Judas Priest and the New Wave of British Heavy Metal or (NWOBHM) took me by storm back in the Summer of 1982. Honestly, I was aware of the “British Steel” album from Judas Priest then, yet nowhere near Metal schooled about this band as I should have been. It was in 1982 when I was beginning to delve deeper into the world of Heavy Metal… Judas Priest basically opened the gates of Metal for me to enter… and enter I did. I have never looked back. Of course, after my very first listen to my buddies “Screaming for Vengeance” album, I rushed over to my nearest Caldor department store and bought my own copy. This album then had me salivating for more of “The Priest”. In short time I owned every available album from this mighty band, choosing “Stained Class” to be my favorite all time Judas Priest album – this opinion stands Metal tall to this very day. This “Screaming for Vengeance” album initiated me to own the entire catalog of Judas Priest, it initiated me to seek out and enjoy more Metal bands and their powerful music. Judas Priest was the Metal band, this was the Metal album that had me realize that Metal was to be my life long favorite music genre. Metal case closed.
Without question, as I look back now, “You’ve Got Another Thing Comin'” was the break out, commercial success song, that was instrumental in carving Judas Priest into the Metal giant and Rob Halford into the Metal God of today. That is cool with me, this song was necessary for Judas Priest to break into the hum drum FM radio environment, that was existing back in 1982. When I first heard “You’ve Got Another Thing Comin'”, it was as if my entire body went on an adrenaline trip that was truly foreign to me. All I can remember is – I never felt such intensity envelope my body and mind like this song did. And to think, if this song riveted me in such a manner, what did listening to the rest of this album do to my senses? It was Heavy Metal euphoria, back in 1982. To be perfectly clear, this album was Heavy Metal 101 for me. Before “Screaming for Vengeance” was discovered by me, Kiss, Cheap Trick, AC/DC and Foreigner were the heaviest bands I ever listened to.
There absolutely is no other one-two Metal punch in existence, like “The Hellion” and “Electric Eye”. This is my Metal opinion, of course. Still, the intro of “The Hellion”, which drives its forceful Metal path straight into “Electric Eye”, is the ultimate Metal high for me. The song “Screaming for Vengeance” is by far, the heaviest Judas Priest song ever, in my Metal opinion. “(Take These) Chains” is equivalent to having a breather on this ferocious album, the pace of the song with its accessible melody, is a notable Metal pit stop.
Not to sound bland here, there really is not a single song on this album that should not be praised. “Screaming for Vengeance” was my gateway to all of the vintage Black Sabbath, Deep Purple, Iron Maiden and countless other 1970’s to early 1980’s Heavy Metal and Hard Rock bands, all of whom wrote the map for us Heavy Music fans to follow. I bought the ticket to Metal back in 1982, it was “Screaming for Vengeance”. This album still screams Metal for me in 2009.
*”Screaming for Vengeance” was released on July 17, 1982. Judas Priest, as they appeared on “Screaming for Vengeance”: Rob Halford on vocals, K.K. Downing on guitar, Glenn Tipton on guitar, Ian Hill on bass guitar and Dave Holland on drums. I never would have realized, twenty-seven years ago, that I would be regarding this album as having the Metal impact on me that it did and still does. Long live “The Priest”.
I am a lifelong Kiss fan, guilty of admiring a Heavy Metal band that has influenced the genre of Metal both musically, theatrically and of course… commercially. Out of the entire Kiss catalog of Heavy Metal, there has to be my favorite album of all time… my choice of favorite Kiss album seems to change yearly. (Oh well, that is my Metal dilemma I have to live with). As of today, Sunday, July 26, 2009, my favorite Kiss album of all time is “Creatures Of The Night”, (released in 1982). This Kiss album came out after “The Elder” album, making for quite the triumphant, Heavy Metal return. When I first heard the song “I Love It Loud”, man, was I ever psyched out of my Metal mind! I was serving time in High School when this album released, having this Kiss song to play loud back then was true innocent rebellion. Playing this song and the entire “Creatures Of The Night” album loud today, well, is just because I want to and can. (No more rebellion is left in my system… I think). 
Cheap Trick, “The Latest” may just very well be the album that proves this band has elevated themselves beyond the Rock Legends status. It is in my Metal opinion, Cheap Trick has become deserving of being called – Music Legends. Once again, Cheap Trick has not tried to reinvent themselves, instead they have created thirteen new songs that justifies their Rock and Roll existence and legendary status. What Cheap Trick has proven to me, with “The Latest”, is that I can marvel at this band and also learn a valuable lesson about life… the lesson of never giving into complacency. The last three Cheap Trick studio albums including “The Latest” is as strong a Rock Music achievement as I could ever hear. This band is just knocking out some of the greatest albums of their career, this decade alone.
Armored Saint is an Old School Heavy Metal band, a band that proved to me years ago, they were all about Metal. One listen to any album from the Armored Saint catalog and one will understand what I mean about all Metal. One album in particular, that really drives the message home as to the serious Heavy Metal Music that Armored Saint delivers is “Revelation”, (released on March 7, 2000, on Metal Blade Records). I bought this album as exactly such… on vinyl. This album is a twelve song, two record set, with three songs per side of each album. There still is a cool Metal rush I experience when holding onto an actual record, placing it on a turntable, then letting the Heavy Metal roar. Armored Saint does exactly that, they storm out of the Heavy Metal gates on “Revelation”, this album sets me on the Metal path I belong on. It is going on ten years since this album was released, yet the Heavy Metal that blasts from “Revelation”, is just as exhilarating as any new Metal music releases I have heard lately.
Rainbow was and still is one of the Hard Rock/Heavy Metal bands that I look upon with Metal reverence. The song writing, lyrics, musicianship, melodies, well, I could go on forever about why I have liked this band so much. Guitarist Ritchie Blackmore, in my Metal opinion, is a guitar legend, both with Deep Purple and Rainbow. Ritchie Blackmore collaborated with lead vocalist Joe Lynn Turner on a few releases, back in the 1980’s. “Bent Out Of Shape” is one of those albums they created, writing nine out of the ten songs together. “Bent Out Of Shape” can be taken as a commercial Hard Rock statement, only It is difficult for me to define this album as such. My standards for commercial Rock or Hard Rock/Heavy Metal definitely differ from other peoples standards. I need to hear consistent sappy ballads and/or radio – bubble gum – friendly songs before my stamp of commercialism is placed on an album. In other words, I feel “Bent Out Of Shape” is one mighty, melodic, Hard Rock album. Honestly, I have no problem with labeling “Bent Out Of Shape” as a Heavy Metal album. This album was released in 1983, the heaviness of Rainbow for back then, easily gave this band the label of Heavy Metal.
Journey, the Rock icon of a band. Journey “Evolution”, an album that is now referred to as a Classic Rock masterpiece… by me anyways. What else can one say about this incredible Rock album? Quite a bit can actually be said, this album established Journey, solidified them atop the Rock Music world for many, many, years. There could never be another Steve Perry, his vocals alone gave Journey their signature sound. In my opinion, there are lead singers that have vocals so breathtaking, they are the most important musical instrument in their respective band. I had felt this way about Steve Perry, with his years with Journey. Steve Perry’s vocals can never be duplicated, nor will he ever be forgotten by me as the lead singer for Journey. I will always appreciate Journey as the band they are today too. With that said, this is an article where I am celebrating the brilliance of a moment in time, one that can be listened to time and again, that moment was Journey’s “Evolution”, (released in 1979).
Back in 1980, I was enthralled by 38 Special. That year, I went to the Caldor Department Store and bought the 45 rpm of the hit single – “Rockin’ Into The Night”. I was in eighth grade with not too much cash in my pocket, still I always held onto enough dough to buy my 45’s. My parents were on an extremely fixed budget, therefore, I could not coax too many higher priced albums from them back then. That was fine, I was always grateful for what my parents could afford to give me. Besides, I more often than not, earned my records from doing yard work and cleaning up the house. That 38 Special 45 rpm was played by me continuously. “Rockin’ Into The Night” was my song back in 1980, no one else’s, (or so I thought). The truth of the day is, I did not buy the actual album “Rockin’ Into The Night” until decades later. Man, what was I thinking? The 45 rpm I had from 1980 had been worn down from repeated play, eventually tossed away. Yet, as I write this post, this Classic Southern Hard Rock album, (really it is a CD now), is a permanent fixture in my music collection. 
Faster Pussycat debuted their self titled album back in 1987. Sure, I gave Faster Pussycat a listen back then, they were never a #1 favorite of mine, still this band Rocked – and they still Rock to this day. Nonetheless, I still find time to give this band a listen. I recall Faster Pussycat being a cool party band to rock out to, back in the late ’80’s. Faster Pussycat was tied into the Hair Metal genre, right out of L.A., yet I always had the sense that this band was a bit more edgier and heavier to be pigeon holed into that genre. I just stamp the old Heavy Metal label on this band and I am done with it. This group does deliver a whole bunch of Heavy Rock & Roll with their sound, Taime Downe on lead vocals is a sliver reminiscent of Marc Storace of Krokus fame, (in my Metal opinion). Why I say Heavy Rock & Roll when I describe the music of Faster Pussycat is for really one valid reason… the piano that is at times featured in their songs. “Cathouse” is a great example of when you hear the Rock piano getting it’s fair usage. Without ever knowing this band, I can hear influences from the legendary Aerosmith, Taime Downe really does remind me of Steven Tyler on “Slip Of The Tongue”.
I have come to the conclusion, that Progressive Metal and Progressive Hard Rock are the genres that keep me grounded. Dream Theater offers me the best of two worlds, like a one-two Metal punch… this band makes me want to Rock out, then again, I have many moments with their music when I want to chill, in a Metal sort of way. I am not at all stating that Dream Theater can be easy listening Progressive Music… no way. They offer the segues, interludes, intro’s and instrumentals that serve as that musical cushion to fall back on, while awaiting the heavy parts. This is what draws me into their music, to always expect the unexpected with the Progressive nature of Dream Theater. Dream Theater has for me, come so far, paid their Metal dues, to be now recognized as a Progressive Metal super power. It is difficult to dispute the vast landscape of progressive musical ingenuity that Dream Theater bestows. listening to their new music is a reminder to me, that you can erase any other thoughts in your mind and escape into an album of songs.
“A Rite Of Passage” is an amazing song, it reminds me of what maybe Rainbow would sound like, in 2009. The keyboards in this song is what has me thinking of vintage Rainbow, the melody also has a deep, rich, Classic Rock flavor. “A Nightmare To Remember”, the opening song, has all the dynamics I come to expect from Dream Theater, musically and lyrically. I am very glad the story line to this song has a happy ending, despite the child mentally reliving such a personal experience that is the referred nightmare. “Black Clouds & Silver Linings”, (released on June 23, 2009), has most certainly eclipsed my expectations of what to expect, both musically and lyrically. This new Dream Theater release deservedly reached #6 on the Billboard album charts on the initial week of it’s release. It is clear that new fans have embraced Dream Theater and all of their epic Progressive Metal.
I have added a new band to my Black Metal favorites list, they are Abigail Williams. Abigail Williams is void of having the heavy grooves of Satyricon’s superior recent releases, void of having the progressiveness of the incredible Enslaved. What Abigail Williams does offer up musically, is the extreme and brutal sounds of Black Metal. Yes, the very, very, heavy side of Black Metal. The layering of music is similar to what Cradle of Filth has accomplished with their infamous albums, minus any over exaggeration of melody. O.K., I have pointed out where Abigail Williams lines up musically, compared to their Black Metal counterparts, (or some of them anyway). On “In The Shadow Of A Thousand Suns”, (released on October 28, 2008 – candlelight records), Sorceron on lead vocals is alarmingly convincing, while the entire band plays very tight, giving every indication musically, that they know these are ten solid songs.
I have an appetite for the most Extreme Metal Music out there. Job For A Cowboy is without question, a healthy dose of Extreme Metal. Death Metal is this bands calling card. Playing every musical instrument in their band extremely fast and heavy is an understatement. Blast beats and the infamous cookie monster vocals are lathered all over the songs on “Ruination”, (released on Metal Blade Records, July 7, 2009). So, with all of the expected characteristics of being an Extreme – Death Metal band aside, Job For A Cowboy does prove to me one thing… they are more concerned about global and societal troubles than one might expect. I am not going to admit, I can actually make out the lyrics to these songs, from the vocals of Jonny Davy. Nope, instead, I have the assistance of the sacred liner notes, that come with the complete lyrics for every song on “Ruination”. For me, not understanding the words being pronounced from the Death Metal growls of Jonny Davy comes with the territory of this Metal genre. With this genre of Metal, the lead vocalist is just as equally important as any of the musical instruments being played. It is the anger driven vocals that gives the songs on “Ruination” their intended extreme force and purpose, if you will. Jonny Davy on vocals is equivalent to a wasp nest being disturbed by a broom stick. His vocals will swarm all over your Metal soul, clutching it, beating it into shape and then slapping you in the face with it. Job For A Cowboy delivers a lesson in Extreme – Death Metal whoop ass that has me saying… thank you sir, can I please have more?
Just when I thought that Cannibal Corpse’s “Evisceration Plague” was the lightning strike of an Extreme – Death Metal album of 2009, well, now I have my own personal
I have been riding on a rather enjoyable, Progressive Metal & Progressive Hard Rock wave of music as of late. Am I complaining? Not when bands like The Mars Volta release the Progressive elasticity of songs that they have titled – “Octahedron”. It is Hard Rock music like this, that challenges the outer reaches of my very own musical senses. I suppose that is what Progressive Music is meant to do? I am not going to fib here, it took me well into my third listen of “Octahedron” to have “it” finally hit me. The “it” is the focused energy and streamlined patience and musical precision, that are consistent, musical nuances I hear in these songs from The Mars Volta. Let’s be real, these artistic lined, Hard Rock songs, with all of their progressiveness, were not written over night. Is it considered to be uncool these days, to have a thought process and spacial intellect towards music? Not in my realm of listening to Hard Rock – or Metal for that matter. The Mars Volta has thrown “Octahedron” to the progressive wind, it has blown my way and this is what I have to say.
“Since We’ve Been Wrong” has my inner psyche floating somewhere out there in 1979, the retrospective, ambient rays of melody I hear in this song, has me laying on a freshly mowed lawn, staring up at a clear blue sky. “Teflon” does not stray too far away from this dreamy type of feeling either, it only Rocks a little harder. “Halo Of Nembutals” has me agreeing with the assertion that lead vocalist Cedric Bixler Zavala really does sound like the living legend – Geddy Lee of Rush. (This comparison has been thrown around quite a bit, it should be construed as a compliment, much better than being compared to the vocals of Jim Nabors, aka Gomer Pyle). With this song, carrying it’s way into “With Twilight As My Guide”, I tend to realize that I have fallen victim to a cascade of Progressive Hard Rock sanctity. I refuse to just stand pat and not let my feelings be known, about a band that is able to grasp the flexibility and open mindedness of song writing, both lyrically and musically. The Mars Volta apparently were either born as collaborative musicians or they visited some type of mystical being, in a tropical rain forest, who granted them the ability to eradicate themselves of any staleness and ego – thus anointing them with Progressive Musical powers.
“Cotopaxi”, “Desperate Graves” and “Copernicus” are three songs in a row, that I swear are a path that lead me to believing that the words status quo are not in The Mars Volta vocabulary. Omar Rodriguez Lopez has given new meaning to the phrase – lead, not follow – for if this musician were to follow, I would probably be listening to a band that wants to fit in and play it safe, like so many bands who don’t follow their hearts and instincts do. The same goes for Cedric Bixler Zavala, as both a vocalist and lyricist. If anything, I am completely guilty of being passionate about the music that moves me. The Mars Volta are just as guilty for being passionate in creating the music that stands up and above, so much so, the “Octahedron” CD cover does not even bear their name. It is the music that really matters, the music that stands alone, it is not a name of a band, the physicality or gender of it’s members, nor the image. “It” is really all about the finished product, the music and what it says. “Octahedron” speaks more if you give “it” the space and respect is so justifiably deserves.
Blind Guardian is a Power Metal meets Progressive Metal band, straight out of the fine country of Germany. I enjoy the Power Metal and Progressive Metal genres immensely, Blind Guardian for me, is always a cool listen. As I was browsing around the Century Media Records online site (CM Distro.com) several months ago, I happened to find an EP from Blind Guardian that quickly caught my Metal attention. The name of this EP is “Fly”, (released in 2006), it contains three songs: “Fly”, “Skalds and Shadows” and the cover version of the Iron Butterfly classic – “In-A-Gadda-Da-Vida”. I knew instantly I needed to purchase this EP. I have always and forever revered this Psychedelic, Classic Rock, gem of a song that Iron Butterfly created with “In-A-Gadda-Da-Vida”, (originally released in 1968). I placed my order for this Blind Guardian EP without ever hearing it first… I had complete confidence in Blind Guardian delivering a decent cover version of this song, plus as I stated earlier, their Power – Prog Metal style never put me in the doldrums whatsoever.
Blind Guardian “Fly”, as with any of this bands albums, never fail to peak my curiosity based on the album cover artwork on their releases. Going in, I knew they are a capable, talented and quality Metal band, with intellectual lyrics and story telling to coincide with their songs. I am pleased at purchasing “Fly”, all three songs are diverse, with my favorite being the cover song from Iron Butterfly “In-A-Gadda-Da-Vida.” Blind Guardian’s version is very heavy, all power, it rocks tough and hard, while paying great respect to this songs originally intended hardness and dark landscape. The only key aspect here, is to know that this is the shortened cover version of this song, at 3:38 long, (the original Iron Butterfly album version is 17:05 long). Blind Guardian if anything, makes this song sound just as macabre and melancholy, (quite a musical feat), with the vocals and music sounding equally haunting as the original. Some may feel Blind Guardian makes “In-A-Gadda-Da Vida” sound more spooky than the original version… there have been times I have thought just that. Now, as to the age old argument… is the cover version better than the original? Of course, it would be a monstrous feat to blow away the original Iron Butterfly rendition of “In-A-Gadda-Da-Vida”… I will always like the original version more. With that said… once you hear Blind Guardian cover this song, you may very well be like me and think – whoa, this is a really cool and heavy way to commemorate a classic… a Metal job well done.
I took my first trip to the Quakertown Farmers Market, in Quakertown, Pennsylvania, this weekend, safe to say that this is a place to find many Heavy Metal souvenirs. I perused Heavy Metal, Metal, Classic Rock, Hard Rock memorabilia, CD’s, vinyl albums, t-shirts, posters, stickers, buttons, air fresheners, you name it. All at affordable prices!! 
Autograph was a Heavy Metal/Hair Metal band that for me, were cool to rock out to back in the ’80’s. Their hit song “Turn Up The Radio” (released on “Sign In Please” in 1984), is one of those reasons why I will stop by itunes on a very rare occasion. (I have not dived in head first to itunes just yet, I am an Old School Metalhead that still digs the album, CD, cassette and the irreplaceable – liner notes). With that out of my system, I did purchase the single “Turn Up The Radio” off of itunes back over the Winter of 2009. (I have not replaced my cassette version of the album “Sign In Please” by Autograph with a CD version… even after all these (gulp), decades. However, itunes does have it’s cool worthiness where you can just buy a single song that comes to your mind… this Autograph tune came to my mind one last Winters day, I just could not get it out of my head. (Hey, that last phrase is an Electric Light Orchestra song). I am aware that itunes may not have every single Heavy Metal song ever recorded, yet itunes delivered “Turn Up The Radio” for me and I am turning that classic Autograph song up loud – and proud.
Seether is a Hard Rock band that does not need any plastic Hollywood music awards to be told they are damn great. The fans know. The music of Seether tells the whole story… of just how sensational Hard Rock songs are written. “Finding Beauty In Negative Spaces” is an album that should be a required musical manual for any up and coming Hard Rock band. Seether has proven to me, that lyrics are very, very, important in Heavy Music. Shaun Morgan, in my Metal opinion, encompasses many musical gifts… his vocals, guitar skills and the song writing that leaves me in awe. Lyrically, this is one of the best albums I have ever listened to in my lifetime. Couple these tremendously inspiring lyrics with Hard Rock music that is maximized by it’s hardness and mesmerizing grooves, well, you have yourself an instant classic. Shaun Morgan for me, is a vocalist that I listen to so intently, that the music at times becomes a backdrop. (This is by no means, an insult, it is just that Shaun Morgan’s vocals are so searing, they take hold of my attention and leave me zoned out on his voice and lyrics). I have to listen to Seether and say to myself, o.k., I am going to pay more attention to the music this time around, when I do it is like a double dose of Hard Rock music and Hard Rock vocal exhilaration. 
This is the original demo of Roxx Regime, from 1983, (“The Roxx Regime Demos”), before they became Stryper. (This CD was released on July 10, 2007). The songs are all excellent, with an unpolished, raw, under produced feel and spirited energy. (This is what really makes the Heavy Metal sound even better, in my Metal opinion). There are seven songs in all on this disc, including one drum solo. These tunes really thump, they have the early 80’s Heavy Metal/Hair Metal sound. “Honestly” is a ballad that really touches off tremendous emotion, the most mellow tune on this disc and a future hit for Stryper. “From Wrong to Right” and “Loud N Clear” are catchy tracks, with a definite early ’80’s Heavy Metal/Hair Metal vibe. “Tank” is a drum solo from Robert Sweet, nothing really fancy – cool to have in the mix of songs just the same. If you are already familiar with Stryper, you will hear and recognize the talented musicianship, a band in their Metal infancy, that would become a premier Christian Heavy Metal band of the 1980’s and beyond.
Motorhead and Anthrax. Each band is a prominent member in the Metal Music world. Motorhead and Anthrax have always hinted, albeit with Metal stylings, their musical taste for Punk Rock Music. Both of these legendary Metal bands covered the Sex Pistols classic “God Save The Queen” from the “Never Mind The Bollocks, Here’s the Sex Pistols” album, (released in October of 1977). This song was written of course, by Paul Cook, Steve Jones, John Lydon (Johnny Rotten) and Glen Matlock. Both cover versions are really cool and heavy, with Motorhead having their unmistakable, heavy coated vocals and bass guitar of Lemmy Kilmister leading the way. You know it’s Motorhead when you hear their cover of this prolific song… no pretensions, no frills, no sugar coating. The Motorhead cover version of “God Save The Queen” can be found on the “We Are Motorhead” album, (released on May 16, 2000). The Anthrax cover version is found on the EP – “Armed And Dangerous”, (released in February of 1985). In my Metal opinion, Anthrax covers “God Save The Queen” with convincing Punk Rock attitude, the reasons for this lays in the lead vocals of Joey Belladonna as well as the backing vocals. Musically, Anthrax is right on the Punk Rock bulls eye, which always led me to believe this particular lineup could have experimented even more with Punk Rock songs.
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