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Meteora by Linkin Park (CD - 03/25/2003)
 

Meteora by Linkin Park (CD - 03/25/2003)

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Meteora by Linkin Park (CD - 03/25/2003)
"Meteora" (03/25/2003) Heavy Metal Linkin Park, Warner Bros. Records (Record Label)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Enhancements include behind-the-scenes video footage, a screensaver, and weblinks. Linkin Park: Mike Shinoda (vocals, emcee, samples); Chester Bennington (vocals); Brad Delson (guitar, background vocals); Phoenix (bass, background vocals); Rob Bourdon (drums, background vocals); Joseph Hahn (turntables, samples, background vocals). Additional personnel: Joel Derouin, Charlie Bisharat, Alyssa Park, Sara Parkins, Michelle Richards, Mark Robertson (violin); Evan Wilson, Bob Becker (viola); Larry Corbett, Dan Smith (cello); David Zasloff (Shakuhachi flute). Recorded at NRG Studios, North Hollywood, California. "Session" was nominated for the 2004 Grammy Award for Best Rock Instrumental Performance. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Mike Shinoda (vocals, sampler); Chester Bennington (vocals); Brad Delson (guitar, background vocals); Joel Derouin, Mark Robertson , Sara Parkins, Michele Richards, Charlie Bisharat (violin); Evan Wilson, Bob Becker (viola); David Zasloff (shakuhachi); Rob Bourdon (drums, background vocals); Joseph Hahn (sampler, background vocals). Audio Mixer: Andy Wallace. Recording information: Mike's House; MRG Studios, North Hollywood, CA. Perhaps if the cut-'n'-paste remix record Reanimation hadn't appeared as a stopgap measure in the summer of 2002, Linkin Park's second record, Meteora, would merely have been seen as a continuation of their 2000 debut, Hybrid Theory, instead of a retreat to familiar ground. Then again, Reanimation wasn't much more than a way to buy time (along with maybe a little credibility), so it's unfair to say that its dabbling in electronica and hip-hop truly pointed toward a new direction for the group, but it did provide a more interesting listening experience than Meteora, which is nothing more and nothing less than a Hybrid Theory part two. Which isn't to say that Linkin Park didn't put any effort into the record, since it does demonstrate that the group does stand apart from the pack by having the foresight to smash all nu-metal trademarks -- buzzing guitars, lumbering rhythms, angsty screaming, buried scratching, rapped verses -- into one accessible sound which suggests hooks instead of offering them. More importantly, the group has discipline and editing skills, keeping this record at a tight 36 minutes and 41 seconds, a move that makes it considerably more listenable than its peers and, by extension, more powerful, since they know where to focus their energy, something that many nu-metal bands simply do not. (It must be said that there will surely be consumers out there that will question paying a $19.99 retail for a 36-minute-and-41-second record, though some may prefer getting a tight, listenable record at that price instead of a meandering 70-minute mess.) So, it must be said that Meteora does deliver on the most basic level -- it gives the fans what they want, and it does so with energy and without fuss. It's also without surprises, either, which again gives the album a static feeling -- suggesting not a holding pattern for the band, but rather the limits of their chosen genre, which remains so stylistically rigid and formulaic that even with a band who follows the blueprint well, like Linkin Park, it winds up sounding a little samey and insular. Since this is only their second go-round, this is hardly a fatal flaw, but the similarity of Meteora to Hybrid Theory does not only raise the question of where do they go from here, but whether there is a place for them to go at all. ~ Stephen Thomas Erlewine In one of the most highly anticipated follow-ups of recent years, Linkin Park maintains its position at the top of the nu-metal heap with METEORA. The band labored carefully over their craft; for instance, the writing process of leadoff single "Somewhere I Belong" spawned 30 finished choruses before vocalists Mike Shinoda and Chester Bennington arrived at the version found on the album. The combination of Shi

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This Type of Thinking (Could Do Us In) by Chevelle (CD - 09/21/2004)
 

This Type of Thinking (Could Do Us In) by ...

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This Type of Thinking (Could Do Us In) by Chevelle (CD - 09/21/2004)
"This Type of Thinking (Could Do Us In)" (09/21/2004) Heavy Metal Chevelle, Epic (USA)Chevelle: Peter Chevelle (vocals, guitar); Joseph Chevelle (bass guitar); Samuel Chevelle (drums). Personnel: Dave Holdredge (drum programming). Audio Mixer: Andy Wallace. Recording information: Sunset Sound, Hollywood, CA; The Ranch, Chicago, IL. Photographer: Christian Lantry. Chevelle's 1999 debut delighted in darkening the spaces between quiet and jagged scrawl. Peter Loeffler's guitar periodically tore away from the rhythm section's steadying wires, effectively lessening the brotherly trio's reliance on old Tool albums for influence and pace. Then the boys signed with Epic, which naturally trashed the majority of the interesting noise in favor of amplifying Chevelle's Tool-light tendencies. Hit singles followed ("The Red," "Send the Pain Below"), so you can't fully fault the label. But it's that same sound trudging determinedly through This Type of Thinking (Could Do Us In). "Get Some" and "Vitamin R (Leading Us Along)" switch on a gravelly guitar conveyor, powering it with plodding bass and percussion, and Loeffler sings with hurt urgency over it, sounding exactly -- unbelievably -- like Maynard Keenan. Typical phrases singe the ends of his wrangling power-chord punctuations -- "A black out/Touching new life"; "The panic makes remorse." The songs are strong dynamically, but sound predetermined -- they don't separate from the general loud rock malaise. The same goes for the majority of This Type of Thinking. "Panic Prone" does revisit the softer contours of "Send the Pain," and "Another Know It All" lets the rhythm section mix it up a little, even if it just makes Chevelle sound like Korn. But for the most part -- from "The Clincher" through "Emotional Drought" -- This Type of Thinking is flatly mixed, lost in depression, and obsessed with rewriting "Sober" for a new generation of lank-haired misunderstoods. ~ Johnny Loftus Chevelle's 1999 debut delighted in darkening the spaces between quiet and jagged scrawl. Peter Loeffler's guitar periodically tore away from the rhythm section's steadying wires, effectively lessening the brotherly trio's reliance on old Tool albums for influence and pace. Then the boys signed with Epic, which naturally trashed the majority of the interesting noise in favor of amplifying Chevelle's Tool-light tendencies. Hit singles followed ("The Red," "Send the Pain Below"), so you can't fully fault the label. Not surprisingly, it's that same sound trudging determinedly through This Type of Thinking (Could Do Us In). "Get Some" and "Vitamin R (Leading Us Along)" switch on a gravelly guitar conveyor, powering it with plodding bass and percussion, and Loeffler sings with hurt urgency over it, sounding exactly like Maynard Keenan, down to the very inflection. Typical phrases singe the ends of his wrangling power-chord punctuations -- "A black out/Touching new life," "The panic makes remorse." The songs are strong dynamically, even if they sound a bit predetermined for general loud rock acceptance. The same goes for the majority of This Type of Thinking. "Panic Prone" is a departure, revisiting the softer contours of "Send the Pain," and "Another Know It All" lets the rhythm section mix it up a little, even if it makes Chevelle sound like Korn instead of Tool. In general, This Type of Thinking should roundly please fans of Wonder What's Next. ~ Johnny Loftus Following the release of its 1999 debut, POINT #1, Chevelle acquired a more sophisticated sound that can be traced through contributions made to the DAREDEVIL and PUNISHER soundtracks, right up through the metal band's third album, 2004's THIS TYPE OF THINKING (COULD DO US IN). With Peter Chevelle (AKA Loeffler)'s choppy, sinister guitar tones and howling vocals, Chevelle sounds like a distant relative of the Tool/A Perfect Circle family. Throw in the plodding rhythms supplied by his bass-playing brother Joe and their skin-bashing sib Sam, and you have a brooding batch of songs that veers from the moody "The Clincher" and its excellent use of dynamics to the primarily acoustic, but no less compelling, "Bend the Bracket." Not surprisingly, Cheve

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Wonder What's Next by Chevelle (CD - 10/08/2002)
 

Wonder What's Next by Chevelle (CD - 10/08/2002)

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Wonder What's Next by Chevelle (CD - 10/08/2002)
"Wonder What's Next" (10/08/2002) Heavy Metal Chevelle, Epic (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Chevelle: Pete (vocals, guitar); Joe (bass, background vocals); Sam (drums). Recorded at Warehouse Studios, Vancouver, British Columbia. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Audio Mixer: Andy Wallace. Recording information: Warehouse, Vancouver, B. C. Photographers: Harold Edgerton; Chapman Baehler. The title of the sophomore Chevelle disc is actually an apt question, as those following the group through the Chicago underground pondered what group would do on a sophomore disc that came with major-label backing and a move from noise-mensch Steve Albini to star-maker Garth Richardson at the production helm. However, any concerns they might have had are quickly allayed and, by the time the disc is over, forgotten about completely. The trio still reminds you of Tool, but unlike the cloning taking place by the unskilled likes of Earshot, Chevelle take the best part of Tool -- the melodrama and occasional nods to Maynard Keenan's vocal style -- and remove the pretension that the prog-metallers are often found to be indulging in. Chevelle than apply what is left within an indie rock mindset that comes through in spite of the slick production that, try as it might, doesn't allow Wonder What's Next to mimic what's on the radio. This doesn't mean that the disc is lacking good songs; quite the opposite, actually: "The Red," the first single, is a pulsating, emotional track built around a nifty bass riff and an excellent chorus; "Comfortable Liar" settles nicely into a post-Sabbath chug complete with superb percussion, and "Closure" is a power ballad that arm-wrestles between power and ballad with no clear winner, save for the listener. Chevelle managed to retain its credibility yet still put out 11 tracks that, while still catchy, offer uniqueness not often heard in more commercial fare, no mean feat. ~ Brian O'Neill With emotionally charged lyrics and heavy, crunching guitars, Chevelle sounds ready to take the hard rock world by storm. Although this album will fit nicely alongside fellow heavyweights Godsmack and Staind, Chevelle does not concentrate on penning deliberately gloomy compositions. The songs on this debut CD are all well crafted and stand on their own as testament to a band that knows what it wants to accomplish. A lush production brings out the thick sound in every instrument, as well as capturing the haunting, melodic vocals. The soaring vocals seem to be floating above a quagmire of chugging, churning riffs, using hope to stay afloat in a sea of murky sound. At times, an angry, aggressive approach is taken, but by the end of every song, a sign of salvation always remains to redeem all those who made their way through.

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Reanimation by Various Artists/Linkin Park (CD - 07/30/2002)
 

Reanimation by Various Artists/Linkin Park (CD - ...

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Reanimation by Various Artists/Linkin Park (CD - 07/30/2002)
"Reanimation" (07/30/2002) Heavy Metal Various Artists, Warner Bros. Records (Record Label)REANIMATION is an album of remixes of songs from HYBRID THEORY. Linkin Park: Mike Shinoda (vocals, programming, samples); Chester Bennington (vocals); Brad Delson (guitar, bass, background vocals); Phoenix (bass); Rob Bourdon (drums, background vocals); Joseph Hahn (turntables, programming). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. The remix album -- the time-honored tradition of buying time between records. Often, these are inconsequential affairs (Limp Bizkit's New Old Songs leaps to mind, for some reason), but if a band is smart, they can use this time-buying ploy to their advantage, redefining their sound somewhat, or at least reaching out for that elusive street credibility. The latter option is especially true for bands that have a big, big chart hit on their hands but little critical respect or reputation as a hip band. Which brings us to Linkin Park's Reanimation, a generous 20-track remix record of their debut Hybrid Theory that the band has vaguely alluded to as their art project. That means the group has left the hamfisted alt-metal of their debut behind, turning this record over to rappers, remixers, DJs, and assorted producers to give it a darkly hip, electronic edge. This may not be particularly pleasing to those who loved the angst-ridden rock theatrics of the debut, but it's a damn sight more interesting than that debut, helping Linkin Park distinguish themselves from the adolescently tortured rap-rock pack. The paradox is, of course, that the band sounds more original when filtered through the likes of Kutmasta Kurt, Alchemist, Pharoahe Monch, Aceyalone, and Jonathan Davis, among others, but any change is welcome, really (well, apart from the apparent decision to leave grammar and spelling behind; every song title is an "arty" interpretation of the original title -- "Paper Cut" is "Ppr:Kut," "Cure for the Itch" is "Kyur4 th Ich," etc. -- resulting in a silly mish-mash of letters and numerals). Some of this works quite well, some of it is kind of juvenile (really, does Motion Man need to repeat "Linkin Park -- remix" over and over again on his rap?), much of it is only slightly recognizable from the original, it's too long, and compared to contemporary arty rock (Radiohead, Flaming Lips, Clinic, Trail of Dead, System of a Down, Interpol, etc.), it really isn't that arty. But, compared to what they've done before, and compared to their peers, Reanimation is arty and a welcome step in the right direction. ~ Stephen Thomas Erlewine The runaway success of Linkin Park's debut album HYBRID THEORY was a phenomenon the rock world had seldom seen since Guns 'N Roses turned the rock world on it's ear with APPETITE FOR DESTRUCTION. With the band preparing a follow-up, an eclectic assembly of both underground and mainstream contributors de- and re-construct the music of Linkin Park on REANIMATION, under the direction of bandmember Mike Shinoda. While the requisite remixes are present, REANIMATION is not your typical remix album. Black Thought (of the Roots) chops up Linkin Park samples for his own rap spotlight on "X-Ecutioner Style," an approach also taken up on "H! Vltg3" by Pharoahe Monch and Dilated Peoples members Evidence and DJ Babu. "Enth E End" gets reinvented by veteran producer Kurtmaster Kurt, with verses laid down by the up-and-coming MC Motion Man. Korn's Jonathan Davis embellishes "1Stp Klosr" with his slow-boiling intensity, while Staind's Aaron Lewis adds emotive harmony vocals to "Krwling." The enhanced portion of the disc includes a music video for "Pts. Of Athrty," as well as links to an internet tool kit that guides fans in the creation of Linkin Park fan sites.

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Don't Fear the Reaper [Bonus Track] * by Witchery (CD - 03/21/2006)
 

Don't Fear the Reaper [Bonus Track] * by Witchery ...

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Don't Fear the Reaper [Bonus Track] * by Witchery (CD - 03/21/2006)
"Don't Fear the Reaper [Bonus Track] *" (03/21/2006) Heavy Metal Witchery, Century Media Records (USA)Personnel: Johan Larsson (vocals); Sharlee d'Angelo (bass guitar); Martin Axe (drums). Audio Mixer: Tue Madsen. Recording information: Berno Studios, Malmo, Sweden (08/2004). For a band whose style was virtually defined by albums that thrashed at very high speeds from start to finish, Witchery's long anticipated fourth opus, Don't Fear the Reaper, is astonishingly slow. Almost suspiciously so, prompting the usual questions about the feasibility of alien abduction (which the bandmembers would probably happily confirm) and whether their fans will revolt and renege them for having such audacity. Some invariably will, but since most know that Witchery have never taken themselves as seriously as most extreme metal bands, chances are they could probably care less about such minutiae. Especially because, aside from their more moderately paced rhythms, new tracks like "The Ritual," "Damned in Hell," and "Styx" bear all of the other well-known Witchery qualities of wickedly evil melodies intertwined with abnormally clean, catchy riffs, and generally uncomplicated arrangements that make them far easier to digest than the rest of the Scandinavian metal milieu. The song "Ashes" is especially deliberate, but uses unapologetically cartoonish gothic organs to alleviate its visions of cemetery dread, and helps make up for frontman Toxine's unusually somber lyrics this time out. In fact, where his disarmingly fun tales of devilry were often the highlight of previous works, he's seems conspicuously less dominant on Don't Fear the Reaper, leaving the rest of the guys to forge ahead instrumentally across the marshal-percussion driven tandem of "Disturbing the Beast" and "War Piece," and the surprisingly memorable (for an instrumental) "The Wait of the Pyramids," which climaxes in an absolutely massive finale reminiscent of Metallica's "Call of Ktulu." Wrapping up the loose ends, speed fetishists are occasionally given their fix via road racers like "Immortal Death," "Cannon Fodder," and the quite excellent "Plague Rider," while album standout "Stigmatized" masterfully melds the best of both domains. So keep in mind that, at a time when most every other extreme metal band and their grandmothers are boarding the neo-thrash train, it's to Witchery's credit and independence that they choose to head in the exact opposite direction. This and the reality that Don't Fear the Reaper is simply an excellent death metal record should supersede listeners' preconceived expectations. ~ Eduardo Rivadavia For a band whose style was virtually defined by albums that thrashed at very high speeds from start to finish, Witchery's long anticipated fourth opus, Don't Fear the Reaper, is astonishingly slow. Almost suspiciously so, prompting the usual questions about the feasibility of alien abduction (which the bandmembers would probably happily confirm) and whether their fans will revolt and renege them for having such audacity. Some invariably will, but since most know that Witchery have never taken themselves as seriously as most extreme metal bands, chances are they could probably care less about such minutiae. Especially because, aside from their more moderately paced rhythms, new tracks like "The Ritual," "Damned in Hell," and "Styx" bear all of the other well-known Witchery qualities of wickedly evil melodies intertwined with abnormally clean, catchy riffs, and generally uncomplicated arrangements that make them far easier to digest than the rest of the Scandinavian metal milieu. The song "Ashes" is especially deliberate, but uses unapologetically cartoonish gothic organs to alleviate its visions of cemetery dread, and helps make up for frontman Toxine's unusually somber lyrics this time out. In fact, where his disarmingly fun tales of devilry were often the highlight of previous works, he's seems conspicuously less dominant on Don't Fear the Reaper, leaving the rest of the guys to forge ahead instrumentally across the marshal-percussion driven tandem of "Disturbing the Beast" and "War Piece," and the surprisingly memorable (for an instrumental) "The Wait of

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Rust in Peace [Bonus Tracks] [Remaster] by Megadeth (CD - 07/27/2004)
 

Rust in Peace [Bonus Tracks] [Remaster] by ...

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Rust in Peace [Bonus Tracks] [Remaster] by Megadeth (CD - 07/27/2004)
"Rust in Peace [Bonus Tracks] [Remaster]" (07/27/2004) Heavy Metal Megadeth, Capitol/EMI RecordsMegadeth: Dave Mustaine, David Ellefson, Marty Friedman, Nick Menza. Personnel: Dave Mustaine (vocals, guitar); Marty Friedman (guitar); David Ellefson (bass guitar, background vocals); Nick Menza (drums, background vocals). Audio Mixers: Max Norman; Ralph Patlan. Audio Remixer: Dave Mustaine. Liner Note Author: Dave Mustaine. Recording information: Rumbo Recorders. Editor: Lance Dean. Photographers: Annamaria DiSanto; Peter Cronin; Eddie Malluk; Gene Kirkland; Neil Zlozower. A sobered-up Mustaine returns with yet another lineup, this one featuring ex-Cacophony guitar virtuoso Marty Friedman and drummer Nick Menza, for what is easily Megadeth's strongest musical effort. As Metallica was then doing, Mustaine accentuates the progressive tendencies of his compositions, producing rhythmically complex, technically challenging thrash suites that he and Friedman burn through with impeccable execution and jaw-dropping skill. Thanks to Mustaine's focus on the music rather than his sometimes clumsy lyrics, Rust in Peace arguably holds up better than any other Megadeth release, even for listeners who think they've outgrown heavy metal. While the whole album is consistently impressive, the obvious highlight is the epic, Eastern-tinged "Hangar 18." ~ Steve Huey After the success of PEACE SELLS?BUT WHO'S BUYING? in 1986 and SO FAR, SO GOOD, SO WHAT! in 1988, Megadeth was fast becoming one of thrash metal's leading outfits. However, the band's hard work was nearly derailed because of the continuous dismissals of band members and chronic substance abuse. Founding members Dave Mustaine (guitar/vocals) and Dave Ellefson (bass) changed their ways before work on their fourth album began, hiring drummer Nick Menza and ex-Cacophony guitarist Marty Friedman. When Megadeth re-emerged with RUST IN PEACE in 1990, metalheads were happy to hear that the changes hadn't dulled their attack in the slightest. "Holy Wars?The Punishment Due" is an absolutely crushing opener that shows off the technical expertise of the musicians, while "Hangar 18" covers the familiar ground of alien visitation and government conspiracy. Both videos were put in heavy rotation on MTV's Headbanger's Ball program, which helped land the band a spot on the successful heavy 'Clash of the Titans' tour with Anthrax, Slayer, and Alice In Chains. Other highlights include the heavy hitters "Five Magics," "Lucretia," and "Rust in Peace?Polaris." The remixed and remastered Megadeth albums released in 2004 aren't your typical cash-ins. They're stark improvements over the originals: group leader Dave Mustaine did the remixing and remastering himself, making especially significant revisions to the earlier albums, and he includes insightful liner notes for each reissue, including track-by-track commentary for the bonus tracks, as well as lyrics and period photos. The reissue of Rust in Peace improves upon the already impressive original mainly in terms of sound quality. The remixed and remastered production sounds more dynamic and forceful -- important attributes when it comes to thrash metal like this. As far as the album itself goes, there's not much to improve upon. Rust in Peace was great to begin with and was a huge step forward for Megadeth. The album's predecessor, So Far, So Good...So What!, had been a success, both commercially as well as among the band's then-growing fan base, yet it had its flaws, chiefly in terms of songwriting -- some great songs, some not-so-great songs, an overall sense of inconsistency. Contrarily, Rust in Peace is anything but inconsistent; in fact, if the album has one fault, it's that it's too consistent, with many songs sounding overly similar to one another. Most notably, Rust in Peace opens with the back-to-back "Holy Wars...The Punishment Due" and "Hangar 18," beyond doubt the most accomplished songs yet recorded by Megadeth. And wow, these songs sound better than ever here on the reissue! The successive ones aren't big departures from what Mustaine and company (featuring two new members: guitarist Marty Friedman and drummer Nick Menza) accomplish w

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Prince Of Darkness [Box] [3/22] *
 

Prince Of Darkness [Box] [3/22] *

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Prince Of Darkness [Box] [3/22] *
"Prince of Darkness [Box]" (03/22/2005) Rock & Pop Osbourne, Ozzy, Epic (USA)Includes a 60 page book. Personnel: Ozzy Osbourne (vocals); Ozzy Osbourne; Ian Hunter, Kelly Osbourne (vocals); Jim Vallance (guitar, keyboards, drums); Jake E. Lee (guitar, background vocals); Joe Holmes, Jerry Cantrell, Leslie West, Nuno Bettencourt, Randy Rhoads , Robert Randolph , Steve Lukather, Tim Pierce, Warren DeMartini (guitar); Don Airey, John Sinclair, Michael Railo (keyboards); Mike Bordin (drums, percussion, gong); Tommy Aldridge (drums); Bob Daisley (background vocals); Dweezil Zappa, Zakk Wylde (guitar); Randy Castillo (drums); DMX, Fuzzbubble, Geezer Butler, Infectious Grooves, Miss Piggy, Mot?rhead, Ol' Dirty Bastard, Primus, Crystal Method, Therapy?, Tony Iommi, Type O Negative, Was (Not Was), Wu-Tang Clan, Black Sabbath. Audio Mixers: Dweezil Zappa; Bruce Sugar. Liner Note Author: Ozzy Osbourne. Photographers: Dennis Keeley; William Hames; Mark Weiss; Annamaria DiSanto; David Daoud Coleman; George Chin; Ross Halfin; Scott Seiner; Jorgen Angel; Sam Taylor-Wood; Fin Costello; Nitin Vadukul; Gene Kirkland; Neil Zlozower; Jeanette Wright Black. Arrangers: Dweezil Zappa; Steve Dudas. It's surprising that with all of the media attention aimed at Ozzy Osbourne, the self-crowned "Prince of Darkness," since his debut as the perpetually numb rock star dad on The Osbournes, it took so long for his incredibly savvy marketing-machine/wife to put out a proper box set. Prince of Darkness is problematic from the get-go; here you have an artist who fronted one of the world's most influential and coveted heavy metal bands and put out a string of excellent solo albums and singles, then went on television and became the world's most gawked-at wreck on the pop culture highway since Michael Jackson turned white and hijacked Diana Ross' nose. The four-disc set aims to satisfy fans of both Osbourne personas. Discs one and two storm through the singer's '80s and '90s solo heydays with an emphasis on previously unreleased live recordings ("Goodbye to Romance"), B-sides ("Spiders"), as well as classics like "Flying High Again" and "Crazy Train." Disc three is a compilation of bizarre collaborations with everyone from Kim Basinger ("Shake Your Head [Let's Go to Bed]") to Miss Piggy ("Born to Be Wild") to Dweezil Zappa ("Staying Alive") that culminates in an oddly affecting ballad ("I Ain't No Nice Guy") with Mot?rhead mouthpiece Lemmy Kilmister. Disc four features newly recorded covers, some that work (King Crimson's "21st Century Schizoid Man" and Mountain's "Mississippi Queen" were tailor-made for Osbourne's wily vocal style) and some that don't ("For What It's Worth" and "All the Young Dudes," the latter featuring a very manic Ian Hunter guest vocal that sounds more like an old man stuck in his bathroom than it does a rowdy call to arms). Osbourne states in the beginning of the impressive 40-page booklet that he "wasn't terribly happy about the prospect of repackaging and reissuing another compilation of the same songs you can get on another one of my albums," and the care that's been put into heeding his sentiments is apparent throughout, but one has to wonder whether or not it's fair to the man himself, as his slow climb to the throne has seen him go from mad pauper to prince of darkness to a sad and clueless king. ~ James Christopher Monger It's surprising that with all of the media attention aimed at Ozzy Osbourne, the self-crowned "Prince of Darkness," since his debut as the perpetually numb rock star dad on The Osbournes, it took so long for his incredibly savvy marketing-machine/wife to put out a proper box set. Here you have an artist who fronted one of the world's most influential and coveted heavy metal bands and put out a string of excellent solo albums and singles, then went on television and became the world's most gawked-at wreck on the pop culture highway since Michael Jackson turned white and hijacked Diana Ross' nose. The four-disc set aims to satisfy fans of both Osbourne personas. Discs one and two storm through the singer's '80s and '90s solo heydays with an emphasis on previously unreleased live recording

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Perpetual Motion by Old Dead Tree (CD - 09/06/2005)
 

Perpetual Motion by Old Dead Tree (CD - ...

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Perpetual Motion by Old Dead Tree (CD - 09/06/2005)
"Perpetual Motion" (09/06/2005) Heavy Metal Old Dead Tree, Season Of Mist (USA)Old Dead Tree: Manuel Munoz (vocals, guitar); Nicolas Chevrollier (guitar); Vincent Danhier (bass guitar); Franck Metayer, Foued Moukid (drums). French metal outfit the Old Dead Tree are a peculiar blend of progressive rock concepts, death metal dynamics and surprisingly pop-oriented tunes. The song titles posit the tunes as an introduction (the metalcore growler "Out of Breath") followed by three song cycles of interconnected tunes collectively known as "The Lost Boy," "Down" and "The Sad Fairytale." The story lines, if any, are obscure enough to be safely ignored in favor of paying closer attention to how the quartet blend the instrumental attack of European black metal to Manuel Munoz's unaccented and oddly sweet-toned emo-kid vocal styles. (Even at those points where Munoz affects a death metal growl, he sounds like an enthusiastic teenager aping his heroes.) The results are too melodic and pop-oriented to qualify as screamo, but the musical assault may be slightly too hardcore to appeal to the average Hot Topic shopper. For anyone finding themselves somewhere in the middle between Hawthorne Heights and Children of Bodom, however, Perpetual Motion is an unexpectedly good time. ~ Stewart Mason

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They're Only Chasing Safety by Underoath (CD - 06/15/2004)
 

They're Only Chasing Safety by Underoath (CD - ...

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They're Only Chasing Safety by Underoath (CD - 06/15/2004)
"They're Only Chasing Safety" (06/15/2004) Heavy Metal Underoath, Solid StateUnderoath: Spencer Chamberlain (vocals); James Smith, Timothy McTague (guitar); Christopher Dudley (keyboards); Grant Brandell (bass guitar); Aaron Gillespie (drums, background vocals). Whether you describe this type of alternative rock as screamo, post-hardcore, or melodic hardcore, albums like They're Only Chasing Safety are all about contrasts -- heaven contrasting with hell, melody contrasting with sledgehammer brutality, "normal" singing (whatever "normal" is) contrasting with tortured, agonized, death-all-over-your-face screaming. This screamo/post-hardcore/melodic hardcore approach is quite different from full-fledged metalcore; while metalcore units like Hatebreed, Brick Bath, and Finland's notoriously ferocious Rotten Sound go right for the jugular, Underoath and similar bands prefer to mix honey with vinegar. Overall, the Tampa, FL, residents do a decent job of integrating the honey and the vinegar on They're Only Chasing Safety, which is their first album since Spencer Chamberlain replaced Dallas Taylor as lead singer. After Taylor's departure in 2003, some fans had strong reservations about Underoath carrying on without him. But Chamberlain has no problem taking over the lead vocalist spot on this 2004 release, and he seems to have a firm grasp of the sort of good cop/bad cop and heaven/hell contrasts that characterize a screamo disc like They're Only Chasing Safety. Of course, the screamo aesthetic is hardly unique to Underoath; anyone who has spent time listening to Nora, From Autumn to Ashes, Hopesfall, or School for Heroes will see the parallels between Underoath and those bands. But lyrically, one thing that separates Underoath from other screamo outfits is their Christian orientation. Not that the Floridians beat listeners over the head with Christianity -- if anything, their Christian references are subliminal on this CD, which explains why secular audiences have been receptive to them. They're Only Chasing Safety is mildly uneven -- some of the tunes hold up better than others -- but more often that not, it's a respectable outing from this post-Taylor edition of Underoath. ~ Alex Henderson Any listener still under the impression that Christian music is strictly light and positive need only listen to a few moments of Underoath's THEY'RE ONLY CHASING SAFETY before realizing that the Lord works in mysterious, and in this case, uncompromisingly rocked-out, ways. The first and most obvious clue that indicates a break with the original CCM soft-pop sound is frontman Spencer Chamberlain's throat-shredding vocal style. With most lyrics emitted in a manner more reminiscent of Morbid Angel than Margaret Becker, the singer makes even Christian-metal masters Pillar and P.O.D. sound tame in comparison. The remaining members of Underoath deal in powerfully direct emo-core, replete with dissonant guitar chords, hyper-speed drumming, and complex rhythmic patterns. Even close examination of THEY'RE ONLY CHASING SAFETY's lyric sheet provides few obvious signs of the band's religious inclinations. That said, the intensity with which Underoath imbues its music is a perfect reflection of the unwavering commitment necessary for an active faith.

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Where Were You When: 1989-1995 * by Human Remains (CD - 01/01/2006)
 

Where Were You When: 1989-1995 * by Human Remains ...

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Where Were You When: 1989-1995 * by Human Remains (CD - 01/01/2006)
"Where Were You When: 1989-1995 *" (01/01/2006) Heavy Metal Human Remains, Relapse Records (USA)Human Remains includes: Paul Miller (vocals); Steve Procopio, Jim Baglino (guitar); Ted Patterson, William Carl Black (bass); Dave Witte (drums). This double CD compiles everything ever released by the influential New Jersey grindcore band Human Remains. Disc one contains all the officially released material -- two 7"s, the Using Sickness as a Hero CD EP, and one compilation-only track -- while disc two brings together 18 demo tracks, including versions of most of what's on disc one as well as seven songs that didn't ever officially get released. The demos are, as expected, rougher around the edges, but for fans it's interesting to hear how Human Remains evolved and improved over the years, especially from 1990 to 1992, and how the band constantly reworked certain songs throughout its career. (There are three different demo versions of "Human" alone, and two versions each of "Rote" and "Mechanical," so scholars will have something to keep themselves busy.) Still, the main attraction is disc one, not only for the out of print Using Sickness, but also for the compilation-only track, "Spoiling of Beauty" (which turns out to be one of their best songs, with the best sound quality and some of their most interesting guitar work). The six tracks that come from the two 7"s (both of which predated Using Sickness) are more raw, a little less experimental, and a little heavier on the straightforward grindcore, but they're still unorthodox and in keeping with the overall Human Remains hybrid sound of grindcore meets hardcore meets dissonant death metal. The only slight disappointment with this set is that there isn't more specific information about the original recordings (dates, record labels, album art, etc.). That minor complaint aside, this is still obviously the CD to buy for anyone interested in Human Remains, and it's also recommended for anyone interested in grindcore or more experimental death metal. ~ William York

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Greatest Hits, Vol. 1 [Edited] by Korn (CD - 10/05/2004)
 

Greatest Hits, Vol. 1 [Edited] by Korn (CD - ...

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Greatest Hits, Vol. 1 [Edited] by Korn (CD - 10/05/2004)
"Greatest Hits, Vol. 1 [Edited]" (10/05/2004) Heavy Metal Korn, Epic (USA)Initial pressings includes bonus DVD. Korn: Jonathan Davis (vocals, bagpipe); Brian Welch, James Shaffer (guitar); Fieldy (bass guitar); David Silveria (drums). A decade after changing the metal landscape drastically with their self-titled debut juggernaut, Korn got the best-of treatment just as their standing began to seem increasingly shaky, commercially at least. Greatest Hits, Vol. 1 sadly isn't the disc it ideally could be, but it nonetheless summarizes how steady Korn were over the years, developing their sound oh so slightly from one album to the next and, in the process, coming up with several unquestionably killer songs every go-round. The band's six full-lengths resulted in enough of those killer songs to fill this best-of to the brim; in fact, there are quite a few more that could have been compiled here if there were more space on this single-disc release (a double disc would have been definitive). As it stands, however, practically every song here is a highlight in and of itself, with the sole exceptions of the below-par "Alone I Break" and a pair of album-opening covers: Cameo's "Word Up!" and Pink Floyd's "Another Brick in the Wall, Pts. 1-3." These newly recorded covers are here undoubtedly to bait the legions of Korn fans who already own all the band's albums but are loyal enough to purchase this best-of as a way to hear these songs. And yes, they're quite curious, so much so that you'll want to give them a listen if you're a fan (download them, though -- they're curious, no doubt, but certainly not worth the price of this disc alone). The band's "Word Up!" cover is awesome, and the Pink Floyd cover is overwrought, yet enticingly so. Then again, these two songs are so well known that you have to wonder, what's the point? Like Korn's previous cover of Metallica's "One," though, the point seems to be one of curiosity rather than one-upmanship. In any event, these covers aren't the best way to start off this best-of -- not at all -- nor is the reverse chronological sequencing ideal. Because Korn developed their sound over the years, even if only slightly, it'd have been better to map out that progressive trajectory here, rather than hear the band regress from the elaborate, theatrical bombast of their later albums to the stripped-down naked rawness of their fierce debut. These quibbles aside, it's worthy stating again that nothing but great songs are featured here. If you're new to Korn, the most influential and successful metal band of the '90s, this disc should blow you away -- that is, assuming you're a fan of extreme music with a dark, disturbing edge. But if indeed you're new to Korn, you'd be better off skipping over this best-of and heading straight for their self-titled debut (their one undisputed classic), and then moving chronologically forward through the band's catalog. Each album stands well on its own, albeit some better than others, and here you're only getting the tip of each iceberg. If money is a concern, however, and you can only afford one Korn disc for your collection, don't think twice about picking up Greatest Hits. You won't be disappointed. No chance of that. Plus, there's a bonus DVD here of Korn's 2003 show at CBGB's that will give you a good taste of what the band is like live. ~ Jason Birchmeier GREATEST HITS VOL. 1 is a 17-track primer for Korn, a key force behind the "nu metal" tsunami that swept through pop music in the mid-to-late 1990s. Led by frontman (and former coroner's assistant) Jonathan Davis, these California natives weave low-tuned guitars, hip-hop-fueled bass lines, and bleak imagery into memorable songs like the bile-fueled stomp-fest "Right Now," goth-tinged "Alone I Break," and frenetically raw "Freak on a Leash." Davis's struggle with family dysfunction is a consistent theme, from the band's self-titled 1994 debut (a foreboding "Clown"), right up through 2003's TAKE A LOOK IN THE MIRROR (an uber-heavy "Did My Time"). Korn also keeps pace with peers Marilyn Manson and Limp Bizkit (who both recorded unlikely covers) by adding a pair of new tracks--a faithful rea

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10,000 Days [5/2]
 

10,000 Days [5/2]

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10,000 Days [5/2]
"10,000 Days" (05/02/2006) Rock & Pop Tool, Volcano 3Tool: Danny Carey, Adam Jones , Justin Chancellor, Maynard James Keenan. Audio Mixer: Joe Barresi. Recording information: Grandmaster, Hollywood, CA; O'Henry, Burbank, CA; The Loft, Hollywood, CA. Animation: Ray Zone. Illustrator: Alex Grey. Photographer: Travis Shin. To its legion of fans, everything the band Tool does is an event, but the elaborate plan behind their sporadic release schedule--roughly five years, on average, between albums--is due primarily to the time and effort the band packs into each successive effort. To title their fourth album 10,000 DAYS, then, isn't as much an exaggeration as it would seem. Tool are America's most consummate mainstream perfectionists, revitalizing progressive rock to the grandeur of its '70s heyday, but updated with technocratic tension and existential dread not known to previous generations. Perhaps it's the development of more musical genres at the turn of the millennium, but it's also Tool's ability to take what is needed from each and leave the florid excesses behind, forming a seething gray core of angst and release across epic-length songs that are as accessible as they are complex. The material on 10,000 DAYS provides typically thought-provoking grist for the band's lyrical handwringing ("Vicarious" tackles reality television as the bane of culture; "Wings for Marie" is a two-part suite on the death of vocalist Maynard James Keenan's mother), and is as musically engaging as ever, finding the band at their most powerful since 1996's AENIMA. In an age where major labels dictate that new releases from bands appear on record store shelves every 18 months or so, rare is the artist given freedom and ability to reflect and stretch out to explore creative evolution and release music as an artist, rather than the prepackaged predictability of an entertainer. Thankfully, Tool has somehow managed to circumvent these rituals, releasing a record every four to five years as they so feel the need. This ability to patiently craft their musical direction has paid off for not only the band, but for listeners, as they've been able to expand their musical vocabulary from album to album with great precision, all the while remaining true to the foundations that built such a loyal, if not cult-like, following. But with this absence comes changes to the popular music landscape, as new bands and sounds (as well as a new generation of heavy metal fans to entertain) replace and stimulate the charts. Namely: a lot can happen in five years, especially with a fickle rock audience that is overinundated with constant new bands' songs. The group defied expectations (and even got radio airplay) with Lateralus, but would fans stick with them during the hiatus? There were moments when Maynard James Keenan would emerge courtesy of A Perfect Circle, and there were also several stunning video DVDs to pacify while 10,000 Days was being written, along with cryptic messages via their website, but that was about it. Thankfully, 10,000 Days was worth the labor pains and wait to deliver. It's not only a step forward for the band, but a re-embracing of the epic-length rock songs found at the roots of early heavy metal. The album starts out with "Vicarious," which features some of Maynard's most straightforward lyrics since ?nema's "Hooker with a Penis." Essentially a biting commentary on reality television, information stimulus overload, and living through others' experiences, it's only a brief glimpse of what's to come, as 10,000 Days also offers some of Keenan's most confessional lyrics. The 17-minute epic "Wings for Marie/10,000 Days" is an ode to his mother, who passed away during the band's hiatus after dealing with paralysis from a stroke for 27 years. In a way, it's voyeuristic to listen to someone working out family issues on disc, but Keenan does it in a way that's sensitive and honest without ever treading the careful line between melodrama and sincerity. Most of the songs are a bit long in the tooth when compared to most metal songs these days, but then again, Tool isn't exactly just another band, either.

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Master of the Rings [Expanded] by Helloween (CD - 05/16/2006)
 

Master of the Rings [Expanded] by Helloween (CD - ...

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Master of the Rings [Expanded] by Helloween (CD - 05/16/2006)
"Master of the Rings [Expanded]" (05/16/2006) Heavy Metal Helloween, Sanctuary (USA)All tracks have been digitally remastered. Personnel: Roland Grapow (vocals, guitar); Andi Deris (vocals); Michael Weikath (guitar); Uli Kusch (drums); Jorn Ellerbrock, Tommy Hansen (programming). Audio Mixer: Tommy Hansen. Liner Note Author: Dave Ling. Recording information: 1994. During Helloween's up-and-down recording career, fans learned to expect the unexpected. The band's songwriting and musical/thematic commitment could not always be relied upon, and the depths to which Helloween could sink were never more obvious than during the mid-'90s. During this period, the band most notoriously dumped two absolute clunkers (the ludicrously titled Pink Bubbles Go Ape and the mellowed-out Chameleon) on a large and unsuspecting metal fan base. The combined failure of these two records prompted the departure of longtime vocalist Michael Kiske and a strategic retreat by the remaining members of the group. While 1996's The Time of the Oath is generally considered the real Helloween comeback record, Master of the Rings (released a year previously) marked the actual return to metal form. "Perfect Gentleman" (the best of four singles taken from Master of the Rings) is a melodic metal highlight, as are "Where the Rain Grows" and "The Game Is On." New vocalist Andi Deris displays all the personality and skill needed to replace a near legend, and the other bandmembers grind out their riffs with efficiency. Not quite as polished or confident as The Time of the Oath, Master of the Rings still has its own appeal, and should satisfy power metal fans looking to round out their Helloween collections. [Master of the RIngs was reissued in 2006 in an expanded edition that included bonus tracks.] ~ Vincent Jeffries During Helloween's up-and-down recording career, fans learned to expect the unexpected. The band's songwriting and musical/thematic commitment could not always be relied upon, and the depths to which Helloween could sink were never more obvious than during the mid-'90s. During this period, the band most notoriously dumped two absolute clunkers (the ludicrously titled Pink Bubbles Go Ape and the mellowed-out Chameleon) on a large and unsuspecting metal fan base. The combined failure of these two records prompted the departure of longtime vocalist Michael Kiske and a strategic retreat by the remaining members of the group. While 1996's The Time of the Oath is generally considered the real Helloween comeback record, Master of the Rings (released a year previously) marked the actual return to metal form. "Perfect Gentleman" (the best of four singles taken from Master of the Rings) is a melodic metal highlight, as are "Where the Rain Grows" and "The Game Is On." New vocalist Andi Deris displays all the personality and skill needed to replace a near legend, and the other bandmembers grind out their riffs with efficiency. Not quite as polished or confident as The Time of the Oath, Master of the Rings still has its own appeal, and should satisfy power metal fans looking to round out their Helloween collections. [Master of the Rings was reissued in 2006 in an expanded edition that included bonus tracks.] ~ Vincent Jeffries

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Carnival Of Souls: The Final Sessions [5/24]
 

Carnival Of Souls: The Final Sessions [5/24]

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Carnival Of Souls: The Final Sessions [5/24]
"Carnival of Souls: The Final Sessions" (05/24/2005) Rock & Pop Kiss, Universal Special ProductsKiss: Paul Stanley, Bruce Kulick (vocals, guitar); Gene Simmons (vocals, bass); Eric Singer (drums). Producers: Toby Wright, Gene Simmons, Paul Stanley. Recorded at Music Grinder Studios, Hollywood, California. Kiss: Eric Singer, Gene Simmons, Paul Stanley, Bruce Kulick. Personnel: Paul Stanley, Bruce Kulick (vocals, guitar); Gene Simmons (vocals); Eric Singer (drums). Audio Mixer: Toby Wright. Recording information: Music Grinder Studios, Hollywood, CA. Photographer: William Hames. Unknown Contributor Roles: Paul Stanley; Gene Simmons. Before Gene Simmons and Paul Stanley reunited with Ace Frehley and Peter Criss, they recorded Carnival of Souls with guitarist Bruce Kulick and drummer Eric Singer, intending to release the record either in late 1995 or early 1996. Once the reunion took off, Carnival of Souls was shelved and Kulick and Singer were unceremoniously given their walking papers, the final chapter of their history erased from public record. Unsurprisingly, the unreleased album became a hot bootleg in collector's circles, paving the way for its official release in the fall of 1997. ~ Stephen Thomas Erlewine Before Gene Simmons and Paul Stanley reunited with Ace Frehley and Peter Criss, they recorded Carnival of Souls with guitarist Bruce Kulick and drummer Eric Singer, intending to release the record either in late 1995 or early 1996. Once the reunion took off, Carnival of Souls was shelved and Kulick and Singer were unceremoniously given their walking papers, the final chapter of their history erased from public record. Unsurprisingly, the unreleased album became a hot bootleg in collector's circles, paving the way for its official release in the fall of 1997. In some ways, it should have stayed unreleased, since Carnival of Souls hardly captures Kiss at their best. None of the songs, either the predictable rockers or the by-the-book power ballads, stand out, and the music sounds canned, forced, and over-produced, with little of the self-deprecating humor that made the comeback tour a success. Only the dedicated -- who probably already own it on bootleg -- will have the patience to wade through the record to find the few minor items of worth. ~ Stephen Thomas Erlewine CARNIVAL OF SOULS is the last studio recording with Bruce Kulick and Eric Singer before the return of original members Ace Frehley and Peter Criss. Despite a 1996 press conference on the U.S.S. Intrepid that announced Bruce Kulick and Eric Singer were on a "paid temporary vacation," the two were dismissed months later after a reunion tour of the original make-up clad members proved wildly successful. As the sub-heading states, CARNIVAL OF SOULS is the last recorded efforts of Kulick and Singer with Gene Simmons and Paul Stanley. Drawing on music trends started as far back as the lean times of the '80s, CARNIVAL finds Kiss putting together a sound that draws from the dirge of Alice In Chains and the crunch of old-school Metallica. Much more somber than prior Kiss albums, nihilism runs rampant on songs such as "Hate" and "I Walk Alone." The mid-paced tempos of "Childhood's End" and "I Will Be There" inject some variety into a mix that includes Middle Eastern guitar phrasing in "Seduction Of The Innocent." In addition to Kulick flexing his instrumental muscles, two songs he co-wrote, "In The Mirror" and "I Walk Alone," feature lead vocals by him for the first and what turned out to be the last time on a Kiss album.

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Heavy Metal Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Heavy Metal Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Meteora by Linkin Park (CD - 03/25/2003) - This Type of Thinking (Could Do Us In) by Chevelle (CD - 09/21/2004).