Author: bigbadburch

Ladies and Gentlemen, Sammy Hagar!

On By bigbadburchIn Controversy4 Comments

Today we’re going to get into a story I have not ever run across before. This incident happened in either 1985 or ’86, exact dates aren’t specified. While I am a fan of Sammy Hagar and Van Halen and I’ve also been a pro wrestling fan at various points in my life, I have never heard this story before at all until I stumbled onto this video last week.

This presentation is from Dark Side of the Ring, an outfit that puts together documentary episodes about (usually) the seedier side of pro wrestling. If you know anything about wrestling, you know that there’s a lot of seedy stuff. They also do a podcast called Unheard to cover things that don’t really fit into the main documentary episodes and that’s where today’s story comes from.

The episode in question was about the tragic story of former wrestler Adrian Adonis, but the actual meat of today’s story came from legendary grappler Bret “The Hitman” Hart. Bret was being interviewed about Adrian and told this story during the sessions. The filmmakers couldn’t wedge the story into Adrian’s episode but felt they had to tell the full story, and I’m glad they did.

I have posted the video and I fully encourage everyone to check it out to see Bret tell the story. But I will also recap it here.

Bret Hart was flying into New York City with Adrian Adonis and Bret’s brother in law, Jim “The Anvil” Neidhart. Bret was sitting next to a guy who was dressed in a sort of “rock n’ roll” style, not uncommon in the mid-80’s. The guy picks up on Bret and his cohorts being wrestlers and tells Bret that he is a rock star. Bret asks who he is and the guy says he is Sammy Hagar.

Jim Neidhart was rightfully skeptical that the man in question was Sammy Hagar, who at this point had just joined Van Halen. Jim picked up on the guy wearing a cheap Timex watch, something the real Sammy Hagar probably wasn’t doing by this point as he’d made a fair share of cash. It’s worth noting that none of these wrestlers knew what Sammy Hagar looked like, this was the days before the Internet and ready access to photos and all that.

Something else would happen to actually change Jim’s mind though – the group went to Madison Square Garden, the spiritual home of the World Wrestling Federation (now Entertainment). In the back, “Sammy Hagar” took up Adrian on an offer of the currency of the 1980’s, cocaine. “Sammy” snorted a huge line and had a bit of a nosebleed after, this caused Jim to exclaim “It IS Sammy Hagar!”

Celebrities were a common presence at WWF shows, especially at MSG, so “Sammy Hagar” was actually introduced and made his way to the ring. The clip of this hilarious scene is below, and I’m sure anyone who reads this blog can instantly tell that the person is certainly not Sammy Hagar. The crowd were pretty easily able to ascertain that this guy was not Hagar and the very brief appearance got jeered by the fans waiting for the next match.

The podcast goes over another few funny moments of this story – an unnamed New York Yankees ballplayer was also backstage and knew Sammy Hagar personally, he instantly ratted the imposter out. Also, Bret and Adrian and company had to deal with the fallout of bringing a faulty version of Sammy Hagar to the wrestling event, as WWF head Vince McMahon has long been famous for his calm temperament in such matters… But this being a MSG broadcast in the mid-80’s, the Fed was able to sweep this mishap under the rug until just recently.

This story is a really funny slice of entertainment from the ’80’s and, if left where it is, is perfectly fine. The only loose thread is this – who was Not Sammy Hagar? The podcasts hosts wonder if the guy is even still alive and are curious as to who this legend of rock and wrestling might be. It seems as though this guy’s identity might be totally lost to time and mortality – that is, unless you want to engage in a bit of conspiracy theorycraft.

A few of the podcast viewers picked up on something I wouldn’t have honestly considered – the Sammy imposter looks familiar. It’s certainly not Sammy Hagar, but this guy could have easily passed for Dana Carvey. At the time in question Dana Carvey was just getting ready to join Saturday Night Live and become known to the wider world. But had the celebrity impersonation been Dana Carvey, this guy could have pulled it off without a hitch.

That is, barring one further consideration – what if this guy wasn’t a ringer for Dana Carvey, but was Dana Carvey? Dana would become a household name by 1987, but at the time of this wrestling show he was not very well known. He’d had some bit acting parts but wasn’t an SNL cast guy yet. There is some speculation that this actually was Dana Carvey, who wound up on a plane next to Bret Hart and decided to pull a gag.

I think it would be hilarious if it actually was Dana, but logical speculation leads me to believe it wasn’t. Dana has had 40 years to tell this story if he did indeed pull this ruse, and to my knowledge he has never brought it up. I’d think it’d have to be a story he told at some point in time over the decades of interviews he has done. So I am going with “no” on this one.

I have noticed comments indicating that someone does know this person, they aren’t Dana Carvey, and the person is still around. Maybe we’ll get a feature with this dude someday, I really want to hear what he has to say. I’m not saying I necessarily believe that anyone really has a hook-up to this guy, but it’s not out of the realm of possibility.

So here’s to the legend of Not Sammy Hagar appearing at a WWF live event in 1986. It probably wasn’t Dana Carvey but maybe it was, or maybe we’ll get to hear from the perpetrator of this hoax sometime down the line. And if not, well, we at least have this great story from a time when pro wrestlers, the world’s biggest bullshit artists, got bullshitted to a huge degree.

4 Year Anniversary Massive Party Extravaganza

On By bigbadburchIn Uncategorized6 Comments

This kind of snuck up on me, but it’s time to celebrate this blog’s anniversary. It has now been four years since I started this up. I didn’t know what to think when I started it, how long I would be into it or what I wanted to “get” from doing this. I guess I can now answer that I’ll go at least four years.

I did have a few extended and unplanned quiet periods late last year and through part of this year. That was due to a new job and then a new house. The house is fantastic and everything is going great with it. The job is also well, though as I creep closer to 50 years old my body is telling me it might be time to do something besides drive a forklift for a living. There will be some kind of occupation and schedule change in the near future, but I can do all that at the company I work for now so it shouldn’t be too big of a deal. I don’t expect it to impact this site much, if at all.

As for the site – I had a big celebration of 1984’s music last year on its 40th anniversary. That kind of sputtered out toward the end when I changed jobs but I got through the bulk of stuff. This year I haven’t had any grand designs on anything and I don’t have much in the pipeline. I am still planning a massive tribute to the music of 1991 on that 40th anniversary, but that is still years down the road.

I do also have a plan for a very long review series, one that will take about a year with a post a week. That series likely won’t get rolling until later in 2026 or even ’27 but it is one massive thing at least on the edges of the radar.

Beyond that I have no big plans or grand designs right now. Posts will be albums, songs and the still-running series where I pick five songs from a year. I’ll have more on that come Friday, as I’ve decided to kick that series into gear and get it out of the way by year’s end.

One thing I will start doing in the near future is shifting focus on my album posts. I can pull out albums I’ve heard a bunch and write about those, that’s easy. I can also occasionally go after a record I don’t like just to say I don’t always cover stuff I like, which is fun but not something I want to do all the time.

Another avenue is to take on albums I haven’t heard much, if at all. I’ll start that up pretty soon and make it a semi-regular thing. These posts will be the “album of the week” posts, this isn’t a new series. But I figure it’d be worthwhile to spin some albums I don’t really know and give thoughts on them. I probably won’t do individual track grading when I do those. Hopefully I’ll take to this new idea and it will catch on as a new thing to do, kind of change things up a bit.

I have also been without an Iron Maiden series in awhile. I won’t revisit the singles series anytime soon as I am still very slowly collecting the ones I don’t have. I’ve landed a handful more but I’m entering territory where the stuff I still need is scarce and pricey. I might go ahead and start going through my bootlegs, though I’ll likely just do those here and there, not as a full-running series.

That is about all I have to say, thank you all who read, comment and all that. You will want to be around Wednesday because I have a whopper of a story I had never heard before and it is absolutely hilarious. See you then as I hit the road toward year five.

Black Sabbath – War Pigs

On By bigbadburchIn Song Of The Week3 Comments

My tribute week (and a half) to Ozzy Osbourne wraps up with this post. Today I’ll discuss one of Black Sabbath’s most significant songs, perhaps their most profound and noted work.

In 1970 Black Sabbath released two albums – their self-titled debut, and the breakout hit record Paranoid. The latter has a whole story behind its name which directly relates to today’s song, so of course we’ll get into it.

Sabbath originally had the framework for a song they were going to call Walpurgis, which is some kind of pagan or witch’s sabbath. The record label was not cool with the name so they changed the song’s name to War Pigs. The band’s intent was also to name the album the same thing, so they devised a cover photo with someone dressed (loosely) as a pig, with a sword to indicate war-inclined thoughts, I guess.

The record label again intervened, this time because a quickly-recorded single from the record had gained a ton of traction and the label wanted the album named after that song. The record was rechristened Paranoid, but the band were stuck with the odd sword guy on the cover because there wasn’t enough time for a different concept.

Everything worked out in the end – Paranoid the album became the band’s breakthrough hit and also their signature record. Paranoid the song was the band’s biggest hit single, and War Pigs became a foundational track of heavy metal on its own.

The song opens with a plodding duel between Geezer Butler’s bass and Tony Iommi’s guitar, with Geezer anchoring the proceedings. Air raid sirens come in to generate the war atmosphere being discussed here. It’s a very effective intro for setting the tone.

The song delivers three verses without any sort of chorus or deviation. These feature short bursts of Bill Ward’s drumming with Iommi and Butler going on their own paths while Ozzy offers up the dark lyrics conflating warmongering politicians with evil and Satan. Each verse is broken up by jam-style pounding, fitting since the song was conceived out of jams the band used to do to fill time in sets in their early days.

The coupling of war-motivated politicians and evil was the original goal of lyricist Geezer Butler. Anti-war sentiment was huge around this time, as the US had mistakenly involved itself in Vietnam while UK residents were fearful of being dragged into it. Sabbath members have offered up differing opinions of just how much Vietnam played in the song’s conception – Butler considered it a central point, while Osbourne felt this was more just a general anti-war song. But there’s no denying War Pigs has a connection to the Vietnam era.

War Pigs caught fire with the crowds around the world also concerned about warmongering and became an immortal hit despite not being released as a single. The song has gone on to be one of the most covered tracks in history, both within heavy metal and beyond. It is often cited near the top of countless best of Black Sabbath lists as well as heavy metal and rock offerings. The song did not chart originally due to not being a single, but Black Sabbath’s final tour in the 2010’s did see War Pigs dance around the UK charts, and it again showed up after Ozzy’s death a few weeks ago.

War Pigs is one of heavy metal’s greatest treasures. The song has withstood the shift of time and generations to become immortalized in the collective conscious, both as an anti-war protest and as a heavy metal masterpiece. It is a true crown jewel in the legacy of heavy metal’s most iconic band, Black Sabbath.

This post concludes my Ozzy Osbourne tribute. There will be more Ozzy posts in the future, of course, but next week I will get up to some other stuff. There are a few unusual posts next Monday and Wednesday, one a commemoration and the other a hilarious story I was just made aware of last week. ‘Till then.

Ozzy Osbourne – No Rest For The Wicked

On By bigbadburchIn Album of the Week5 Comments

For this week I’ll continue discussing Ozzy Osbourne, honoring the legend who passed away July 22nd. Today I’ll get into the album he did to introduce the world to his new guitarist and to bow out of the 1980’s.

Ozzy Osbourne – No Rest For The Wicked

Released October 24, 1988 via Epic Records

Ozzy was still holding serve in the late ’80’s, with albums still going double platinum and certainly maintaining his reputation as the Prince of Darkness. While hair metal ruled the day, Ozzy was holding a winning hand with a heavier brand of rock and metal.

Where Ozzy did have to retool was in his band lineup. Randy Castillo returned on drums, but everyone else besides Ozzy was either a new or returning hand. Bob Daisley once again came around to play bass. John Sinclair also signed up to play keyboards. The album was produced by Roy Thomas Baker, whose studio credits are roughly five miles long.

Most significantly, Ozzy had a new axe slinger. Moving on from Jake E. Lee, Ozzy gambled on a young New Jersey player who had sent in an audition tape. Zakk Wylde would get the gig and become Ozzy’s most enduring guitarist after all was said and done.

Today’s album is a standard affair with 9 songs at 43:08. The album’s last song, Hero, was originally unlisted but is now labeled on subsequent reissues and streaming services. The album has been reissued with a couple of bonus tracks.

Miracle Man

We open hot out of the gate with an absolute shredder and the album’s lead single. Zakk Wylde introduces himself and his tone pretty quick and provides the drive behind this headbanging track. Here Ozzy is having a go at a nemesis who had plagued him for years – the televangelist Jimmy Swaggert, who by this time had fallen into scandal. Swaggert’s resulting fall from grace was like serving up a meatball pitch to Ozzy, who hit the home run and sent it out of the stadium. Ozzy would also get the ultimate last laugh – living 22 days after Swaggert passed away on July 1, 2025. Grade: A+

Devil’s Daughter

The shredfest continues as this time Ozzy does holy battle with the devil’s daughter. I’m not sure who the devil’s daughter was, but I’m sure she was a formidable foe. We get a creepy interlude with babies crying and keyboards before Zakk rips up the solo on this one, pretty cool song. Grade: A

Crazy Babies

Up next was the second of two singles. This one gets a lot of divided opinions – some feel the song is awful, others enjoy it as a nice piece of hot rock. I’m in the second camp, I think this song is really good. The lyrical fare is also a topic of debate – some think it’s about babies born into crack addiction, others think it’s an ode to Ozzy’s wild and crazy fanbase. I’m again in the second camp, though like anyone else I have no damn idea what it’s really about. But I enjoy it nonetheless. Grade: A

Breakin’ All The Rules

We have one here that sounds like it could have come from the prior album, The Ultimate Sin. It is still suitably heavy and hard and keeps the album moving along. Ozzy is taking on some unnamed adversary by doing just what the title says. Nothing diverges from the path here, another really good track. Grade: A-

Bloodbath In Paradise

If things were a little too “pretty” for some, this one should spice things up nicely. This is a creepy track about the infamous Tate-LaBianca murders. Everything is going at 11 here and this song is just splendid. Grade: A+

Fire In The Sky

A more atmospheric but still quite heavy track here that tackles someone who got along in life with a lot of deep-seated problems and now those issues are finally creeping out for all to see. This might be a bit introspective for something from the Prince of Darkness but the song still works well. Grade: B+

Tattooed Dancer

No introspection here – this is a wild and crazy song that flies off the seat of its pants. The title outlines exactly what the song is about. I’m sure we could dive deep and explore how “bad” the lyrics are in today’s socio-political contexts, but I have better shit to do. Grade: B+

Demon Alcohol

This one is really interesting, as Ozzy embodies the dark spirit of the literal spirits that often consumed him. He would continue to have his struggles over the years, but the song is a pretty cool look at the grip of addiction. And, in keeping with the rest of the album, quite white hot and rocking. Grade: A-

Hero

This song was originally unlisted, I’ve never come across the reasons why. It is shiner and brighter perhaps than the rest of the album but it’s not a massive departure either. It is also warm and sentimental, which is a bit of a departure for the record but not anything out of bounds when truly examining Ozzy Osbourne. It was a nice little bonus for those of us who played the album the first time without knowing it was there. Grade: B+

No Rest For The Wicked was another explosive round in the arsenal of Ozzy Osbourne. The album hit number 13 on the Billboard 200 and had several European chart placements. It is certified double platinum in the US and platinum in Canada.

Ozzy and company would tour behind the effort, though with one lineup change – Bob Daisley was out after recording, and Geezer Butler famously rejoined his old Sabbath bandmate for the shows.

This one is extremely easy to assess – I like everything here and enjoy the album from front to back. It’s not of the same “weight” as earlier Ozzy recordings, but honestly nothing is and it’s a fool’s errand to grade a person’s work against their most significant. The final verdict here is really simple.

Album Grade: A

Ozzy continued his decade of destruction with No Rest For The Wicked, and the start of the next decade would only bring greater success for the Prince of Darkness. He was now armed with a trusty guitarist who would stick around for a bit and things were still coming up aces. Ozzy would have one of his darkest personal moments in the year after this album’s release, but eventually he was able to rehab back into reality and continue adding to the legacy that we still celebrate today.

Ozzy Osbourne – Mama I’m Coming Home

On By bigbadburchIn Song Of The Week4 Comments

For the next week I’ll run several posts as a tribute to the late, great Ozzy Osbourne. I will continue covering Ozzy-related stuff next week, but I’m doing this all off the cuff so I don’t know exactly what form everything will take. You’ll find out just after I do!

Today I’ll get into the song that became Ozzy’s most successful single. We all know that Crazy Train is ubiquitous with Ozzy and is his most-recognized track, but it was Mama, I’m Coming Home that took the highest chart position of Ozzy’s solo career.

This well-known and loved ballad came to form on the 1991 album No More Tears. The album is often cited as one of Ozzy’s best, he and his music partners did a marvelous job of retooling for the 1990’s and offering up an album that was heavy and real. The songs were MTV and radio staples, and are still in rotation over 30 years later.

The song was composed by Ozzy and Zakk Wylde. The lyrics were written by Lemmy Kilminster, one of four lyrical contributions he made to No More Tears. Lemmy stated many times that he made more money from Mama, I’m Coming Home than he did from his career in Motörhead.

This ballad granted Ozzy his only solo Billboard Top 40 single, it peaked at number 28. His only other entries higher on the singles charts were collaborations with Lita Ford and Post Malone. The single also hit number 2 on the Mainstream Rock chart and was certified platinum in Canada.

Today’s song is a ballad, but one with a lot of power behind it. The song begins with some clean picking from Zakk Wylde and Ozzy ruminating through the first verse before the full band kicks in and delivers a fair bit of heft for what is considered such a tender ballad. Ozzy sings very powerfully here and the chorus soars along with the keyboard enhancements.

Lyrically this is a pretty dense and tough affair. The song is Ozzy’s lament to Sharon, who put up with a lot of Ozzy’s shit. The years just before No More Tears had some especially bad moments, but Sharon stuck with her husband through it all. The years following this song and album would be much better for the couple, both personally and professionally.

Mama, I’m Coming Home had two videos filmed for it. The first one was weird and Ozzy did not like it at all, so they went back and filmed the far more familiar second cut. The original is also really, really hard to find – my digging has not turned up a version that I could post here, so I won’t bother.

This song took a special place at Ozzy’s final show on July 5th in Birmingham. The Back To Beginning concert featured a slew of acts inspired by Ozzy and Black Sabbath, as well as brief sets from Ozzy’s solo outfit and Sabbath. Mama, I’m Coming Home was the only song played in Ozzy’s five song set that was not from the Blizzard Of Ozz album. The song’s performance was very emotional for many and clips of the performance have been among the show’s most-viewed highlights.

And of course now the song takes on a whole new meaning, as on July 22nd Ozzy truly did go home for the final time. While we are left without the powerful voice and simple charm of Ozzy Osbourne, his legacy is immortal and is etched in his songs, perhaps none more fitting of the end of the line than this sweet and somber ballad.

Ozzy Osbourne 1948-2025

On By bigbadburchIn News4 Comments

Yesterday came the news we knew was coming someday but came much quicker than any of us anticipated. Ozzy Osbourne died at 76 years old after a five-decade long career as the singer of Black Sabbath and ringleader of his own highly successful solo career.

Ozzy had been dealing with a slew of health problems the past several years which deteriorated his quality of life. He had Parkinson’s disease, had injuries sustained in a fall in his home as well as old injuries from an ATV accident.

He had just recently performed his final concert, the massive Back To The Beginning event in his hometown of Birmingham, England, which wound up being biggest money raiser of any charity concert ever. While his mobility was severely impacted, he was able to pull through a short solo set as well as a Black Sabbath stint.

We all knew Ozzy was in rough shape and that we would be writing posts and tributes like this, but it does seem very sudden just a few weeks after he triumphantly bowed down from the live stage. I assumed he would live a comfortable retirement, or as comfortable as possible given his health issues. But this grand, sad day is upon us and now we are left to mourn the legend of rock and metal’s godfather.

Ozzy was one of the most significant figures in music, especially in the realm of metal. From Black Sabbath to his solo career, to his massive and at times monstrous reputation, and to his kinship with many of rock and metal’s iconic figures, Ozzy has loomed large over this scene since the beginning. He drew legions of fans across several generations and his influence on this scene will be felt for time eternal.

Like many I have been massively entertained over the years by Ozzy’s music as well as his crazy and charming personality. It is difficult to truly put it into words now that I have to think about it in terms of his death, but I am one of many who are in this game to any degree largely due to Ozzy Osbourne.

I think Ozzy deserves an extended tribute, and to make that happen I will preempt my planned content for the rest of July to honor the fallen Prince Of Darkness. I’ll cover some of his songs, albums and also try to offer up a more focused post that discusses his impact to me. This will all be on the fly but it’s not like any of us had anything in the can for this dark day.

I will do those posts over the next several days and I’m sure the world will overflow with tributes to Ozzy, that seems to already be happening. Until then, I raise a glass to Ozzy and thank him for everything he brought to us over all these years, and condolences to his family, friends, bandmates and fans worldwide. We have lost a legend among legends.

Faith No More – Album Of The Year

On By bigbadburchIn Album of the Week6 Comments

I’m now back to covering albums, and to kick this back off I want to head back to 1997 and have a look at this sometimes overlooked and other times hotly-debated album. It served as the final offering from one of alternative rock’s pioneering bands for nearly 20 years.

Faith No More – Album Of The Year

Released June 3, 1997 via Slash Records

By 1996, Faith No More seemed to be sputtering towards a breakup. While the band had planned on doing a new album, members became vested in other projects. Singer Mike Patton was more involved with Mr. Bungle. Keyboardist Roddy Bottum had launched a new band, Imperial Teen, that he had declared was his new main act. Drummer Mike Bordin landed the coveted Ozzy Osbourne gig, which also saw him assume the drum throne for Black Sabbath.

This left bassist Billy Gould holding the bag in terms of creating a new album. He began this effort with guitarist Dean Menta, but Patton did not enjoy the songs being created and Menta left the group. Menta was replaced by Jon Hudson, a friend of Gould’s. Eventually an album was formed, with the busy members circling back around to help complete the project.

Album Of The Year saw Faith No More pull back from some of their weirder blending of styles and offer up a more straightforward rock album, at least in comparison to their older material. The group introduced a fair bit of electronic elements into the mix as well, though these serve more as compliments to the music rather than being the driving force. The band described the album as being cinematic, replete with several references to old films in several songs. The record is, in general, a more atmospheric and “vibes-based” affair than previous FNM material.

Today I’ll cover the original album, though a few other versions exist – one saw a bonus CD of remixed songs, and a later reissue included several other bonus tracks.

Collision

Up first is what qualifies as the most straightforward rock track on the album. Fairly quiet verses give way to caustic choruses as Mike Patton screams about a car accident he had a few years prior. The wreck caused injuries he still apparently deals with to this day. Patton’s demented screaming lends a bit something extra to this song. Grade: A-

Stripsearch

A moody, atmospheric and electronic passage here. Very catchy and pleasant to listen to. The song deals with someone at a low point in their life, not sure exactly what it is. They seem ready to face the music for whatever they’ve done. A haunting and very nice piece of music. Grade: A

Last Cup Of Sorrow

Back to heavier rock here on another of the album’s singles. This is a quintessential Faith No More song – powerful, with riffs and keyboards blending seamlessly. It’s also a powerful message about getting over things and getting on with life. The video was an homage to Alfred Hitchcock’s classic film Vertigo. Grade: A

Naked In Front Of The Computer

Hard, heavy and brief here as Patton explores the idea of having a relationship with someone over a computer via email. This was when the Internet was just starting to take over life and would be a dead-on predictor of how things would go. Grade: B+

Helpless

This is a wistful ballad that strays toward country music territory. Someone is struggling with their life and lack of control of it at this point, they seem to try to find a way to slow things down and enjoy the moment. The songs gets more electric as it moves on and it descends into Patton screaming for help at the end. While the band did this style of ballad to greater effect on their prior album with Take This Bottle, this one does venture into other territory and is still a worthy listen. Grade: B

Mouth To Mouth

This one kicks off with some weird stuff that is very reminiscent of Patton’s other act Mr. Bungle. It is crazy circus music that briefly gets more conventional for its short chorus. Not a bad song by any means but one that feels like it belongs on a different band’s album. Grade: B-

Ashes To Ashes

Up next is the album’s lead single. This is another pretty straightforward rock track that doesn’t take any real twists or turns. And it shouldn’t, as it is the crowning achievement of the album. This song is powerful, with the chorus being massive and all-consuming. Patton’s lyrics seem to outline the coming end of the band, it is the simplest interpretation around. While the band were sputtering at this point by most metrics, they still were able to record a song that’s lauded as one of their best. Grade: A+

She Loves Me Not

This one is an R&B track of some sort, I’m not radically familiar with that music so I don’t know what I’m talking about. The song is ok but not anything I really asked for. Grade: C+

Got That Feeling

This one doesn’t linger long at 2:20. It’s a pretty hard and slamming track with Patton sort of scatting all over the place about whatever. The song seems kind of pointless but it’s not bad. Grade: C

Paths Of Glory

This is a bit of a trippy piece that is fairly interesting, even though the song doesn’t ultimately feel like it goes anywhere. It is a decent sounding track on an album that is definitely falling off the rails in its latter half. Grade: C+

Home Sick Home

This is another song that has an interesting premise but doesn’t do a whole lot. It’s really short so it doesn’t overstay its welcome – in fact, it’s like the song was never really even here. Grade: C

Pristina

The closer was thought up by Billy Gould when he was on a trip through the Balkans in the mid ’90’s. For those unaware, the Balkans had a lot going on at that time. Pristina is the capital of Kosovo, which was the final flashpoint of the Balkan Wars. The song is atmospheric and vague and doesn’t honestly communicate much of anything, it’s a pretty big dud to wrap up with. Grade: D

Album Of The Year did not quite live up to its lofty moniker. The album placed at 41 on the Billboard 200 and has sold around 220,000 copies in the US. It did place well in Australia and New Zealand, topping both charts and going platinum in Australia.

Faith No More toured the album through April of 1998, when members finally pulled the plug and cast the band into hiatus until 2009. The group toured and released one more album in the 2010’s and have now gone on hiatus again, this time seemingly for good.

The album has divided opinions among critics and fans. It received some good reviews and more than a few bad ones. For me, the album contains a handful of really nice songs and then a bunch of stuff that really isn’t up to snuff. Overall the record proves its worth in the songs that do work, as they work very well, but this is dragged down some by a lot of filler and directionless stuff.

Album Grade: B

My grade might be generous, as this isn’t an album I really seek to put on and play through. But there is enough quality here to listen to, and the top-heavy stuff is pretty fantastic. It probably was the right decision to put the band on ice after this, but Faith No More did leave some songs worth the trouble before they first bowed out.

Judas Priest – War Pigs

On By bigbadburchIn Song Of The Week5 Comments

The Back To The Beginning event on July 5th in England was a historic send-off for Ozzy Osbourne and Black Sabbath. The show took place in Birmingham, Sabbath’s hometown. My write-up of the show can be found here.

While Birmingham is where Black Sabbath hail from, Sabbath aren’t the only heavy metal institution from the area. This city is also where Judas Priest were founded, giving Birmingham the “home of heavy metal” moniker.

It would have been a natural fit for Judas Priest to appear at Back To The Beginning, but scheduling conflicts sadly kept that from happening. Priest had already agreed to appear at another landmark show – the Scorpions held their 60th anniversary concert in Hannover, Germany on the same evening as the Black Sabbath gig, and Priest were opening for the Scorpions. Former guitarist K.K. Downing was on hand for the Ozzy event, and Judas Priest sent in a video message honoring Ozzy and Sabbath.

As an additional gift of sorts, Priest also surprise released a cover of Black Sabbath’s seminal War Pigs on July 2nd. War Pigs is one of Sabbath’s top songs, as evidenced by the song’s placement as the opener at the group’s final gig. It is also the song Judas Priest have used as stage “walk-on” music for several years now.

Not that there was any doubt, but Judas Priest execute War Pigs in massive fashion. This sounds spectacular – The band is tight and this has a huge and heavy feel to it. This sounds just as War Pigs should with no huge deviations or embellishments, but also has an extra kick in the ass from a Judas Priest group that has been insanely fresh and vital sounding in their later years.

It was a total bummer that Judas Priest were unable to make the gig honoring Ozzy and Sabbath. The bands have long had a close relationship, to the degree that Rob Halford is actually a former Black Sabbath singer. Rob filled in under emergency conditions twice for Sabbath – he did two shows in 1992 when then-Sabbath singer Ronnie James Dio refused to perform, and then in 2004 Halford filled in when Ozzy was ill.

While Black Sabbath’s legacy is now likely sealed for good, Judas Priest are still kicking with no discernible end in sight. It is nice to have this memento that commemorates Sabbath’s metal immortality from another of heavy metal’s greatest practitioners.

Lamb Of God – Children Of The Grave

On By bigbadburchIn Song Of The Week1 Comment

Back on Saturday the 5th we had the Back To The Beginning concert, which was the final live bow for Ozzy Osbourne and Black Sabbath. I have a huge post detailing that event here. Today I want to get into a song performed both live at the show and also released in digital studio form afterward in a bit of a surprise freebie.

Lamb Of God were one of the many acts to perform a min-set at the event. The band played their two most beloved songs, Laid To Rest and Redneck, then offered up a cover of Black Sabbath’s treasured song Children Of The Grave. It’s a song that easily could have been in Sabbath’s own set, but Ozzy had to power through both his own solo material and then the Sabbath portion so they kept things a bit shorter.

Much is made of Black Sabbath’s influence on heavy metal and here with Lamb Of God we have a case that illustrates just how long the timeline is. Lamb Of God formed in 1994 (originally known as Burn The Priest) and are now 31 years into their career. They took time to honor Sabbath, who just wrapped up 57 years in the business.

This is a faithful rendition of the original, it does a good job of retaining what makes the original work while also “sounding” like Lamb Of God. The song does suit Lamb Of God very well anyway, with the chug-a-long rhythm working great with LoG’s groove metal blueprint. It’s also interesting to hear vocalist Randy Blythe do more singing than growling here, it’s not something you get everyday.

Heavy metal covers of Black Sabbath songs are a dime a dozen, it’s pretty logical that many bands cover the band at the root of metal. But Lamb Of God offered up a very nice cover of one of Sabbath’s best songs and it commemorates the special event of Ozzy’s retirement wondefully.

Picking Five Songs From 1991

On By bigbadburchIn Songs By Year3 Comments

This was supposed to be last Friday’s post. Go figure that a holiday and an extra day off would cause me to miss a post. But I digress.

Here we are. This is my weekly series where I pick five of my favorite songs from a given year. This time around, that given year is 1991.

It’s safe to say that 1991 is the most important music year of my life. I have all the love in the world for 1984, as I put on display a lot of last year. But nothing was as earth shattering and life altering as everything that happened in 1991.

It wasn’t just everything that happened in music, either – I turned 14 and started my freshman year of high school in 1991. In fact, my birthday was about a week after Metallica released their megalithic self-titled album. Everything was changing fast and I honestly wasn’t even on top of it all – both in life and in music. It would all come together eventually (in music, not in life…)

But today’s exercise is pretty simple – I will select five of my favorite songs from the year. Five is barely a drop in the bucket in terms of the music of 1991, but I’m going to keep this series on the rails and just handle it like any other year. If/when this site gets to 2031 I will dedicate the bulk of that year’s posts to reminiscing about 1991, and probably in a big blowout way that dwarfs even what I did for 1984. Something to look forward to in 5.5 years, I guess.

Sepultura – Dead Embryonic Cells

We kick off with this slice of obliteration from the album Arise, often regarded as the Brazilians’ magnum opus. It is equal parts thrash precision and a savage beating, with Sepultura crafting a sound that would serve as a bridge into extreme metal. The song is about being born in a world that is essentially dead and the brutality of the music captures the sentiment perfectly.

Skid Row – Wasted Time

The closing track from the seminal Slave To The Grind album is a ballad by which the bulk of other ballads can be judged. This haunting tale captures someone in the throes of drug addiction, the song was written about former Guns N’ Roses drummer Steven Adler. Sebastian Bach’s vocals soar here and everything comes together for a song that is simply beautiful.

Ozzy Osbourne – No More Tears

The tides of music were shifting in grand fashion in 1991, but the Prince of Darkness could still be counted on to deliver a worthy tune. Ozzy had a bit of a renaissance year in ’91 with the No More Tears album being a huge hit and this title track becoming one of his several signature tracks. This song is the twisted tale of a serial killer, but not told in open terms. Still it’s ominous and creepy.

Mötley Crüe – Primal Scream

Hair metal was being cast out by the second half of 1991, but no one gave Crüe the memo. They put out a greatest hits set with a handful of new songs on it, and this new track was electric. This was heavy, gritty and pounding, seeing the band move up a weight class in the heavy department. It foretold a massive new decade for Crüe, which did not pan out at all, but this kick ass song was a welcome drop in the minefield of ’91.

Carcass – Corporal Jigsore Quandary

By ’91 Carcass were on their third album and had shifted their sound from grindcore to death metal. This prime cut saw the band incorporate a bit of technicality into a very smooth death metal vehicle. And while the title and lyrics are overly wrought, as usual for earlier Carcass, the song is essentially about someone putting a human body back together. It is likely that the person doing the re-assembly is the same person responsible for the body’s dismembered state.

And that does it for five songs from the crazy year of 1991. I had originally thought picking a further five songs as I did for 1984, but in the end I decided against it as I want my focus to be on pushing on with the series.

Next week – I was originally going to restart album posts, but last week’s historic gigs have given us a handful of songs to go over so I will spend a few posts looking at stuff from both the final Ozzy show and the Oasis reunion instead. And I’ll press on with this, jumping in to 1992 where rock and metal were off to the races in many different directions.