Tag: rock music

Upcoming Releases, Further Into 2022

On By bigbadburchIn Upcoming Music5 Comments

The month of March is winding down and music acts are offering up new albums left and right. It’s a mixed bag this time around with no central focus on any one sound. Some big boys are coming out to play in the later stages of the pandemic and it looks like tours might fire off for real this year so out comes a whole trove of new music.

Def Leppard – Kick

The legendary British rockers are back with a new album Diamond Star Halos, due May 27 and marking their first release in seven years, which seems to be the new norm for the group. The album also hits just before the band head out on the much-hyped and delayed stadium tour with Motley Crue across the US this summer.

The new song Kick is a simple rocker that throws back to eras in rock even before Def Leppard first hit the scene. It is very hard telling what we will get with a new Def Leppard album in 2022 but the lead single is a nice, simple number to kick off the proceedings. It doesn’t entirely excite me but I am curious about what they’re gonna get up to.

Muse – Compliance

I covered a new Muse track a few months back but now we have a second single as well as full album information. Compliance is the second single from The Will Of The People which will see release on August 26.

The song is an electric-pop number that indicates Muse is going to offer a mixed bag of sounds on the new album. They have done work across several styles over the years so it might be a good approach and offer a bit of something for everyone. The song and the theme of the album as a whole have a danger of being interpreted in strange ways in today’s nasty political climate, but it wouldn’t be the first time Muse tunes have been co-opted for shitty political movements.

Blut Aus Nord – That Cannot Be Dreamed

The French avant-garde black metal unit are back with a new album Disharmonium – Undreamable Abysses, which will see release on May 20. This song is much in line with their prior work, which is nasty, atmospheric and mostly inaccessible. It’s the soundscape of nightmares and horrors, meaning the group have done their job well yet again.

Talas – Inner Mounting Flame

A bit of a surprise entry here from a band that has been inactive longer than many people have been alive. Talas were a 70’s and 80’s rock outfit featuring the talents of renowned bassist Billy Sheehan, who just celebrated his 69th birthday last Saturday.

Inner Mounting Flame is not a new song, Talas apparently played the track at live gigs just before Sheehan left the band to join with David Lee Roth. This song might be a recording from a planned yet unreleased album from that time period. It is nice to hear something from yesteryear and also from a bit of a hidden gem band like Talas. The outfit and their record label Metal Blade promise more news soon, perhaps that unreleased album will finally see the light of day.

Weezer – A Little Bit Of Love

Apparently Weezer are still an active recording group.

Joe Satriani – Pumpin’

One of the guitar’s most brilliant masters, Joe Satriani is preparing the release of his 18th solo album The Elephants Of Mars. It is a quick turnaround for the record which hits on April 8.

It has been more than a minute since I last checked in on Satriani. There isn’t a lot to say – he is one of the best axe wielders out there. Pumpin’ is a nice little jam that keeps it short and seems to be having fun.

EMF – Sister Sandinista

A big time throwback is coming seemingly out of nowhere to release a new album. EMF released 3 albums in the early 90’s and had a massive hit with the single Unbelievable. The group has toured off and on in the time since but Go Go Sapiens will mark their first new material since 1995. The album releases on April 1.

Some fans in the YouTube comments on this video are disputing how much of EMF really did the new album but I’m not up on their lineup history so it’s not a huge concern for me. It is pretty cool to hear something from a group who hit a long time ago and I figured were long gone. We’ll see how their electro-alt rock plays in 2022 but the single sounds nice.

Cave In – New Reality

A welcome surprise came last week when legendary post-rock outfit Cave In announced their reformation and new music. Heavy Pendulum will arrive on May 20. The band had been active in the past few years in order to pay tribute to fallen bandmate Caleb Scofield but were largely dormant in most of the 2010’s.

New Reality is an apt title for our present state. Cave In are joining the pandemic era with their heavy blend of post-rock and post-well, everything. It is a stellar tune that predicts good things for the upcoming new record. And in the video they get to have some fun turning Kurt Ballou’s studio into a playland.

Upcoming Releases Spring/Summer 22

On By bigbadburchIn Upcoming Music5 Comments

The year is winding on and we’re about out of winter in this part of the globe. Music is still coming out hot and heavy as artists pent up from pandemic tour disruptions have turned to recording to get their fix. I’ve got a bit from several walks of the sonic aisle to cover this time around so let’s have at it.

Kreator – Hate Uber Alles

The German thrash legends are set to release their 15th studio album bearing the same name as this lead single on June 3rd. There is one change in the band, as former DragonForce bassist Frederic Leclercq makes his studio debut with the group.

The bassist may have changed but all else seems to be the same with camp Kreator. This song offers the same thrash with Gothenburg-accented metal the band reinvigorated themselves with over 20 years ago. This song fits in well alongside past title tracks like Enemy Of God and Hordes Of Chaos, joining the tradition of strong title songs and singles from Kreator. It’s hard to imagine that the upcoming album will be anything but the same style on offer here – thrash with topical themes dealing in the dark side of life and society.

As a note since I’m talking about them anyway – the band’s 2001 opus that reignited their career and perhaps the thrash scene as a whole, Violent Revolution, will be the album of the week this coming Monday.

Amon Amarth – Put Your Back Into The Oar

The Swedish Vikings are back again with a new single. This is apparently a standalone single and does not indicate a new album on the horizon.

In the past several years there has been a bit of a “hipster Viking” fad, fueled in no small part by Amon Amarth as well as hit TV shows like Vikings. Just as the trend came about it found many detractors and today it’s easy to find people bemoaning the presence of Viking cosplayers.

Rather than slide away from the now frowned upon trend, Amon Amarth have leaned 1000% into it. Put Your Back Into The Oar is a full-on Viking row song. It sits in fine with the group’s legacy that has seen them become one of the most visible extreme metal bands in existence. It will also no doubt stoke more flames among the detractors who have grown weary of the band’s Viking image, but that’s always part of the fun.

Brennen Leigh – If Tommy Duncan’s Voice Was Booze

It’s time to go country for a bit. I first encountered Brennen last year when she opened for Charley Crockett on tour. She put on a great set and I began exploring her catalog of absolutely old-school country.

Brennen is preparing to release a new album on May 6 titled Obsessed With The West. The album will explore Western swing and features swing legends Asleep At The Wheel backing Brennen. This is the lead single from that effort and it beckons another excellent set from Leigh. I haven’t been keeping up with country near as much as I used to but it’s nice to be reminded of the finer points of the genre now and again.

Destruction – Diabolical

We didn’t get enough German thrash yet, so long time act Destruction have been kind enough to present their new effort. This song is taken from the album of the same name and is due April 8.

The song is signature Destruction and indicates that we are in for yet another thrash gem. The video gives screen time to the band’s Mad Butcher mascot as he, uh, enjoys a snack. It seems as though Germany might make a huge impact on metal this year, what with Destruction, Kreator and Blind Guardian all with albums in queue.

Dream Widow – March Of The Insane

This new thrash act came out of nowhere with a blistering track that recalls Midnight and Toxic Holocaust, very dirty and gritty thrash which is a sound right up my alley. This band should rocket straight to the top of the metal scene ….

… except that they’re already very popular. Dream Widow is actually the Foo Fighters. Dave Grohl and company recorded this and an entire album’s worth of thrash for their upcoming horror-comedy film Studio 666. This album is getting a release “any day now” according to Grohl and may see the light of day by the time this post goes live on Wednesday, February 23rd. However exactly it goes down I’m quite impressed by this and will look forward to hearing what they got up to in terms of a full album.

Robin Trower – No More Worlds To Conquer

The legendary British guitarist is back with a new single sharing the name of a new album releasing April 29. Trower has release over 20 solo albums and that count doesn’t include his time with Procol Harum or his collaborations with Jack Bruce and others. This song offer a mellow groove and sings of someone who had it all but what he really wanted. For Trower it’s another gem in his extensive collection and it’s nice to see him still going, he’ll be 77 when the album releases.

Dorothy – Rest In Peace

This a new song from one of the 2010’s more interesting new rock prospects. Though she has yet to formally announce a new album she has released a few singles from what are presumed to be included on Gifts From The Holy Ghost, a previously announced title. The single is released just ahead of a major nationwide tour.

The song is a pretty epic and powerful tune that sees Dorothy again having at somebody, a theme she’s used to a fair bit of success on past albums. She is really, really not into whoever she is laying to rest in this song, the lyrical fare is pretty brutal towards her target. The song is well done and bodes well for the album we’ll hopefully get more news about in the near future.

Kurt Vile – Like Exploding Stones

This preview song is ahead of Kurt’s new album (watch my moves) which is due April 15. This is totally new territory for me as I haven’t heard a note of his before playing this song, I haven’t heard his stuff or his prior work with War On Drugs.

This is a very interesting track, I dig the chilled out vibe of it. It’s not something I always seek out but in the right mood I can appreciate something like this. It’s a bit hard to keep up with the enormous indie scene some times. I’ll keep an ear out for the full album when it’s out.

Halestorm – The Steeple

Halestorm are back with a new album Back From The Dead due May 6. This is the album’s second single released as the title track saw play last summer.

I have not previously been into Halestorm that much. I’ve heard great things about them from a lot of different circles but for whatever reason their music hasn’t taken with me. This song might be the one that gets it done – I’m absolutely enjoying this track. I don’t know if they’re doing something different or if I’m just in a more open place mentally or what, but I’ll be on the lookout for when this album hits.

Liam Gallagher – Everything’s Electric

On offer is the lead single from Liam’s long-announced third solo album C’Mon, You Know, out May 27 and destined to be Liam’s most-used Twitter hashtag for the next year.

The song marks Dave Grohl’s second appearance in this post. Liam had his album pretty well finished when Grohl rang with this song on offer. Liam went back to the studio and cut the track and it’s now the album’s lead single.

The song is well done and a pretty chill and “vibe-y” track. It’s not quite the all-out banger Liam was discussing months ago, so perhaps he had a different song in mind for the lead single before Dave got a hold of him. At first the tune doesn’t stand out as much as the singles from his prior release Why Me? Why Not but the song is growing on me with multiple listens. Liam will certainly want to go into the summer well-armed with songs as he is preparing a headlining set at Knebworth, the site of Oasis’ historic triumph 26 years ago. While plenty of Oasis standards will certainly get time I’m sure Liam also wants to have his solo songs stand on their own as well, if for no other reason than to keep up the perpetual sneering contest between he and his brother.

That’s a wrap on this huge edition of upcoming music. As the temperature warms up it seems like a massive amount of new music will be heading our way. Hopefully these and other acts will get to air their songs out on stage out of the shadow of the pandemic and the industry can start making up for lost time and money.

Scorpions – Blackout (Album of the Week)

On By bigbadburchIn Album of the Week2 Comments

In music, as in life, things end. Bands split up, people pass away, movements come and go. It’s an inevitable thing we all have to reckon with in both music fandom and in our lives.

Except the Scorpions. They don’t go away. The German rock and metal juggernaut is due to release a new album soon. I figured today I’d look back at one of my favorites from their prime. It’s not an album most anyone versed in rock needs an introduction to but sometimes it’s nice to pull out the favorites and get back into them.

Scorpions – Blackout

Released March 29, 1982 via Mercury Records (U.S.)

My Favorite Tracks – Blackout, No One Like You, Dynamite

The band had a major issue while recording Blackout – singer Klaus Meine had surgery on his vocal chords. Such an issue brought forth the risk of Klaus being unable to sing again. While Meine recovered the Scorpions brought in Don Dokken to record guide vocals for their songs. Meine did make a full recovery and was able to track the album.

Blackout

The album leads with the title track. The song is an absolutely blistering attack with some splendid guitar work from Rudolph Schenker and Matthias Jabs. Klaus Meine lets his voice rip at the end and ensure everyone that he his indeed recovered from vocal surgery. Blackout is a highlight from across the entire Scorpions catalog and certainly one my favorite bangers of theirs.

Can’t Live Without You

Another quick rocker that gets the job done magnificently and is one of the Scorpions’ many, many offerings to pontificate on the subject of love and romance. The song has an old school rock feel but also maintains the frenetic pace established by the title track. The band is totally on fire on this record and out to make their mark on rock and metal world wide, a feat they would certainly accomplish.

No One Like You

This song was the lead single for the album, at least for everywhere except Japan. It became the big hit from the album and is one of the band’s most recognized songs to this day. It would hit number 1 on Billboard’s Rock chart and is a staple of the band’s concert sets as well as their many greatest hits compilations.

The verses chill things out a bit and bring in that signature Scorpions ballad vibe, but then the chorus amps it all back up and rocks out, in line with tone established for this album. It’s easy to see why this song caught on in the early ’80’s, it is a prime specimen of hard rock greatness.

One bit of trivia about this song – this is my girlfriend and I’s “song.” No real huge story on how that came about – when we first got together way back when it was still somewhat customary to assign songs as ringtones and this is the one I set for her. That’s really all there is to it.

You Give Me All I Need

This song breaks more into power ballad territory, the area which this band excels at and have few peers. It is a very straightforward track that keeps the Blackout ball rolling. The chorus picks up the intensity again and has that driving hard rock the band would exemplify through their career.

Now

Now was released in Japan as a single but kept as an album cut in the rest of the world. The song ups the ante for tempo and even goes beyond the pace set earlier by the title track. It is, very simply stated, time to rock out. Nothing much more needs to be said.

Dynamite

Blackout’s second side kicks off with another barn burner of a track. This song goes for the throat with a full on heavy metal assault. In a moment of lyrical diversity for the band, Dynamite is about kicking ass and hooking up. It did take both the singer and drummer writing words to come up with that. But the song is a spectacular cut from the record that keeps cranking out the hits.

Arizona

The pace chills just a bit for this rocker about, wait for it – getting with someone. It makes me wonder if there really was some story from Arizona that happened to inspire the song, or if the group simply wrote the tune and thought that Arizona was a cool song title. Musically the song keeps everything going just fine, total hard rock and guitar work.

China White

The Scorpions have a long history of offering multiple versions of albums. This sends collectors scouring record bins and puts budgets into fits. While normally the issue is controversial cover art, China White offers a different kind of chase for multiple versions. Rudolph Schenker could not decide which solo take he liked the best so the U.S. and European versions of the album have two different solos. This is one I haven’t hunted down yet as I only have the U.S. version so I can’t speak too much to the contrast.

The song turns the beat down a bit but still slams with the same rock intensity found throughout the rest of the record. The music’s downright nasty tone belies the anti-war subject matter. Though it still very much sounds like Scorpions, they were definitely flirting with doom metal on this song. The curveball is very welcome and it’s not hard to find people who cite this as their favorite tune from the record.

When The Smoke Is Going Down

As a later hits compilation would attest, the Scorpions are a band of rockers and ballads. Blackout concludes on one of the latter and a fantastic example thereof. The guitars are just beautiful on this and Klaus evokes some haunting vocals that aren’t even about anything melancholy. While I’m not really in any position to rank their ballads right now I would certainly have to consider this one of their top efforts.

The Scorpions scored a complete triumph with Blackout. The album sold well across the world and carried forward the momentum they’d gained from their prior two efforts. The band were poised to break world wide and would do so through the rest of the 1980’s. I’m nowhere near ready to begin the massive task of ranking each Scorpions record but I do know that Blackout is one of my favorites and will see a place toward the top when that time comes.

The Social Media Abyss – Damon Albarn and Songwriting

On By bigbadburchIn Controversy4 Comments

A bit of drama from last week came up, well, at least before Neil Young and Spotify wiped the floor with the news cycle.

The battle was this – Damon Albarn, of Blur and Gorillaz fame, said some stuff about Taylor Swift not writing her own songs. Taylor said stuff back, as did a lot of other people, and here we are days later.

Albarn was in Los Angeles to perform his only booked US concert of 2022 and did an interview with the L.A. Times while we was in town. In that interview, Albarn went into a conversation about songwriting and had this to say about Taylor Swift:

Not a very flattering portrait of Swift’s songwriting prowess, to be sure. This portion of the interview quickly took flight on social media and Taylor used Twitter to address Damon:

Taylor got a lot of support from people who have worked with her as well as others in the general music community. It wasn’t a good look for Damon, who made a Twitter apology to Taylor then played his solo show in L.A. Damon did acknowledge the snafu by dedicating Blur’s Song 2 to the writer of the Times piece, stating that the writer requested it before casting Albarn in the the “social media abyss.”

The crux of the issue is songwriting. Is there some higher plane of existence for someone that writes their own songs as opposed to a performer who either doesn’t write or has help doing so?

It does depend on genre. In country and pop, two areas that Taylor Swift has operated in, it doesn’t matter. Both openly source songwriters for the process. In rock music it’s more muddled. It’s often a sign of authenticity and credibility to write one’s own songs. It can be looked down upon to use outside songwriting help, though many of rock’s bigger acts have done so and benefitted from it.

In this instance the songwriting argument really doesn’t matter. Taylor Swift is known for a lot of things, and one of those things is writing her own music. That’s been a known thing since Taylor came on the scene and detractors began pushing back against her. It dates back to before 2010, when she was a huge force in country music and traditionalists were upset with her. She’s been accused of a lot of things, fair or not, but not writing her own music hasn’t really been one.

I don’t know where Damon was going with his train of thought in that interview, and in reading the words I don’t see where he got “clickbaited.” Nothing was deceptive in the interview, and the interviewer even seemed to try and steer Damon away from what he was saying. And of course the piece ran with that portion of the interview – not really clickbait, but more so offering up the thing that more people are going to read.

Had Damon Albarn not said anything disparaging about Taylor Swift, this interview would have gone unnoticed by anyone who doesn’t follow Damon. The Britpop nostalgia audience and Gorillaz fans would have seen it and it would have then been lost to the ether. Instead, Damon’s name was all over socials for a few days. He might not have intended for that and I would give him the benefit of the doubt there, but he did dig his own hole.

On the topic of songwriting – I used to be one of those people who hemmed and hawed about musicians writing their own songs. I have been primarily a metal and rock fan, and that “authenticity” is held up as a debate point against the excesses of pop music. But over the years I’ve learned to quit caring. I’ve gotten into genres like country, where songwriting is as much a factory as an art. I’ve also quit caring about arguing such points at all. No one really cares on either side of the argument and it just pisses people off. I gain nothing from the argument and fans of musicians who hire outside writers aren’t going to alter their music tastes based on someone condescending toward them about it.

I do think this is a bit of an odd turn for Damon Albarn. He’s normally a pretty likable guy and isn’t one to often put his foot in his mouth. I don’t know what he gains from trying to throw Taylor under a bus. His stature in music is pretty well set – Blur’s legacy is almost 30 years old and the Gorillaz have been a thing for over 20 years. He isn’t going to score points with anyone, especially when what he said about Taylor doesn’t hold water.

This is the part right before the conclusion where I had space reserved in case one of the Gallagher brothers chimed in on the ordeal. Noel has been mum and Liam said little about his old adversary Albarn. Instead, Liam appears to be a Taylor Swift fan and offered nothing to fan the flames of this drama.

I don’t have much more to add to the discussion of Albarn versus Swift. Taylor clearly “won” the argument that she didn’t ask to be a part of in the first place. Damon Albarn pulled off his Los Angeles show with a bit of egg on his face and will probably be fine as time moves on. And while Swifties likely won’t be happy with him for a long time, Damon can thank Neil Young for knocking his name out of the trending topics list a few days later.

Blur – Parklife (Album of the Week)

On By bigbadburchIn Album of the Week6 Comments

Sometimes I know well ahead of time what the AOTW is going to be. Other times, like this current edition, I don’t really decide until I sit down to write. For some totally unknown reason not all related to last week’s music news cycle I’ve had Blur on the brain so now I’m going to visit one of the high points of their eclectic discography.

Blur – Parklife

Released April 25, 1994 via Food Records

My Favorite Tracks – Parklife, End Of A Century

Parklife represents the second of a trilogy of Blur records that would come to shape and define the emerging term Britpop. In fact, if one were to wonder why the term was called Britpop as opposed to the seemingly more suitable Britrock, Blur and Parklife would be the signpost for why.

The album is a collection of varied styles that examine the British life through many different lenses. While it is a musical hodgepodge, they exploration of styles does well to convey the mostly sardonic look at typical British life and style. Everything from dance beats to jangly riffs can be found as the record plows it course through England.

The album opens with a dance party on the hit single Girls And Boys. The song has a simple point – Damon Albarn was inspired to write it after watching people get drunk and hook up in night clubs. The song is not praise or criticism of the practice, rather just observation. I’d see the scenes described in the song play out a few year later when I was in Europe as part of the US military. And yeah, Girls And Boys pretty well nails it on the head.

While the musical stylings of Parklife are overwhelmingly upbeat in nature, the topical fare isn’t always a party. London Loves and Jubilee both take aim at the corrosion of substance in culture. The chill vibe of Badhead belies the heavier subject matter of falling away from a loved one. Tracy Jenks observes a man’s midlife crisis, while Trouble In The Message Center handles the inevitable hangover after a night of partying.

While the 16-track album is a wonderful listen in whole, I find my two personal favorite tracks toward the record’s beginning. The third song End Of A Century is a guitar-driven roll through the “late stage” phase of long-term relationships as well as a nod to the winding down of the 20th Century. The song hits at the mundane nature of life while also looking toward the new millennium. It’s a very identifiable vibe and also makes me want to scream at them to stay put and avoid 2020 especially. The refrain “it’s nothing special” truly defines the song’s context.

For all of the contemplation of British life and culture to be found through the album, nothing hit the nail on the head like the album’s title track. Parklife became the defining song from the album and its cultural significance rings true still nearly 30 years after its release. Blur recruited actor Phil Daniels to deliver the song’s verses in spoken-word fashion while Albarn handled the sung chorus. The bright and cheery tune masked a bit the absolutely sarcastic sneer at British park life.

The song hasn’t lost its touch in the decades since release. Left and right it’s easy to find people who still point to Parklife as the “ultimate British song.” It’s become a celebration of that aspect of Britain even while many can acknowledge the sneering intent behind the track.

Parklife the album would be a huge success for Blur. They sold a few million copies of the record in the UK and across the European continent. The band would line up for awards left and right, basking in the newfound acclaim as the “it” band in British rock. Their more artistic approach won out among the populist masses.

At least for one album.

Blur would get about a year to enjoy the accolades brought forth from the success of Parklife. The “Battle of Britpop” was just on the horizon, and while Blur won that battle, the downslide just after when the British music press turned on them would mark another uncertain chapter for the group, one ended when the band jettisoned the concept of Britpop and embraced alternative and garage rock instead.

None of that is the story of Parklife, however. The album remains a high water point for the Britpop movement and marked the point where Blur shook off their early failures and became a successful, noticed band. While the group weren’t working class stiffs themselves, they were able to offer up a view of British life that connected with a wide audience. Both the record and the title song are offerings whose significance outweighs even their successful record sales and awards. The album peered into British life and as a result became a foundation for Britpop to continue building on.

On Wednesday I’ll get into the Damon Albarn versus Taylor Swift thing that happened last week and dominated the news cycle until Neil Young came along.

A Story And A Song, Vol. 3

On By bigbadburchIn A Story And A Song3 Comments

Just a quick note – this series is an unconnected group of stories, just titled this way for summary purposes. Nothing missed before is necessary for this or the next, and so on. The category this is under on the right will lead one to other one-offs in this series.

This will be a bit of quickie. It’s a song and a quick story.

The song is this – the big hit from the Wallflowers in 1996. One Headlight would become the signature song for Jakob Dylan’s outfit amongst the alternative rock, post-grunge hits of the late ’90’s. It placed on multiple US Billboard rock charts and was a staple of mid- to late-90’s rock radio. The Wallflowers would have a few more noticeable songs, mostly from the same 1997 album Bringing Down The Horse, but One Headlight is the band’s bona fide hit.

Here’s the story – I think it’s 2018, or maybe 2019. It’s winter, so if it’s 2019 it’s just a bit before the pandemic came over to the United States. I can’t quite remember which winter this story fell into, but I recall the details clearly.

Several of us met up at a local brewery. Craft beer has been a social and economic boon the past decade, and our semi-sleepy Midwest town caught the late wave in the latter half of the 2010’s. One of the best ones in our town that now boasts 12 or 40 or however many has hosted music over their few years of existence. While now they have a mix of renowned local talent and hot regional acts come in to play on a prepared stage, such was not the case in 2018 or 2019 when this story happened.

I was out with several of my friends on that evening. As time wore on, our friends and significant others left us (for the evening), just leaving my friend and I behind at around 8 PM.

We were at one of those tall bench tables, standing and having a few more suds on a Saturday night. Around that time, some dude comes in and sets up shop with a mic, practice amp and an acoustic guitar. He does cover songs. A one-person project doing cover songs acoustically is not some huge deal, other than the guy is set up just a few feet away from us. We press on with our drinking and talking.

At some point this one-man band busts out his rendition of One Headlight. It was the first noteworthy song he did to point. My friend and I looked at each other with this combination spark of bewilderment and familiarity – “we know this song.” Then, “oh yeah, it’s that one song from way back when.”

We had to take a moment to assess this rendition being done basically in front of us. We started debating the merits of One Headlight and The Wallflowers. Are they worthy? Is it a good song or not? We defaulted to “nah,” but as the song went on we amended our two-person consensus to “you know, it isn’t terrible.”

We finished our brews and called it a night, leaving the one-man acoustic project whose name I can’t recall but I think was Tyler behind. Then I woke up the next day.

Come on, try a little, nothing is forever….

I had the damn song stuck in my head.

It’s ok. I’ve been jamming to music since I was like 5 and I was 43 at this point. I can hack this, I’ve had songs stuck in my head before.

But this wouldn’t go away.

Got to be something better than in the middle…

I honestly went for days with this song in my head. I get it, in a way – I really hadn’t heard it in many years and it was a sudden nostalgia trip. I have never had a song stuck in my head for as long as this ear worm crawled its way in. It was honestly days, even weeks that I had to play it. This wasn’t that momentary song you could get over after a bit – this fucker was straight stuck.

Me and Cinderella, we put it all together…

I had to reckon with this song for awhile. I’ve had songs stuck in my head that I don’t necessarily mind, but I don’t really want to be stuck with them. I’ve also had songs stuck in my head that I wish would die in a fire and the ashes be shot into the Sun.

But this was different. Hearing The Wallflowers again caused me to revisit the album and remember that, hey, I dug this stuff once upon a time. I do wind up in fond nostalgia from time to time, as I’m sure most music listeners do. This was one that had truly passed me by but I became re-acclimated through this dude with his guitar at the brewery on a Saturday night.

We can drive it home on one headlight…

That’s about all there is to this story. It isn’t world-changing or even that notable. Hell, it’s barely a story. But I do still vividly recall that night I got this damn song stuck in my head after nearly two decades of not hearing it. And now I’ll even cop to being a fan, even if on the edges, of The Wallflowers. Hell, they put out a record last year that I gave a minute to. It’s nice to get back in touch with something seemingly long lost, you only get so many of those moments before it’s all said and done.

Upcoming Releases Spring 2022

On By bigbadburchIn Upcoming Music2 Comments

2022 is in full swing now and there are a pile of new releases on the horizon. It’s a ton of metal and a bit of old school rock this time. I’ve got a ton of preview singles to get through so I’m gonna jump right into it.

Matt Pike Versus The Automaton – Alien Slut Mum

Our lead offering here is from longtime High On Fire/Sleep wizard Matt Pike. He’s entering the solo album market and this is the debut cut from the self-titled effort out on February 18. The song as a whole doesn’t wildly depart the High On Fire wheelhouse but does go off in a few more tame directions not suited for the noisy outfit. The video is an absolute trip too. This is good stuff from one of the more prolific musicians of the 2000’s and I’m looking forward to the album’s release.

Muse – Won’t Stand Down

The British stadium rockers put out this new song earlier in the month ahead of a yet-to-be announced album. It seems as if Matt Bellamy is still on his shit as the video goes into some puppeteer symbolism in keeping with his conspiracy-laden world viewpoint.

The song is interesting, both at times in line with the band’s electronic side and at other times very heavy, perhaps a nod to their earlier signature works. It certainly gained my attention enough to be on the lookout for their still unrevealed new record.

Corpsegrinder – Acid Vat

It’s back to “solo albums no one was really expecting territory” as Cannibal Corspe vocalist and the most recognizable death metal vocalist around, George “Corpsegrinder” Fischer, is offering up his debut solo album on February 25. It’s unclear who else plays on the album but Cannibal Corpse bandmate Erik Rutan is featured on this song. Jamey Jasta of Hatebreed was behind the effort production and organization-wise.

It appears Corpsegrinder decided against exploring other musical territory like country or smooth jazz for this effort and remains solidly in the death metal camp. The song is pure death metal without sounding too close to Cannibal Corpse, something that would’ve rendered the project unnecessary. Corpsegrinder has been manning the CC helm for over 25 years now so a solo effort seems fitting.

Abbath – Dream Cull

After a bit of time off for personal reasons, the former face of Immortal is back with his third solo outing. Dread Reaver will see the light of darkness on March 25.

Abbath is up to his usual tricks, those being riffs and growling. The song hit me as a bit odd at first but I’ve settled into it a bit more after repeated listens. It’s not out of Abbath’s wheelhouse but I did find some of the riff choices a bit odd here and there. Overall though I’m fine with it and I look forward to seeing what else he has up his sleeve coming in March.

Slash ft. Myles Kennedy and The Conspirators – Call Off The Dogs

This is apparently the second single from the upcoming album from Slash and friends. The album is simply titled 4, in stark contrast to the band name. The album is right around the corner and will see release on February 11.

I missed the first song so I’ll have to backtrack and hunt it down. This song is a very nice rocker and hints at good things to come from the album. Quality rock is sometimes hard to track down these days but old reliables like Slash don’t often fail to deliver.

Ghost – Call Me Little Sunshine

I wrote a bit about a new Ghost song awhile back but wasn’t sure if it was a lead for a new album or a one-off. As it turns out, that song and this one are part of a new album Impera entering the world March 11. I wasn’t too moved by the prior song.

This one does a bit more for me. It’s slow and kind of plodding but it suits the mood well enough. This song just, I don’t know, feels better than the other one. I haven’t been the band’s biggest fan but I have enjoyed some of their stuff in the past so I’ll lend an ear to the new album when it hits and see what they’re up to these days. The video is quite nice, they are a band often owing to a good visual presentation.

Caliban – Ascent Of The Blessed

I’m in somewhat unfamiliar territory here talking about metalcore veterans Caliban. I have seen the name around a lot over the years but I haven’t heard much of their music at all. I have spun this new song, a lead single from a new album called Dystopia that as yet has no release date.

I can’t say a whole lot but I do enjoy what I’m hearing. I’ll certainly be exploring their extensive catalog between now and the new album, which is their 13th full-length. Seems like I have quite a bit of catching up to do.

Dark Funeral – Let The Devil In

The veteran Swedish black metal outfit has seen their profile rise considerably in the past several years and is releasing a new album We Are The Apocalypse on March 18. This is the lead single, replete with somewhat gory video.

The song stands out in a way for being a slower pace than much of Dark Funeral’s catalog. The band have historically been known to bash the everliving shit out of any instrument around but they seem to have found some nuance over the past decade. The song sounds promising and it seems like we’re in for another treat in March.

Undeath – Rise From The Grave

Here is the not age-restricted Spotify link for audio

This New York-based death metal outfit have been making waves across the Internet for the past few years. This song is the quasi title track from their upcoming album It’s Time … To Rise From The Grave, out April 15. This gives us Americans time to get the record just before Tax Day.

This song has been catching buzz all over social media since it hit last week and all of the accolades are deserved. Just as it seems there is no ground left to cover in death metal, a new group of bands come along and make it all fresh and vital again. Undeath are one of many bands hitting the scene hard as this screwed up decade of the 2020’s gets rolling, and this year the band might shoot ahead of the pack. Undeath are a name that is going to be said a lot between now and the end of the year (and beyond).

That’s all for this month. The new releases keep stacking up so next month looks to be much of the same, a whole pile of new offerings to headbang to.

Who Killed Hair Metal? Part Four

On By bigbadburchIn Controversy1 Comment

So far I’ve issued several verdicts in the case of The People versus Whoever Killed Hair Metal. I’ve found grunge, and by extension alt-rock, guilty. Guns N Roses too is guilty, having set the bar too high for anyone else to attain. And Metallica, of all people, is certainly also guilty of providing another alternative to the stale and washed up format of hair metal. Here are links to my previous rundowns in the series.

Part One – Grunge

Part Two – Guns N’ Roses

Part Three – Metallica

But in the end, we all know who is truly guilty of killing hair metal.

And no, it isn’t hair metal.

It’s ok, I’ll give you a second to process that. But you know I’m right, if only technically.

Suspect Four – The Record Labels

No, hair metal did not kill hair metal. Sure, quality control was noticeably absent in the early 1990’s just before the death knell rang from Kurt Cobain’s guitar. It can be said that hair metal was a watered-down mess that was nearly unrecognizable from the form it began on in Motley Crue’s early recordings. It couldn’t even hit the high notes of the late 1980’s, struggling to keep pace with choice recordings from the likes of Cinderella and Skid Row.

It just wasn’t there anymore. Sure, some recordings of various merit came out. The last gasp of hair metal saw acts like Slaughter, Trixter, Firehouse and Winger generate interest while also seemingly flailing against the inevitable. The party was just about over on the Sunset Strip, at least for all but the few biggest acts who had transcended the genre in various ways. Skid Row would go on for a few years of touring success. Guns N Roses had big hits with their double albums in 1991. And Motley Crue seemed poised to take on a new decade with the excellent cut Primal Scream from a greatest hits collection, only to implode in band turmoil a year later.

Everyone else was left to either die off immediately or slowly flail away. White Lion split when guitarist Vito Bratta had enough of the music industry, totally unwilling to this day to return. Poison tried their hand replacing CC DeVille with up and coming guitarist Richie Kotzen. The move produced some worthwhile music but personally backfired for everyone involved in an extramarital affair.

But Poison had a bigger name and therefore more capital than most, and were able to reestablish themselves as a worthwhile nostalgia act years later. Many other of the hair bands would fall off a cliff in terms of notoriety. Small but dedicated fanbases would turn out for shows at far-flung clubs or state fairs, but hair metal had fallen and wasn’t getting back up.

Rock music as a whole had changed. The sound that grunge ushered in led way for rock’s alternative base, something aired on college radio in the 1980’s, to truly take over and redefine the sound of rock music. The sound of late ’90’s rock was more akin to a CW TV show theme song than a big party anthem. Even legacy rock acts like the Scorpions and Def Leppard, bigger than hair metal but not immune to its movements, had to take time to readjust as their favored sound faded away. It seemed like everyone in rock music, with the exception of Aerosmith, felt some kickback from the demise of hair rock in 1991.

It wasn’t the bands that killed hair metal. No one on Earth would kill their own livelihood. The bands might be complicit in recording drek that got worse as time went on, but it wasn’t really under their own direction.

No, music is a business, and it was the record labels who were milking the hair metal cow dry. Hair rock was a fad – the gaudy fashion, the good times and fast women, the massively excessive image and music was not going to last forever. Nothing last forever in music. Those acts who see longevity have pivoted over the course of years and decades. They languished at times and then resurged when the moment was right.

The record labels were living large in the 1980’s on piles of money from overpriced albums and hoarding of profits off the backs of its artists. They churned out act after act in the course of business, without considering the artistic effects this assembly line of hair rockers was going to have.

And it wasn’t hard to find willing acts to keep the hair metal machine going. Who doesn’t want to be a rock star? Hair metal represented the zenith of excess for rock stardom. Women, parties and drugs were the order of the day. Sure, every other genre of music sees its stars indulge in the same, but hair metal put the show front and center. Take the record company’s money and head out in search of the stars. Never mind the terms of that contract and the severe unlikelihood of reaching those stars…

No, hair metal did not kill hair metal, at least in a sense. The music had gotten derivative to a point of being parody of its earliest incarnation, but the bands themselves aren’t to blame for their demise. It was the record labels, in their perpetual avarice, who truly killed hair metal and shoulder the lion’s share of guilt in the case. The entity that brought the hair metal movement to light was the same one who killed it.

It has now been 30 years since the death of hair metal. Rock music shifted course forever after 1991. There still is that “old rock” sound to be found, many legacy acts and even newer bands born of inspiration from the old days abound, though mainly in the independent scenes. While I don’t necessarily yearn for the glory days of hair and makeup, I do sometimes miss the rock music that was the underpinning of the hair metal movement and I’m glad some old school folks are keeping that kind of rock around. But modes of music distribution and information sharing have changed so much since the 80’s that there is likely no way to truly bring that scene back into existence. Things are just way too different now.

This stands as my final testament to who and what killed hair metal. The record labels bear the blame in my eyes. There is no appeal to a higher authority regarding my verdict – my judgment is final. It’s time to move on to other scenes in music for a bit, and to have nothing but a good time while doing so.

Who Killed Hair Metal? Part Three

On By bigbadburchIn Controversy2 Comments

It’s on to part three of this exploration of who killed hair metal. I’ve already rendered verdicts on grunge, the prime and obvious suspect. I’ve also convicted Guns N Roses of killing their own scene by being better than it. Check out the links below to see all that in action.

Part One – Grunge

Part Two – Guns N’ Roses

Grunge, and specifically Nirvana, get the lion’s share of blame for killing hair metal. It’s warranted, as I already went over in part one of this series. But grunge didn’t just kill hair metal. The truth is that heavy metal in all its forms was very much hurt by grunge’s influence.

Record labels weren’t only signing hair bands left and right – they were out to get on the next cash cow, and the next-heaviest thing that seemed logical to take off was thrash. The offshoot of punk had come in hard in the early ’80’s and was the polar opposite of its bastard cousin hair metal. Major record labels stocked up on thrash acts in order to be ahead of the curve and be there when thrash broke big.

The only problem was that thrash didn’t enter the music mainstream. Well, except for one band, and that band turned their back on the thrash that they helped invent and instead conquered every music chart known to man. I submit for consideration as a suspect in the murder of hair metal one of music’s most significant acts who made their own mark on 1991 – Metallica.

Suspect Three – Metallica

Metallica could have killed hair metal very early on. Lars Ulrich has told a story of his band wanting to fight Motley Crue in the streets in the early ’80’s, when both bands were getting their starts. Lars set out to find Tommy Lee and teach him a lesson on who is the bigger badass in music. Unfortunately for Lars, his 5’6” frame didn’t quite measure up to Tommy’s 6’2” stature, and Lars wisely chose to disengage.

Metallica might not have beaten up hair metal way back when, but they got to put their own nail in the coffin a decade later, even if Motley Crue themselves would outlive the death of the genre they founded.

The story is simple – Metallica arrived on the scene with an intense thrash record, they then refined their approach through songwriting and combined heavy with tasteful. They entered the 1990’s looking to do something different and hooked up with Bob Rock. The resulting record, the self-titled affair known as the Black Album, took over the world and is one of music’s best-selling records ever. The record has sold 31 million copies since release and served to catapult Metallica into the upper echelons of rock stardom, an unlikely feat for a group of nasty, long-haired geeks who cut songs like The Four Horsemen starting out.

As a whole, heavy metal did not do that well in the 1990’s. A few exceptions are noted – a brief movement from the early half of the decade loosely categorized as “alt-metal,” including Danzig and Type O Negative, saw some time in the Sun. Pantera rose to mainstream prominence as a pretty harsh act. Extreme metal bubbled toward the surface as thrash fell by the wayside, with black metal being the vanguard sound by decade’s end.

But heavy metal in the 1990’s largely belonged to one band. Metallica took over the world, one platinum certification and sold-out arena show at a time. While their sound was not the same as what they cut their teeth on, there is no denying the massive impact they had on all of music when they stole the show in 1991. Their influence lasted longer and was more far-reaching than grunge, and Metallica have sales records that outpace almost every album released in the decade, even industry titans like Shania Twain couldn’t keep pace.

But what does Metallica and their 1991 advent to superstardom mean in terms of hair metal? Hair metal was already on life support before Nirvana dealt the fatal blow that September. That summer, hair bands were already reshaping their music videos to be more plain-dressed, an effort to keep up with groups like Alice In Chains who were taking over airwaves. Gone were the gaudy shiny leather outfits and make-up of the decade prior, the bands left were scratching for a bit of relevance and a hope of lasting through the record contract they just signed.

Then Enter Sandman hit MTV on July 29, a few weeks removed from the Black Album’s release. It was a whole new ballgame the second that riff fired up. Rock could be menacing, dangerous and yet still accessible and catchy. There is no doubt that Enter Sandman is one of the catchiest songs in history. It might have been overplayed, sure, but that fatigue came later and detracts from its immediate impact on the music scene.

What did a person about to enter their freshman year of high school want to be caught dead listening to – some 12th generation hair band that was dead in the water before the first single released, or Metallica? If someone wasn’t on the grunge hype train, they’d better be sporting Metallica gear. No one could argue with that, even if Metallica had pared their sound down from the pioneering thrash days.

Metallica was a safe haven for the rocker who was caught with his bleached jeans down as hair metal made a quiet exit stage left. Was Nirvana too incomprehensible and dissonant? Check out Sad But True! Still need that feeling a good ballad generates? Nothing Else Matters and The Unforgiven scratch that itch. Metallica were just as big as hair metal – bigger, even – eventually eclipsing the mark that even Guns N Roses left on the music.

It might be something of an abstract link, but Metallica deserves some share of the responsibility for killing hair metal. It’s only fitting that the band throws darts at a picture of Winger in the Nothing Else Matters video. Metallica themselves irrevocably altered the face of rock and metal music while bands like Winger were left churning in the wake. It was the combination of a heralded reputation and the fusing of metal with accessible sounds that made Metallica one of music’s biggest bands, and that commercial likability helped give people a lifeline as they fled the sinking ship of hair metal. The alternative music wasn’t for everyone and heavy metal’s biggest act came to save the day.

Tomorrow – we deliver the final verdict on who really killed hair metal, in case anyone actually didn’t already know.

Who Killed Hair Metal? Part Two

On By bigbadburchIn Controversy5 Comments

Yesterday I opened my courtroom and began cracking the “cold case” of who killed hair metal. I visited the prime suspect, that being the grunge scene, and my findings indicated that Kurt and company were in fact culpable in the death of hair metal.

But the fact is this – they didn’t act alone. While the death of hair metal wasn’t a grand conspiracy, there were multiple assailants on the scene. And one of those assassins was born and bred in the same scene hair metal came up in – the Sunset Strip of Los Angeles.

What if hair metal didn’t really kill itself (again, we’ll get to that on Friday) but what if it was killed by itself? It begs questions of what hair metal really was and wasn’t, but there’s no doubt that a late ’80’s band left such a mark on the rock scene that it would leave other bands incapable of topping it.

Suspect Two – Guns N Roses

The biggest of the LA bands would hit in the late 1980’s with the monstrous Appetite For Destruction album. While a bit slow to catch on, this collection of tunes would eventually set the world on fire and propel GnR towards “biggest band on Earth” status. The album has gone on to sell over 30 million copies worldwide and is often found on “best album ever” lists regardless of genre.

Guns N Roses were a product of the Sunset Strip and Appetite… certainly was a hard rock/heavy metal document. It is debatable whether the band fits the “hair metal” term, though. They certainly do in general sound and geography, but their brand of rock snarled and snapped a lot more than even the most weighty hair metal offerings.

Many critics and fans do not include GnR on the hair metal roster. This seems to be often fueled by hair metal being seen as a negative term, and bands who are “better” than the moniker are left without having to wear it. It’s the same argument metal fans make when they say someone like Limp Bizkit isn’t metal, but in reverse – spare the band from the term in the case of Guns N Roses, rather than the term from the band.

I can’t really look at things that way, though. I do think Guns N Roses fits the “hair metal” scene and sound. I look at hair metal for what it is – a music scene in a place and time. Sure it has both positive and negative connotations, but the scene can be explored on a semi-objective basis.

It isn’t really fair to classify every mid- or late-80’s band as hair metal, but in the case of Guns N Roses I do think they fit the bill enough. They had the sleazy look and the party hard attitude that went with the scene. Axl Rose wasn’t just a primadonna, he was the absolute head of that table. The band brought with it chaos and drama that other acts could only hope to get a portion of.

The issue at the end of the day is music, of course. Is Appetite For Destruction a hair metal album? I can see the argument either way. The music is bigger than a lot of hair metal and the songs are bounds above the standard fare rock of the time period. The tunes move in a very aggressive direction not often found in the hair metal hordes. Even their “ballad,” Sweet Child O’ Mine, is a much more rounded song that a lot of formula-ridden hair ballads of the day.

And therein lies the point. Appetite For Destruction was such a hard rock monster that it couldn’t be replicated or even contended with. Whether or not it is a true “hair metal” album doesn’t matter – it is adjacent enough to the scene that every band out there had to contend with it. It was a juggernaut incapable of being touched, even by Guns N Roses.

And barely anyone came close to even touching the surface of GnR’s success. Motley Crue would have a hit with their 1989 record Dr. Feelgood, but that album was something of a victory lap for the band and did not approach Appetite’s greatness in any way. Of anyone, perhaps only Skid Row even scratched the surface with their 1991 effort Slave To The Grind. It was another ferocious album that bent the genre and established the group as having prime chops, but that record still did not threaten to unseat Guns N Roses as having made the biggest statement in hard rock.

Guns N Roses themselves would not touch Appetite For Destruction again. Their proper follow-ups were the Use Your Illusion albums – some great songs and clear marks of the excess of rock music, but also very bloated records that tend to crush under their own weight. (For more of my thoughts on those albums, revisit my series on them starting here.) The band would splinter apart in the mid-90’s and only reunite a few years back as a quasi-nostalgia act, with seemingly little new to contribute.

I do feel Guns N Roses is guilty of contributing to the death of hair metal. There was just no way anyone else was going to top Appetite For Destruction. Whether or not the group was really “hair metal” themselves isn’t relevant – maybe it was an inside job or maybe they were just close enough to the scene to take what worked about it and amplify that a thousand times over. Either way, the band are especially guilty of setting the bar so high that the scene they were born of could not cope.

Tomorrow – a suspect not often discussed but one that looms large over the crime scene.

Axl looks like the dude from Soul Asylum in this vid