait to see if Marty Marty pulls out the probably both albums and we're talking about here.
>> Yeah, I've got them right here. They're queued up.
>> I got I got one of them, but >> I'll show the other.
>> No, no worries. I'll mention this one here cuz it's it's going to be maybe a controversial, but we'll talk about emperors. Uh >> oh, that's not the one I was thinking you were going for, but Okay.
>> No, I know. I know. There's there's obvious there's a very obvious one that we're all dancing around, >> but uh this is not the obvious one, but you know, obviously classic black metal band, they get really into their Prague here. Eison basically does the whole album. So, I know that's kind of rubs people the wrong way. Uh and it's an album you either love or hate. I love it cuz like I said, I love all the Praggginess. Um, is it like the band's early classics? No, not really. But it's seriously some really impressive Prague metal filtered through a black metal lens, like blackened Prague metal. Um, you get awesome harps accord on the opener, the eruption. Uh, you get great blast ble blast beats, awesome riffs that hit you hard, great orchestration, production, massive and impressive.
Eison's vocals just absolutely seriously impressive. like it's it's an epic song and scope memorable chorus it this album the entire album especially that opener too rewards like intent listening listening to it over and over again because there's so much it's so thick there's so much going on uh Thorns on my Grave closes it out you get the aggression filled with complexity awesome drumming obviously great production throughout the whole album uh and the song is fitting like it's a great end to a band's recording career like the subject matter of the song and uh they constantly bring back motifs and return them back in altered forms uh in it. It's very cool. Certain melodic phrases and chord movements reappear later with different rhythms and harmonies which I dig. Uh yeah, and you get a good continuity out through the whole album, especially the opener and the closer. And like if you're willing to put your time in, like this record definitely rewards you. I obviously everybody loves In the Night Side and Anthems, but uh I am definitely a s for this album and I think it's overlooked for sure.
>> I would agree. I I think it's underrated.
>> All right, Alan.
>> Ah, all right. Someone mentioned this in the chat earlier, and I had not pulled it, but it's too perfect not to mention, so and sorry, I don't remember who mentioned it. It's been a little while ago. Um, Blind Guardian, Imaginations from the Other Side. Great record.
>> Uh, fantastic record. And it's funny, this one, when it came out did not get the best reaction from folks. I think it's an album that has aged well. And a lot of people now rank it extremely high.
>> Why? I'm confused. Why wouldn't they think that rules? First time I heard that record, I'm like, "Holy [ __ ] this is great."
>> Because this was the album where they really left the speed metal behind completely. They they had been trending away from it on the previous album, but they still had a few faster ones on that, but this album, there's really isn't anything that has much velocity to it the way the other things did. So, yeah, folks that were all about Tales from the Twilight World and had followed the blind and all those albums, you get to this album and everybody was just like, "Oh god, now it's all just symphonic crap and they, you know, can't actually push the pedal to the metal anymore." So yeah, a lot of people were not keen on this album uh when it came out. It got some bad reviews. I didn't see a ton of reviews for it, to be fair, but the ones I saw were kind of lukewarm, and those were from longtime fans, too. It wasn't just people picking up the album, but I think that was the issue. It's a little bit of the painkiller problem. Some of the older fans didn't like the change in direction. It had started on the previous album, but it was fully formed here. It's an album that took me a while to get into. It was not an instant case of, you know, love on first listen because I also, yeah, had heard some of the earlier albums and absolutely loved them.
But I knew Blind Guardian was talented enough that if I gave this album time, I'd figure it out. So, I spent a lot of time with this album around and I didn't get it when it came out. I probably got this sometime in 97 most likely.
But you I would play it in background music working in the lab. I would play it while studying. I would play it when I had time to sit down and listen to it.
And it was just an album that grew song by song by song by song until I realized the whole bloody album was fantastic.
But we're supposed to focus here on the first and last tracks. It begins with the title track. We've had the title track be instrumental to a lot of the albums tonight. Imaginations from the Other Side builds really nicely. You're getting these, you know, layered vocals.
You're getting all these, you know, different little instrumental touches.
They really are building the songs vertically now. They're not just blasting through them linearly. They want to build up you these big sounds and Imaginations does that extremely well. Great chorus, very catchy, very memorable. Languardian still had that going on. Even though they didn't have the actual speed, they still had the songwriting capability at this stage.
So, they're slower songs, but they're still very enjoyable songs.
The Closer is one of those career highlight moments.
and the story ends has that same somber do thing going on that we've actually kind of identified several times tonight which I think is kind of cool and interesting.
The whole album has a bit of a melancholic vibe. I mean it's leaning into the whole Arthurian legend which I mean there's different versions of that but they don't tend to end very well for Arthur in company. Most people just think of it as, you know, the Monty Python or some cartoon silliness version. The actual Arthur story, there's, you know, a guy trying to do some good things but getting tripped up quite a bit. We'll just leave it at that. And the story ends is once again, uh, I pulled the lyrics up over here for the chorus line. You know, it's, you know, and the story ends. Insanity sang said coldly still waiting for the chance. So out of nowhere it will rise.
Oh and another journey starts by the call of the moon. H it's wrapping up the whole story. The album it's putting it to bed and it's doing so on kind of a downer note, but it's an incredibly well-crafted song. Once again, they're building vertically. They're adding all these flourishes and layers to really give it a unique feel. It's symphonic, but there doesn't use typical symphonic elements. It's not symphonic, for example, in the vein of a night wish. It doesn't have that kind of feel to it. It's something a little different. Blind guarding around this time had a sort of folkish vibe at times, which keeps it a little more earthy and grounded while still being able to build up and sound grandiose. It almost seems contradictory, but they just they knew how to balance it. They really had an idea and a vision and they figured out how to make it work and for a few albums they did so spectacularly.
Eventually they kind of lost the plot, but many bands do. Great stuff throughout this album, but yeah, the opening and closing tracks uh bookend this one absolutely perfectly. So, Blind Guardian Imaginations from the Other Side. Thank you to whoever recommended that one in the chat. I should have pulled it. I didn't pull it, but I had time to fix that. David Pays. Man, >> David, yes, it was David. Yep. Yep.
Thank you, David.
>> Thanks, Rockies.
>> Great call.
>> Yep.
>> Thanks, North.
>> Wife and I saw them live a couple years ago in basically like a club with like 200 people and it was nice. Which sounds like, you know, you want to see them with people singing along, like thousands of people. But it was amazing because they absolutely killed it. Like they played it like they were playing at Vakan.
>> But yeah, my wife and I, we've caught them, I think, twice. We missed them last year, which kind of sucked, but we've caught them twice. kind of in kind of the same setting and even in those small settings you will have people sing along.
>> I think we saw them in Charlotte and when they did Valhalla I think the crowd kept the Valhalla course going for like over five minutes. Yeah.
>> You could tell even Hansi was just kind of like >> you guys just going to keep going, aren't you? Okay, let you keep singing.
If you want to you want to sing, we'll let you keep singing. But you can tell like >> they're probably ready to move on with the rest of the song. But everyone just kept every as soon as we'd end the the audience would just start right back over. It was like we were stuck in a tape loop.
>> Awesome band.
>> Very cool.
All right. Well, I'm going to get this obvious out of the way right here. And this is a choose your own adventure because both of these here, Melissa, don't break the oath. We could either start with evil and end with a very evil atmospheric Melissa track or we could do a dangerous meeting cautionary tale not to play with the powers of darkness and come to the >> get themselves killed.
>> Get themselves killed. Yep.
Classics 100%. And since we're getting towards the end, I might as well throw this volunteer in as well too. Abigail >> Arrival. Great opening track after the intro. And of course, Black Horsemen. I love the ending of this track. Amazing twin guitar lines by Mr. Denner and Mr. Lorac. Uh, absolutely classic heavy metal.
Great. Tai. Yeah, I'll just piggyback off that really quick. Uh, I feel like most most bands have just been chasing this record for so long.
Like the production is absolutely amazing and like the band it's if I put it up there with the first Sabbath and especially the title track Sabbath of a truly evil sounding album and Melissa too.
>> Yeah.
>> And they didn't they didn't have to overdo it like so many bands do.
>> N >> it's it's just amazing. It's amazing. I feel like a lot of bands have been chasing that forever. believe in Mercul Fate. As soon as they started recording in the US digitally, they lost >> that creepy vibe.
>> Yeah. No, 100%. Yeah. That analog feel like it. It's amazing. It's amazing.
Truly stellar. Some of the be the one of the best easily one two like backtoback albums ever.
>> Oh yeah.
>> Pro maybe number one. I'll do this one really quick. Uh one of my last ones here. So, uh Death with Human. I love this era of the band. Um, I think this is the best lineup Chuck ever had. Uh, flattening of emotions. Uh, the riffing is mechanical but organic. Song is driven. Awesome. Incredible rhythms by Deorgio and Shawn Reinard on drums. His playing dude just adds so much so much to this album. And like despite all the intricacy and how great they are as musicians, like the song remains catchy easily all the way through, great hooks, recurring melodies. Um, like I said, the main riff is instantly catchy. The slower sections do hit really hard, too.
But while still remaining complex, I love this era of Chuck's vocals as well.
Vacant Planets, uh, maybe not like the biggest track on, but I think it's a nice deep cut. You get nice shifts between the groove, bursts of aggression. Reiner's drum again is probably the highlight for me. Um Paul and Chuck too, I felt like they were a great great duo on guitar. Track has a bunch of atmosphere too, which I feel like kind of death metal for this era didn't capture a lot, especially the especially the Florida bands. It was mostly just about the brutality and aggression. And I feel like feel like Chuck obviously had a conflicting relationship with a lot of stuff and didn't want to, you know, the name and everything and this is kind of changing, but I absolutely dig it and I think they're two highlight tracks and an absolutely stellar album and my again my favorite lineup of the band of the many different lineups there was.
>> Yep. Speaking of Andy Lorac, oh no, he was on individual thought panel.
>> Yeah. Yeah. Yeah.
>> Yeah.
>> All right. Good one. Was that your last one? Tire or do you have more?
>> No, I can keep going if you want to.
Okay, we can probably do one more round after this one and call it.
>> That sounds good.
>> That sounds like a good plan.
>> Let's see. For this round, I'll do one that seems pretty obvious, but I slipped here to the 11th hour.
>> Puppets Metallica.
>> I almost pulled it, but I didn't. I Yeah.
>> Yeah.
Yeah. You know, starts with battery, which of course is a battering ram of a track. ends with Damage Incorporated, which is another battering gram of a track, which hadn't noticed it before, but yeah, you have, you know, two of, you know, the shorter kind of more aggressive tracks bookkeeping ending this album. Lots of great things in between, but the tracks in between like Master of Puppets, Disposable Heroes, Leopard Messiah. Some of those are the longer songs that are more topical in the lyrical content. Welcome Home Sanitarium, of course, also topical, but slower. So yeah, you do have like those two kind of short sharp sticks at the beginning of the album. It's like whap, hit you over the head, get you completely into this, and at the end, whap, we're going to kick your ass one more time on the way out. Works incredibly well. Not an album I go back and play very often these days, just because I overplayed it as a kid, but it it's still one of the Hallmark Thresh albums of all time. It begins and ends as you'd expect it to. Uh, top-notch stuff. So, Master of Puppets deserves a mention here.
>> Yeah, you could also choose Ride the Lightning, >> Do justice, Kill Them All. I mean, any of those. They're they're they're great.
Obviously, classic albums, but especially they they did really well about opening with that great banger and then closing with the epic. They they did a really good job most of the time.
So, >> good point, T.
All right.
Well, let's uh talk about a classic US death metal band, Emil Immolation with Dawn of Possession.
>> Oh, interesting.
>> Absolute favorite. They obviously got a little bit more obtuse as they went along. They they didn't really live in this old school vibe very long. Here and After was a very still sound like the same band, but the progression was very noticeable. But here we start off with the classic into everlasting fire. Great song. Great song. Great movement in the riffs. Great transitions. Everything about this. Ross's vocals are just super sick. Uh Rob's guitar lines very catchy.
And then we end with Emilation. Uh they put the oldest song on here. It's the first song on their first demo. So, it's a bookended by two banger tracks and just a perfect perfect album.
Classic record. I'll do another one here real quick.
>> Um, let's do this one. Sail's Ceremony of Opposites.
>> Uh, I looked at that one.
>> We start off with Black Trip. Just a very catchy kind of a groove, hard-hitting groove to the song. Mhm.
>> The way Vorflax's voice interacts with that groove, it's very natural. They came out of a very dark, very evil um album with Blood Ritual. And then to get This is definitely a progression in the fact that it still maintains that black metal evil spirit, but there's more symphonic elements as well. They employed an actual keyboardist on this thing. Black Trip. Great catchy song to start the dark but catchy song to start the album off with. And then we end on Ceremony of Opposites, which it's it continues on. It brings a little of the symphony into the end in the closing of the album as well, which is cool.
Makes it feel very epic and uh cinematic at the end. It feels almost like a motion picture soundtrack uh ending mixed in with the black metal aesthetic.
Very cool.
And this will be our final round. Ty.
>> Awesome. I guess I'll I got two here, but I'll do this one. Uh it's funny. You kind of >> You can do them both. Go for it.
>> Okay. I I'll do both of them. I'll be quick. Uh this is It's funny. You can kind of see my like taste in modern black metal with all my taste tonight.
But uh Moonlight Sorcery, uh Horn Lord of the Thorn Castle 2023. I'm I I can't wait till they follow this up. Hopefully I won't be as disappointed as I'm probably will be in the storm keep now.
Allan has me all weirded out. Thanks.
>> Sorry about that. Yeah, I'll give it I'm hoping I sit down to listen to it and it starts to click.
>> I got to crack the seal on that. I haven't spun it yet.
>> I'm curious to see. Are you guys going to do it for the album uh the new releases then?
>> Yeah, we might >> probably do a review on it, I think. So So that's going to happen probably.
>> Okay. I'm curious to hear the thoughts then. Uh, but anyway, this album, Finland Symphonic Black Metal, I It's honestly like shred black metal, power metal. It's absolutely insane. Uh, it probably shouldn't work, but it does.
They pull it off really nice. You open with to withhold the day. Uh, there is no map in here, but I can I can read the the tracks nice enough. Um, band takes uh 3 minutes 30 seconds to combine. A lot of symphonic black metal, melodic black metal with shredding power metal.
Like I said, it's a banger of an opener opener. Really quick, to the point. Uh, awesome keyboards, audible bass. Again, I love bass in Blackman. I know that's kind of not cult, but I like it. Um, >> bass can add a lot. It's cool. It's a cool instrument.
>> It truly can.
>> Um, yeah, it's Yeah, ask uh ask Jason Newstead. Ask >> how that worked out for him.
>> Uh, the song also ends too before it overstays its welcome. like they're not just shredding to shred and like invest steam type of stuff. Um, which a ton of bands could learn from. You're immediately hooked. Massive production, great playing vocals. You're just in for a good time on this record. Then you get to the end, uh, Sudden Tie or Suddeny Wo Hour Part Two. Um, I don't even know where part one is because I don't think it's on I don't know what this it's.
It's on a like an EP or something or a previous album. Um, but anyway, uh, this track, ton of memorable leads and riffs, but it isn't just a wankfest, like I said. Uh, like a great song is being played. It's crafted because it is, uh, perfect example of black and power metal. Like I said, like they're doing this very well, which shouldn't work, but it does. 8 minutes long, never loses steam. All the playing serves the atmosphere of the song, the album, what they're trying to do, and they're not just soloing to solo. And then my last one, kind of a weird one, but I wanted to talk about the closer Skid Rose debut, self-titled. You get Big Guns, which is a cool song. It's clear that like it's definitely not the single obviously 18 in Life, uh, Youth Gone Wild, and then I remember you, the massive ballad.
>> But Big Guns is a cool song. It kind of shows Sabbo's ability to write riffs. It introduces obviously Sebastian Bach's amazing voice. I love his like tone, his gruffness to his voice. He kind of adds like a It kind of like an Axel. I know him and Axel are close. It kind of adds like an Axel Rose. Like the band sounds dangerous. It doesn't sound like Poison.
Like it sounds or like Crew at this point. Like they sound like they have an edge.
>> Yeah.
>> But then the the closer Midnight Tornado is absolutely awesome track and it's kind of funny. It was written by um is it Matt Fallon wrote the song with Snake and he was supposed to sing on the album and then they got Sebastian. He was also supposed to sing on spreading the disease by anthrax and then they replace him with Joey Belladonna. Like that's like the worst. I feel so bad for that dude. You could have been you could have been known forever. Obviously two massive albums and maybe they wouldn't have been as massive but still um really good album. I think it's underrated and to have two standout tracks at the beginning and end when you have massive singles. I really dig it. So >> all right.
I'm not sure what to make of your comment about Matt the dies like poor guy he missed out on these two great chances he'd probably have [ __ ] it up and the albums would have sucked with him.
>> I don't know if I'm just saying backhanded compliment there but I mean kind of I mean we can picture anthrax without Joey what you mean and and when they had John but was it ever as good?
>> It wasn't anthrax.
>> Exactly. So we don't know. It's it's this weird alternity. Same thing with Skid Row. Like they've had they haven't had Sebastian forever. They basically have almost everybody else in the band.
It's like just make money, guys. Just bring him back and make a [ __ ] ton of money.
>> You don't even have to do an album.
>> But it's just weird. I would hate obviously I don't know that guy. He's probably a cool dude. He's probably a great person.
>> But to be in that position like, man, I missed it twice by that much. Like I was this close, man.
>> Like that's all you work for. Like if you're, you know, most of the time you're a musician just to be known forever and have songs that live forever and obviously make money too, but like you're that close, man, to classic albums that everybody knows and you missed him. But yeah.
>> Yeah. He he wouldn't have looked good in all the teen beat magazines with his shirt unbuttoned like, you know, uh, >> probably not.
>> So it would never it would never have flown.
>> Probably not.
>> All right, Alan. All right, three to wrap up with here very quickly. Uh, one more big threshbanger. Overkills Years of Decay starts with Time to Kill, which is a fantastic song. Sets the tone.
Bobby sounds particularly angry and pissed off through a lot of this album, which I love him in that particular mode. Time to kill works great. And it closes with the third and at the time last installment uh Evil Never Dies End D meant to sort of wrap up the Overkill trilogy of tracks and does so really nicely. It just you know he spits Venom Bobby does all the way through the track as like one quick little break where they reuse the riff from part one and go right back to you the evil never dies and then just cuts off. So fun, great first and last tracks there.
Uh, Frank and the New Wave of British heavy metal folks are still hanging around. Diamond Head, Lightning to the Nations, uh, begins with the title track, which is one of their best, and closes with Helpless, which is a fantastic track as well.
The only complaint you could have maybe about Helpless, it probably could have been trimmed down just a little bit.
probably didn't need to go six plus minutes, but the same is true for a couple of the tracks on here. Uh, it's a fantastic album. Lots of great songs.
One of the truly top albums out of the new wave of British heavy metal. Begins and ends. Great tracks. Last one. This is kind of a personal favorite. Riots debut rock city. This one begins with Desperation, which it just has this kind of a great fist pumping driving kind of tune. This whole album is really meant to be played like you know when you're driving on the interstate top down middle of summer, but Desperation is a track I dig and it closes with this insanely catchy track called Still in Love with or this is what I get. Um it wasn't tonight but recently somebody in I was chatting with somebody in the comments or live chat about how this song really should have been at least a regional hit single for Riot. This is What I Get had everything going for it.
That song had radio hit. It's just steeped in its DNA.
Riot never had much luck state though, whether it came to singles or other issues.
Riot just sort of functioned under a black cloud with a lot of things never quite going their way. It's amazing the band has persevered as long as they have, and I'm glad they have. They're my favorite band of all time. They have incredible string of albums.
This is what I get. Just has this great catchy chorus to it. Guysza sounds fantastic.
It would have been the perfect top 40 radio hit for 1977. Just wasn't meant to be. But the album begins and ends with great tunes and there's a million good ones in between as well. But that's where I will call it for tonight and uh let Marty show his last batch here.
>> All right. We'll close out with two. Um, my favorite sacrifice album, Forward Determination.
>> Uh, this thing when this came out, I could not, the whole year of this landed, I could not stop listening to it. Forward Determination, leadoff track closes with Pyroinesis, fast, intense. Uh, obviously they're starting to get a little influenced by Metallica a little bit because Torment and Fire was a little bit more costic.
Um, little more underground sounding Thrash here. Of course, you're on uh a slightly bigger label. Which one was this on? I don't remember. Oh, Metal It's on Metal Blade. They got a bit of a recording budget. There's a lot of low-end in this recording. Really well produced, but still the band fit perfectly within that uh more polished sound production. Great album, great songs, and Show My Age. Don't care. Paul Stanley solo album.
>> Oo, solo.
>> Yeah. Tonight you belong to me starts this off closes with very emotive song.
Goodbye. It's a good song.
Paul sings his ass off on this record.
He just he's given room to not be bothered by any other singers in the band. He can do it all himself on here. The songs are really well done, really heavy at times. So you got Bob Kulich who is uh Bruce Kulick's older brother would have gotten the the job is uh Kiss's guitarist but Ace came in and kind of took stole the show but still Bob stayed in their um stayed in their hemisphere all along. He played on the solos on the the four tracks on the end of Alive Two. He was always in around with them but he was on this all over this album. This is a great record.
It's a great rock record. Hey thanks Miss A. appreciate you.
Um, I love Kiss. I love This is my favorite of the the solo albums. Second being Aces. This is just got has a great production. Really good sound. It's almost kind of a mystical production.
There's something about it. Very 70s, but you know what? Child of the 70s, it's all good. I have a massive tower of CDs here. If it falls, I'm going to be pissed.
And with that, I think we got the job done. Uh, >> we do have one more super chat though to uh shout out. Also, Lee, thank you very much, man.
>> Hey, thanks, Lee. Appreciate you, man.
You guys didn't have to do that super chat for no Peter Chris pickics.
>> Yeah. Yeah.
>> No, Beth.
>> Come on, Beth.
Right on. Well, Ty, thank you so much for joining us.
>> Yeah. Thanks, guys.
>> Had a great time.
>> Nice having you on. And uh if you're new around here, please consider subscribing. And also link to Tai's channel, Living Dead Wax, is in the description. Let's go give him a bump in subs, too. He's right around the 300 mark. Let's get him Let's get him up there. Let's get him rolling.
>> Absolutely. Yep.
>> Anything coming up you want to shout uh promote real quick, Ty, before we pull the plug?
>> Yeah, real quick. I'm going to be doing a uh 96. you guys covered that. But, uh, I like to do like the the decades and anniversaries and get nostalgic. So, I'm doing a 96 episode and talking about my favorite records from that. And then also, I just got this room basically kind of where I enjoy it. So, might do a room tour because for some reason people like those >> and I like those too for weird reasons.
I don't know. I just like >> a voyer. Exact basically. I just like watching people uh what did you actually spend money on, you know? Oh, okay.
Cool. So yeah, that'll be coming up.
Yeah, if anybody wants to check me out, I appreciate it. I appreciate you guys.
Appreciate you guys what you do for the community and running the Discord and all that stuff and the community in there. It's been awesome.
>> Oh, thanks, man. Yeah, we we're we're very lucky. We have an awesome community. You all rule. Thank you so much for >> spending your time with us.
>> Alan, what's going on with uh Let's Talk Metal Tuesday.
>> Don't know, but there'll be a video at 6:45 a.m. on Tuesday like there is every Tuesday. Right on.
>> I've been recording several lately. I haven't picked which one I want to put up for Tuesday, though. So, we'll just have to wait and see. But, I did want to say uh thank you to everybody who's left comments on this past Tuesday's video.
Frank was in the chat earlier. He came up with that particular topic and it's been a very popular one. Folks have really enjoyed it. Uh so, big thank you to Frank. Folks definitely dug that idea. It's been cool reading everybody's comments. It's been a really good conversation all week on that one.
>> Right on. Well, I guess that's it. Uh, next week I don't remember what the album club I can ever remember.
>> I do not know. I missed Wednesday night.
So, I >> It was Logan's pick. Oh, it was a toxic Holocaust album.
>> Um.
>> Oh, okay.
>> Don't know which one it is. Um, but yeah, >> Logan's picks are interesting. You never know which direction he's going to go.
>> It's true. It's true. He keeps it uh keeps you guessing.
>> All right, everybody. Thank you so much.
Go check out Living Dead Wax, everybody in the chat. Go check out the uh Discord server if you are not familiar. Link is in the description. I added that today.
Go click on over there and join the conversation in the community. Great time all week long talking about metal and stuff. So, cheers everybody. We'll see you next week. Have a great weekend.
Bye >> bye. Do you have trouble funding uh tight
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