Archive for August, 2010
Nza’s Review: Slayer – Live DVD 3 Pack Box Set – “Live Intrusion,” “Still Reigning,” & “War At The Warfield” Posted in Slayer on August 30, 2010 by gearsofrock
The latest Iron Maiden album, number 15 for those keeping track, is freakin’ awesome. The Final Frontier is skull-crushingly brutal. Maiden is a beastly machine that grows stronger and stronger with every new epic masterpiece.
This record certainly brings the thunder, about 76 minutes worth in fact. The 10 new songs contain classic Maiden vibes (“The Alchemist”) as well as dirty conjurations (“Starblind”) heard on more recent releases like Brave New World and Matter of Life and Death.
Here you will find brilliant grooves (“Coming Home”), fist pounding beats (“Satellite 15…The Final Frontier”) courtesy of Nicko McBrain, and sick bass riffs (“El Dorado”) with a progressive edge. Steve Harris is the man!
The triple guitar attack of Dave Murray, Adrian Smith and Janick Gers are in full force. The shredding leads (“Mother of Mercy”) will bury you in ash long before you even think to escape. Haunting classical guitar sounds don “The Talisman” before a heavy scourge of riffs incite complete disaster.
Bruce Dickinson’s vocals are dead on as usual, losing nothing over the years, but everybody knows that. The only part of the album that is a bit off-kilter is the first 4 minutes 35 seconds, containing a percussive redundancy that is not entirely necessary.
The Final Frontier is another victory for the pioneers and legends of heavy metal. As always with Maiden records, this disc gets better with every listen.
If this album does not debut at #1, then its pure shame that the inhabitants of Earth hath brought.
Iron Maiden is Bruce Dickinson (Vocals), Dave Murray (Guitars), Adrian Smith (Guitars), Janick Gers (Guitars), Steve Harris (Bass), & Nicko McBrain.
- “Satellite 15…The Final Frontier”
- “El Dorado”
- “Mother of Mercy”
- “Coming Home”
- “The Alchemist”
- “Isle of Avalon”
- “The Talisman”
- “The Man Who Would Be King”
- “When The Wild Wind Blows”
Papa Roach [noun/adjective/verb] Definition: an uncontrollable force that makes you hate yourself for not hating a particular band or artist Origin: from an alt-metal band that was popular among the tortured new millennium-era suburban middle class teenager. Example: Dude, did you hear that new Lady Gaga song on Z100? Yeah man, it Papa Roached my ass, however it didn’t quite Linkin Park my balls.
Mainstream rock radio’s pals of the early 2000s, Papa Roach, employ an interesting concept on their latest disc that contains some new stuff and some live old stuff. Time For Annihilation…On The Record And On The Road is not quite an EP nor a live album, but a mixture.
The first 5 tracks are the hard rocking newbies, while the last 8 songs are the live favorites. As a metal fan, I should not give these guys the time of day, however I always found it difficult to be a hater. As cheesy as “Last Resort” was when it came out, that riff is damn catchy.
Later, a stronger single was released named “Between Angels and Insects.” Now the band was proving that there was more substance and power to them. Both of these songs appear on the live half and serve as high quality renditions, sounding true to the original studio versions (the work of overdubs?).
“Burn” is a solid opening track, although you don’t get that impression until the chorus (“I wanna watch you burn”). The arena anthem “Kick in the Teeth” a la Gary Glitter was the first official single. I’m sure I will be hearing plenty of it in the upcoming NY Rangers hockey season at the Garden.
However, the hottest hit from this release will, without a doubt, be the tasty ballad “No Matter What.” “The Enemy” is a classic sounding Roach tune with a strong intro riff from Jerry Horton. Jacoby Shaddix sings about running away from an enemy inside, and doing whatever it takes to survive.
Time for Annihilation is the perfect disc for fans of the alt-metal system. You get five new songs that bring the old school vibe that fans love and awesome live tracks of the greatest hits. This is a great transitional album to their new record label, Eleven Seven Music.
At the end of the disc, Shaddix asks you to text $5 to WhyHunger. It is not exactly the type of hidden track we are used to, but a nice gesture by the band to say the least.
Papa Roach is Jacoby Shaddix (Vocals), Jerry Horton (Guitars), Tobin Esperance (Bass), & Tony Palermo (Drums).
- “One Track Mind”
- “Kick In The Teeth”
- “No Matter What”
- “The Enemy”
- “Getting Away With Murder (Live)”
- “To Be Loved (Live)”
- “Lifeline (Live)”
- “Scars (Live)”
- “Hollywood Whore (Live)”
- “Time Is Running Out (Live)”
- “Forever (Live)”
- “Between Angels and Insects (Live)”
- “Last Resort (Live)”
Aerosmith, arguably the greatest hard rock band of all time, brought their legendary live show back to Jones Beach last night with fellow hard rock icon Sammy Hagar supporting on the “Cocked, Rocked, Ready to Rock” tour.
Hagar got the party started right, whipping through classics “There’s Only One Way To Rock,” “Bad Motor Scooter,” “Heavy Metal,” “Mas Tequila,” a slowed-up rendition of “Right Now” from the Van Hagar years, and “Why Can’t This Be Love.” The Red Rocker showed up in perfect form with the Wabo’s doing an excellent job backing him up.
The only problem with Hagar’s set was the fact that so many stupid people failed to show up to Jones Beach for the opening of Sammy’s set. The Wabo’s should not be playing “I Can’t Drive 55” in front of such a minuscule crowd. Again, this is the fault of the ungrateful tardy Long Islanders that can’t comprehend the importance of honoring true rock godliness.
Aerosmith sounded phenomenal on the stage from the very opening riff of “Toys in the Attic.” As always, they brought their huge light show and flawless sound system. Steven Tyler’s voice was dead on, as was Joe Perry’s lead guitars. The wind blew strong and seemed to leave the sound unaffected, a rarity at Jones Beach shows.
At times throughout the set, it was difficult to watch Aerosmith because you could feel that uneasy tension churning between Tyler and Perry. There were moments when you could feel Tyler was annoyed and frustrated as Perry strutted along his catwalk, overstaying his welcome. I get the feeling that Aerosmith will not be returning to the New York area any time soon, if not ever.
Following an amazing rendition of The Beatles’ “Come Together,” Tyler introduced Perry’s guitar solo. Here, Tyler referred to Perry as his “American Idol.” Hahahaha! Sick burn.
Aerosmith’s set was going great until the “Guitar Hero” showdown solo break where Perry battled against his video game self, which then led into the bluesy point of the show. Perry sang lead on Jimi Hendrix’s “Red House,” which destroyed the momentum of the overall set.
It was pretty much downhill from there with the chick-pleasing-ballad “I Don’t Want To Miss A Thing” and the Honkin on Bobo monstrosity “Baby Please Don’t Go.” I have seen Aerosmith about 10 times now and most shows unfold the same way; The band starts off with such great energy, does a nose dive to near-oblivion, delivers a weak rendition of “Sweet Emotion” (they can just never get the harmonies and sound effects right live), comes back to life with a solid performance of “Dream On,” then its either tunes of awesomeness or pain to the end of the night.
Unfortunately, there was no “Mama Kin,” “Seasons of Wither,” “Rats in the Cellar,” “Same Old Song and Dance,” or “Back in the Saddle” on this night. If they slid these gems into the set, replacing the weak crap, it could have been the greatest rock show (and perhaps greatest farewell show) of the decade.
After encountering some health problems and an Ozzy bitch-slap, Zakk Wylde returns in triumph with a brutally engaging and devastating shredfest on Order of the Black.
Pulling no punches, Wylde’s Black Label Society comes out pounding from the opening track. In addition to being speedy and heavy, the guitar work is at times melodic and groovy. Wylde shreds harder than ever throughout the solos.
The leading single “Parade of the Dead” is a sick tune and still one of my favorites, however “Godspeed Hellhound” is the sickest. “Overlord” is another destroyer.
“Black Sunday” has an insane guitar run at the beginning that makes you wonder if Wylde intended to show up Gus G.; It’s like he set out to prove that Ozzy made a big mistake by not finishing Scream with him (but then again, many metal fans feel Ozzy has been washed up for the last 15 years and also that Zakk shouldn’t waste his time anymore).
For fans of “In This River” and “This Blessed Hellride,” Wylde offers piano ballads, “Darkest Days,” “Shallow Grave,” and “Time Waits for No One” which are great numbers but not quite as awesome as the classics. The closing track, “January,” is a nice acoustic ditty that brings the album to four ballads total.
“Chupacabra” is a fun Spanish-styled instrumental piece that goes 900 miles per hour. Not exactly fitting for the album, but still cool. This is a great BLS album and an excellent way to finish off the summer.
- Crazy Horse”
- “Parade of the Dead”
- “Darkest Days”
- “Black Sunday”
- “Southern Dissolution”
- “Time Waits For No One”
- “Godspeed Hellbound”
- “War of Heaven”
- “Shallow Grave”
- “Riders of the Damned”