My Top 10 Albums Of 2022

On December 12, 2022December 12, 2022 By bigbadburchIn AOTY 20227 Comments

It’s that time of year for album lists. For me, things snapped into place pretty easy this year. I haven’t had to deliberate much on what should be here or what order it should go in.

Most of this stuff hasn’t really been discussed here, beyond a glimpse from one of my preview posts. I’ve only discussed two of these albums at length this year and a few weren’t mentioned at all. Covering new music is tough and requires a lot of time so it’s something I do very sparingly.

Last year I split this up and gave the album of the year its own post, this year I’m keeping it simple and doing everything at once. Let’s get to it and see where all this stuff ranks.

10: High Command – Eclipse Of The Dual Moons

This is some very nice dirty thrash that also pulls influence from a lot of ’80’s metal legends and also incorporates a fantasy story arc across its lyrics. It can be enjoyed on a surface level for its great music and can also be explored further for the story. Really great stuff here.

9: Witch Fever – Congregation

This is the debut full-length from a group billed as punk but playing a harsh version of doom, noise and grunge. The album takes aim at institutions of power, especially religion. It’s a great, pretty unique sound Witch Fever have going on here and hopefully there are great things to come for the English group.

8: Undeath – It’s Time … To Rise From The Grave

What’s old is new again, and this year old school death metal returned in a big way. That was thanks in large part to Undeath and their much-hyped second album. This album slots in nicely alongside the death metal classics of the early ’90’s and is a signpost for a new generation of death metal mayhem.

7: Lorna Shore – Pain Remains

This was one of the most anticipated releases of the year after the hype over To The Hellfire in 2021 went to a whole new level for deathcore. Lorna Shore delivered by avoiding the trap of trying to recreate what they did a year prior and mixing things up a bit. The ending Pain Remains trilogy of songs is some majestic stuff.

6: Mother Of Graves – Where The Shadows Adorn

It’s been awhile since I’ve heard some good death/doom, yet here it is in a new form from a newer group out of Indiana. This hits all the right notes and shows its influences while still very much being its own thing. A really great album that, in a way, kind of came out of nowhere.

5: Blind Guardian – The God Machine

The German power metal legends returned with their first proper studio album in seven years and they came back in a huge way. This album is very to the point and direct, no mucking around here. The band haven’t lost their touch and have re-explored some of the speed metal elements of their earlier career. This album is a true highlight of an already impressive catalog.

4: Chat Pile – God’s Country

Chat Pile had built a healthy amount of buzz over the past few years and delivered on that this year with their first full-length record. This sludge/noise offering is a disturbing listen that looks at the less savory side of life in Oklahoma and nails the perspective. The music and themes aren’t for everyone but those who get it, get it.

3: Lamb Of God – Omens

I was one of several who had thought Lamb Of God’s best days were behind them, I hadn’t been wowed by a release in quite awhile. All of that is out the window now – Omens is a sharp, stark return to form for the groove metal legends. This is an ass kicking from start to finish and I was totally blown away by it.

Omens is the only album from this list that I covered as an Album Of The Week, that post is here.

2: Scorpions – Rock Believer

Now, you want to talk being surprised and impressed by some old dogs? The Scorpions coming out in 2022 with this absolutely killer set of tunes was not something I saw happening. While they’ve had some moments in the past few decades, this band was long thought to be in their twilight. But no, they totally reinvigorated their sound and came out fresh despite being literally older than dirt. Klaus Meine sounds fantastic here and he’s older than a lot of old rock singers that have lost their voices. And the songs are some of the best they’ve done in a long, long time.

I did cover this album in more detail a bit after its release, here is that post.

Album Of The Year 2022

Cave In – Heavy Pendulum

The New England group known through the 2000’s for metalcore, post-rock and/or whatever you want to call it had been quiet through the 2010’s and suffered the loss of bassist Caleb Scofield in a car accident in 2018. The band reconvened with Converge bassist Nate Newton handling those duties and recorded their return album through the course of the pandemic.

Cave In’s return was nothing short of a massive success. Heavy Pendulum visits all points of Cave In’s past and works with a variety of sounds to shape concepts in the 2020’s. It’s a monster of an album at 71 minutes but everything here works, especially the epic album closer Wavering Angel. The bag of riffs on this album is of insane size and visits about every kind of rock and metal you can think of.

That wraps it up for the 2022 stuff. I did more last year but I think just doing the album list is fine enough. Only a few weeks until it’s time to stary worrying about what 2023’s top albums will be.

Alice In Chains – Down In A Hole

On December 8, 2022March 15, 2024 By bigbadburchIn S-Tier Songs7 Comments

This post was part of a series that I called S-Tier Songs. I later decided to abandon the series in favor of a simpler Song of the Week format. I am keeping these posts as I wrote them but removing the old page that linked to the list of S-Tier Songs, so that is why these posts might look a bit odd. Enjoy.

Today’s offering is one of the finest moments of the grunge movement. Even with being “grunge,” it is a suiting power ballad that evokes sadness and despair in a way not a lot of artists can touch.

Alice In Chains – Down In A Hole

Our song today hails from the album Dirt, the 1992 masterpiece of the Seattle-led grunge period. The album sold millions and was ever-present on radio and video airwaves. It qualifies as “classic rock” today and is still in rotation far and wide.

Down In A Hole was the fifth and final single from the album. It was released as a single almost a full year after the album arrived. The single sold over a million copies and charted in several countries. On Spotify it is the third-most streamed song from Dirt, behind only the mega-hits Rooster and Would?

The song begins very softly, almost in a way that departs the hard-edged album it is from. But it remains within the Alice In Chains lexicon, with suitably melancholy guitar work from Jerry Cantrell and the sheer power of the vocals of Layne Stayley, with harmonies provided by Cantrell. The singing has always been a highlight of AIC and both Stayley and Cantrell shine especially bright on this song.

The lyrical content of a song called Down In A Hole is, of course, pretty downtrodden. Though not from the doom genre per se, this could easily be considered a doom song thematically. It sounds like someone in the grip of utter despair and hopelessness. Every line is awash in depression and soul-crushing anguish. Lines like “See my heart, I decorate it like a grave” and “You don’t understand who they thought I was supposed to be, look at me now I’m a man who won’t let himself be” are jewels in this crown of misery.

Jerry Cantrell, the song’s sole writer, shed some light on the song’s origins in the liner notes to the band’s 1999 box set Music Bank. He states that the song was written about his girlfriend at the time and the realities of a long-term relationship and how they clash with being in a band. While there are plenty of songs about that and about life on the road in general, I don’t know how he got Down In A Hole out of that. But hey, I’m glad he did.

Down In A Hole has been a staple of the Alice In Chains setlist, with one major caveat to that – they did not often perform the song when Layne Stayley was alive. It was not a regular part of the setlist on the band’s tours in the early 90’s, and the group did not tour much after that due to Stayley’s health issues. A vast majority of Down In The Hole performances are from the band’s modern incarnation with William Duvall at the vocal helm.

One notable exception was the 1996 MTV Unplugged performance. This did feature Layne and the song worked very well in the unplugged setting. Alice In Chains were always a proficient acoustic act anyway, so having this version of the song is a massive plus.

Why is this an S-Tier song?

Down In A Hole is both beautiful and soul-crushing. It communicates absolute sadness but in a very majestic way. It showcases the main strengths of Alice In Chains, those being the voice of Layne Stayley and the musicianship and songwriting of Jerry Cantrell. It is an amazing work that got huge airplay despite being such a depressing affair.

2022 Spotify Wrapped

On December 1, 2022November 30, 2022 By bigbadburchIn Uncategorized5 Comments

The quick and easy posts continue this week as it’s that time of year for Spotify Wrapped.

I’ll add a quick bit of context before getting into mine – this year I used Spotify for two main purposes – small playlists of 6 or so songs when I go on bicycle rides (which is most every day) and to check out new releases. I figured my wrap-up would be distorted this year based on the small series of 30 minute playlists I constantly rotate through, but as it turns out I can say the results were fairly representative of my listening habits.

First up the is genres. Not a whole lot to get into here, besides whatever “post-doom metal” is. Music descriptors get awesome these days when everyone is trying to invent a new term for a sound that sets even somewhat apart from the rest. I’m also not entirely sure what they’re referring to with “country rock” but that’s a more understandable term.

Now on top artist. Not really shocking to me – I have a handful of LoG songs in my playlists and then when Omens came out in early October I played the hell out of it. I’ve liked them for a long time but the new album really knocked me over and likely explains how they took my top artist crown this year.

And here is the overall Wrapped sum-up. Kind of funny that my top played song in 2022 was the same one as from 2021. My only real “huh?” moment is Muse being in my top artist list – they put out a new album this year which didn’t really hit with me, though one song off of it is pretty awesome. I guess that one new song and whatever sprinkling of others I have in my playlists put them over the top. None of the others register any surprise to me all.

Here is one other little bonus that was going around in the past few days leading up to Wrapped – the Instafest lineup. It essentially takes your Spotify data and generates a three day festival based on what you’ve played. Here is mine.

I’m honestly pretty happy with mine. Now, I do love Oasis, but in no universe would I book Iron Maiden as an opening act for Oasis. I’m sure plenty of people would have my head for that. But beyond that, I would pay huge money to attend that fest. It lines up with what I like pretty nicely. The only oddball? I don’t know the artist “Lord” as listed on the festival bill. No clue who that is referring to and I’m not getting any easy answers on Spotify.

That covers my Spotify Wrapped for 2022 and also the bonus Instafest thing. As a preview for my end of year stuff, I’ll do my top albums of 2022 on December 12, in place of the regular Album of the Week feature. I’ll probably do a small Songs of the Year list too, maybe three or five, don’t know yet. On through the ass end of 2022.

Album Of The Week – November 21, 2022

On November 21, 2022November 20, 2022 By bigbadburchIn Album of the Week8 Comments

This week’s pick is a monumental album from 1985. It saw an established artist break through record label politics and define his sound on his own terms, and kicked off a run of success that would form the creative peak of his career.

John Mellencamp – Scarecrow

Released August 5, 1985 via Riva Records

My Favorite Tracks – Rain On The Scarecrow, Minutes To Memories, Small Town

John Mellencamp had been at war with music executives seemingly from the start of his career. What to record and release was one battle, what to call himself was another. His label had insisted on the “Cougar” moniker for whatever reason and had tried to shoehorn him in as a Neil Diamond-like act.

As chart success came, Mellencamp was able to pivot to doing his own thing, and Scarecrow marks the beginning of a run that would contribute greatly to a series of music movements perhaps best described as alt-country. While the start of alt-country and its associated subgenres is a topic of unsettled discussion, it’s clear that Mellencamp made a huge imprint on everything.

While “Cougar” would still sit on the album’s cover, this was a John Mellencamp album. The useless nickname would take a few more records to disappear, but Mellencamp had truly and finally arrived with what was technically his eighth record.

Today I’ll run down the original version of the album, comprising eleven songs. There are various reissues and bonus tracks available, including a super deluxe set that was just released a few weeks prior.

Rain On The Scarecrow

The opener gets straight to the point – this haunting tale speaks about the loss of small-scale farming, a massive issue in the 1980’s. Single-plot farmers were caught in loan and insurance issues that caused many to lose their land, stock and equipment. In what can’t be a coincidence, decades later much of US agriculture is owned by a few mega corporations.

While mournful, Rain On The Scarecrow is also heavy. It is hard rock and even bordering on heavy metal in its stark delivery. It was an attention-getter on airwaves in 1985 and, while the battle for farmland seems to have been a losing one, did bring the issue to the attention of a far wider audience.

A brief traditional song Grandma’s Theme appears next.

Small Town

One of the album’s three Top-10 hits, Small Town has been a staple of rock radio since its release. The song is a simple and pleasant look at life in rural America, this time simply recounting the experience as opposed to fighting off a corporate oppressor. Mellencamp’s experience of growing up in small town Indiana is translated nationwide for anyone in a small town. While there would be a huge melancholy vibe in a lot of Mellencamp’s music, this song leaves that behind to simply extol the virtues of a simpler life.

Minutes To Memories

Though not a single, this song about an older man advising on the fleeting nature of time and life has been featured on greatest hits packages and in live setlists. The topic can be unsettling to think about but the song is presented in a motivating, upbeat way. Might as well toughen up and grind it out, one day it will all be memories.

Lonely Ol’ Night

A very simple tune that recalls Mellencamp’s earlier hits, this track joins Small Town as the best-charting singles from the record. This song leaves behind the look at society and instead focuses on a few lonely people who inevitably cure their loneliness together.

The Face Of The Nation

The rocking, upbeat music belies the harrowing lyrical fare. This is a recount of the pain and suffering seen around and how everything is changing into something not very good. For its dire message it is a very snappy tune.

Justice And Independence ’85

Another bright rocker that personifies the title concepts as well as that of Nation. Again the lyrics aren’t quite as peppy as the tune, as Nation stumbles in his life to the dismay of his parents Justice and Independence. The song does close out on an uplifting note.

Between A Laugh And A Tear

One of what would become many Mellencamp songs about how life can be crappy and weigh you down, and the struggle to get through it all. The ultimate message is inspirational and the music is a bit of a preview of what Mellencamp would sound like on future albums.

Rumbleseat

Another Top 40 single, this is yet another snappy rocker that is examining a hard life and the attempt to move on from it. It’s another great presentation of grinding through the crap and failure to move on to a better tomorrow.

You’ve Got To Stand For Something

The Heartland rock is in full effect here with the song’s title communicating its simple yet important message. This song title would be a country hit for Aaron Tippin several years later but the two songs are not otherwise related.

R.O.C.K. In The U.S.A. (A Salute To 60’s Rock)

The album closes with another Top 10 hit, this time a homage to the rock Mellencamp grew up with and what the band played a ton of before recording this album. While this diverges greatly from the album’s pretty grim themes, the song is an obvious crowd pleaser and another of many Mellencamp tunes that still see regular airplay.

Scarecrow was a huge success for John Mellencamp. Besides the well-received singles, the album peaked at number 2 on the Billboard 200, sitting only behind the Miami Vice soundtrack. Scarecrow has gone on to 5 times platinum in the US and also has several Australian platinum awards.

More than anything, this marked where Mellencamp truly set out on his own as a songwriter and began shaping his true musical legacy. The blueprint laid for “alt-country” here would be expanded upon on his next release and the pair of albums would go on to forge a great deal of what are considered his greatest songs. It’s hard for the record label to argue with you when you bust the singles and album charts with music on your own terms.

Tool – 10,000 Days (Wings Pt 2)

On November 9, 2022March 15, 2024 By bigbadburchIn S-Tier Songs5 Comments

So I last left off with A Perfect Circle and their hit single Judith. The song was an attack on the deep faith Maynard James Keenan’s mother felt despite an injury that left her debilitated for nearly 30 years. It wasn’t the first time Keenan had used his mother’s malady as lyrical inspiration – the Tool song Jimmy from 1996’s Aenima was about his experiences being 11 years old after his mother’s injury.

And it wouldn’t be the last time Tool would visit with Judith for song inspiration. Judith died in 2003, and in 2006 Tool would release the 10,000 Days album. While the album title pays homage to Saturn’s 29 year long cycle of moons in orbit, two songs on the album serve as eulogy to Judith Marie.

Tool – 10,000 Days (Wings Pt. 2)

10,000 Days the song is preceded by Wings For Marie, a more intro-like song that sets the stage for the epic rollout to come. And while Wings For Marie is its own track, it’s very difficult to assess it in isolation, as it is clearly a companion to 10,000 Days.

The song 10,000 Days itself begins with a rolling, quiet intro that is clearly building to something and also features the sound of storms in it. The payoff will come, but this 11 minute long song isn’t in a hurry to get to its point.

As the bass and the storm rolls along, Maynard begins singing about the end of his mother’s mortal journey. He takes a shot at the hypocrites who surrounded her after her health issues, but then deliberately writes them off and focuses the rest of the song on Judith.

The lyrics accompany Judith as she ascends to Heaven. Rather than be a humble servant, Maynard says Judith should arrive at the gates proudly and demand her wings. She is truly “the light and the way they only read about” and is the main event at the pearly gates.

The song ends with a quiet reflection from Maynard offering further suggestion for what Judith should say as she enters the afterlife. Everything is a bit of a roller coaster in the 11-minute long surge of music and movements, but the quiet ending sums everything up perfectly.

The rest of the band is up to some real atmosphere generation on 10,000 Days. This isn’t a long song that just goes from point A to point B with a few riffs and fills – no, there are plenty of movements and changes to keep everything fresh and also flowing along with the varying intensity of the lyrics. Tool never was much of a straightforward band anyway, and they up the ante on this song with arrangements and progressions that stand apart from a lot of popular fare of the time.

10,000 Days was not released as a single. It was played live during the album’s tour cycle, but met with some resistance from a portion of fans. The popular cuts from the record were the singles like Jambi and The Pot, and in some instances people at concerts were screaming for those while the band was playing 10,000 Days.

The fan backlash, however strong it may have really been, coupled with the extremely personal nature of the song, led Maynard James Keenan to feel a bit burned by doing the song. He said this about it in a May 2022 interview with Loudwire:

“I think probably the stupidest thing I could have done on 10,000 Days was put myself out there as much as I did with the tracks ‘Wings for Marie (Part 1)’ and ‘10,000 Days (Wings Part 2),’ Keenan said in an interview to promote the album. “I’ll never make that mistake again. It just took too much out of me – too much emotionally, mentally, physically – all those manifestations. Those songs were exploited and misconstrued, people were flippant and dismissive. I won’t be doing that anymore. And technically, ‘Wings’ is very difficult to pull off. If any one of us is off, it falls apart and makes that thing tragic, and that’s not a good song for me to have fall apart. It’s just too personal.”

It is a shame that the song was shrugged off by some, but I know me and many others found it to be a masterwork. The majestic instrumentation along with the powerful lyrics that could only come from such a harrowing place were the perfect song combination. Tool no longer performs the song, though in part that might be due to a whole other album full of 10-minute long songs that eat up a fair chunk of a set list.

Why is this an S-Tier song?

10,000 Days is a triumphant movement, wrapping the emotionally-charged death of Maynard’s mother Judith into a masterful piece of music. It’s a movement that goes beyond our regular notions of music enjoyment and enters a kind of space reserved for the more transcendent of songs. It is a long build up for a payoff only paid if you have any amount of patience within you.

This is the type of song to be enjoyed over a course of time, and to be appreciated for the scope of what is being communicated. A “fan” looking for immediate payoff won’t be welcome here. This is for the more discerning ear, preconceived notions about Tool be damned.

Album Of The Week – November 7, 2022

On November 7, 2022November 6, 2022 By bigbadburchIn Album of the Week9 Comments

This week’s pick is one of rock’s greatest albums. The songs married the sounds of the time with the band’s already-established formula and created a whirlwind that marks one of the most successful periods in the group’s career. It would also be the last offering from this phase of the band for many years.

Van Halen – 1984

Released January 9, 1984 via Warner Bros. Records

My Favorite Tracks – Hot For Teacher, Panama, I’ll Wait

The lead-up to 1984 was a bit contentious for Van Halen. The band had rushed out Diver Down and Eddie Van Halen was prevented from his desired use of synthesizers. In 1983 he sequestered himself in his new home studio and used a synthesizer for the whole year, in defiance of the wishes of David Lee Roth and the record label.

The results weren’t to be argued, though. The slate of songs Eddie came up with worked, both within the band’s sound and as an update to their offerings. This album was chock full of hits and several of the songs would become iconic pieces of Van Halen’s catalog.

It is a rather short album in some respects – 8 songs with a total time of 33 minutes. But there is a lot to talk about, given the legendary nature and success of these songs.

1984

Keeping things even more concise is the first track, a minute long instrumental that only features synthesizer. That’s about all there is to it.

Jump

The proper lead track is likely Van Halen’s most recognized song. Jump features the keyboard front and center, with Eddie’s guitar taking complimentary role. Roth originally based the lyrics around footage of someone contemplating suicide from a tall building, but later reworked them to fashion a more inspiring message.

Jump is Van Halen’s biggest single, being their only number one entry on the Billboard Hot 100. Jump has been ever-present in society in the 38 years since its release.

Panama

Eddie put up the keyboard here and offered a more conventional Van Halen track. The song sounds like the prototypical Van Halen party track but is actually about David Lee Roth’s race car. It’s all the same, really, and this is another widely celebrated song. Panama was a top 20 single and is another VH tune that’s never more than a stone’s throw away. It’s also a very nice bridge to the earlier material.

Top Jimmy

Another guitar-focused track, this upbeat song is a tribute to a gigging band Roth used to catch at a club in Hollywood. Many rock songs have been written about the rise and fall of music stars, but this song simply shines light on a group that went out and played, without the shitty ending.

Drop Dead Legs

Nothing much to get into here – it’s a groovy, Eddie-on-the-guitar tune whose lyrical content is blatantly obvious. Nothing wrong with short and to the point.

Hot For Teacher

The band’s final single from the DLR era is a thing to behold. Alex Van Halen rumbles in with an intense double-bass drum solo intro, then Eddie joins in with some crazy fretwork to kick off this massive rock tune.

The song is, again, simple in premise – guy’s got the hots for his teacher. It has been a common deal since school has been a thing. The song is electric and takes everything to 11. While the single didn’t’ crack the US Top 40, the MTV video was a sensation and saw massive airplay.

I’ll Wait

Another single, this song goes back to the keyboard-heavy approach of Jump. It’s a bit of a slower tune and the synth being at the forefront works well.

An outside collaborator was brought in to help with the lyrics – Michael McDonald, he of the Doobie Brothers and sundry other projects, helped Roth along with the words. McDonald was not credited on certain versions of the release initially, for reasons not made clear.

I’ll Wait matched Panama’s success on the US Billboard singles chart, hitting position 13.

Girl Gone Bad

Heading toward album’s end with a song that showcases a bit of a cleaner guitar tone from Eddie, something a bit brighter that might be a preview of Van Halen to come. There are also words sung about a girl gone bad, which is literally all there is to say about the song’s lyrical theme.

House Of Pain

The album closes on a very old-time VH sounding tune with a very heavy, driving riff. It’s about rough sex, or about not enough rough sex, or not about rough sex, or maybe all of the above – all is possible within the David Lee Roth multiverse.

1984 was a smash success for Van Halen. The album sold well out of the gate, hitting gold just a bit after release. It is in a virtual tie with the debut album as Van Halen’s best-selling record, both being over 10 million and diamond certified in the US. 1984 is often at or very near the top of many VH album rankings and is cited as one of the best albums of the 1980’s.

It’s worth noting that the “synth” arguments about the album are pretty overblown. It’s two whole songs, three if you count the intro. It wasn’t the first time VH used synth either, so the fuss probably comes down to the success of Jump as a single. It might have been different to hear Eddie base a song off of keys rather than guitar, but it gets boring when artists do the same thing over and over again, and Eddie Van Halen wasn’t going to be that kind of artist.

The band would tour behind the album and then long-running tensions would see David Lee Roth exit Van Halen to pursue a solo career. Van Halen would regroup with Sammy Hagar and enter a musically different yet commercially fantastic era.

Roth’s exit was a foregone conclusion, as fans would find out mostly in retrospect. Roth and Eddie Van Halen butted head creatively, with Roth not fond of the synth-based direction Eddie wanted to take. 1984 seems to be Eddie’s response to that. Roth was also presented with opportunities that later didn’t pan out, so heading out on his own was a fairly logical choice.

However things afterward went down, there is no argument that 1984 was a pinnacle album for Van Halen. It was a more cohesive effort that offered up quality work even in secondary tracks, something other early-era albums could sometimes lack. It captured the attention of the world at large and made Van Halen one of rock’s biggest names in an era where rock was king.

A Salute To Mick Mars

On October 28, 2022October 27, 2022 By bigbadburchIn News9 Comments

A very quick post today, I booted what I had originally planned in order to address this.

Just a few days ago, it was officially announced that Mick Mars would no longer tour with Motley Crüe. Mick is still a member of the band, but due to his long-running health issues, he is bowing out of the planned 2023 world tour and future speculated touring activities, which include a possible Las Vegas residency.

This news is not sudden – the rumor mill was churning for awhile that Mick would step aside as the touring guitarist, and his replacement was already named. And last night that news came to official light – John 5, a long time collaborator with Rob Zombie and with a resume that includes David Lee Roth and other luminaries, will be assuming the mantle of Crüe guitarist.

Mick joined the group very early on after Nikki Sixx and Tommy Lee had something going. Mick was a few years older than the rest, hell the dude is 71 now (at least). He has been the sole guitar player for the band in all their existence – while both Vince Neil and John Corabi have contributed on the instrument, the guitar in Crüe is purely a Mick Mars experience. Mick is one of the band’s two constant members, along with Nikki.

Mick’s retirement is well-earned. His guitar work set the stage for what would become a pioneering act in 1980’s metal. And even when certain albums didn’t offer the best we thought the group had, we often fell back to “at least Mick is going off on this stuff.” On their most filler of filler tracks, there was still Mick giving it his all and making his playing the highlight of the song.

Mick has fought a decades-long battle with Ankylosing spondylitis, a serious condition that affects the spine. While this issue is the cause of Mick’s retirement today, it was also the catalyst for the band’s reunion of the original line-up in the early 2000’s. It’s no secret that certain members of the band don’t get along with each other, but “doing it for Mick” got everyone on the same page enough to get out rocking again in the way the fans wanted.

And don’t forget this point – the four members of the band decided to tour on four separate busses when they got back together. While one part of that might have been to mitigate the tension between people, one other reason for it was so Mick could have access to the care he needed.

It is a sad day that Mick can’t continue on. But he is still with us, and hopefully life away from the road will afford him the care and comfort to live in a satisfying way. It’s been an honor to have Motley Crüe around all these years, and Mick is a huge part of what made the music work. And maybe there will be some new studio music that Mick can contribute to that will give some new Crüe memories for the faithful.

Thanks for everything, and may your days be filled with peace.

The Gift That Keeps On Giving

On October 26, 2022October 26, 2022 By bigbadburchIn Controversy8 Comments

Let’s go way back in time – to 2014 and recall a fiasco that’s been making the news again due to an upcoming memoir.

The memoir in question is from Bono, the singer of U2. And the fiasco is the 2014 deployment of the U2 album Songs Of Innocence, which saw the iTunes platform distribute the album for free to all users. What seemed like a great idea to Bono turned out to be a complete shitshow, as many iTunes users flipped out over having something distributed to them without them asking. In cases where users had automatic downloads set up, the album would load on devices and even start playing without the users knowing about it until it was too late.

As it turns out, the “gift” of the U2 album wasn’t free – Apple actually paid U2 for it. And all of this was at the suggestion of Bono. This Ultimate Classic Rock article outlines what Bono stated in his book about the incident – he pitched the idea to Tim Cook, who was against the concept of giving away music. Somehow, Bono got Cook to agree to actually buy the album from U2 and then send it out to all users for distribution. It’s not certain exactly how much Apple paid for the album but that was a clever idea on Bono’s part to pocket a bit of cash out of the deal.

The album’s release did not go over well. People were mad – some were upset purely at the thought of having a U2 album on their devices at all. Others hit on what was the likely core of the issue – the idea of tech companies just pushing out whatever they want to their users. While the U2 album may not have been a massive breach of privacy by big tech compared to other stuff, it did raise flags with many people.

Artists were also unhappy about the push – they felt that the album distribution devalued music. It was the same argument Tim Cook initially made. It’s an interesting thing to look at, especially in the wake of streaming taking over the concept of buying digital music. It was a big argument at the time, but the idea of the digital marketplace was about to be obsolete anyway.

In retrospect, Bono has used the opportunity afforded in his memoir to take responsibility for the album snafu. While greater sins have been committed for sure, this didn’t wind up being good PR for U2 or Apple when it happened. I doubt Bono’s contrition really matters much in the end, the issue is eight years old now and a lot has happened since then, but it’s cool he can own up to it.

And it’s worth noting that not everyone was mad about it – plenty of people gladly took the freebie, and over the years people have told stories of getting new Apple devices and playing the only thing in their libraries, which was this album. There was some measure of success in the distribution method.

For me personally the U2 album wasn’t a big deal. I think the band’s ’80’s stuff is cool and all but I’m not really a true fan of the band and I haven’t listened to them in a dog’s age. I did use iTunes at the time and I simply left it in my library, not downloaded to my PC or iPod. In truth I have never listened to anything on the album until I played the video for the song posted below, which was about ten minutes before writing this post.

I do understand why people had reservations about a tech company pushing stuff on people like that. But it really wasn’t my battle. On a scale of things that have happened before and since with “big tech,” the U2 album doesn’t move the needle for me. At worst, some people had an album they didn’t know or want auto-play and scare them.

It was fun to see this controversy pop up in the news again. I honestly hadn’t thought about it since it happened, and recalling the angst over the promotion is pretty cool. It’s a nothing burger in the end, at least to me, but it sure did get people stirred up.

Bono’s memoir Surrender – 40 Songs, One Story releases Tuesday, November 1^st.

Upcoming Releases – Labor Daze

On September 2, 2022 By bigbadburchIn Upcoming Music5 Comments

I’ve been up against it on posts lately, but the old reliable upcoming releases rises again. We are about to enter a holiday in the US, which I actually don’t have off. I’ll get paid handsomely for my time so it’s all good. I might even buy records with my excess money. Or, with the price of vinyl these days, I might buy record. We’ll see.

Anyway, there is some cool stuff lined up and some of it is straight out of a shotgun and coming out very soon, so let’s get into it.

Clutch – Slaughter Beach

I remember being “in” on Clutch in the beginning, which I guess was around 1993 and their full length debut Transnational Speedway League. They have always been a different and interesting proposition, and now here we all all these years later with the quasi-title track to their 13^th studio album Sunrise On Slaughter Beach, due just around the corner on September 16.

This is a very accessible version of Clutch, who I think are one of time’s less heralded and, dare I say, underrated bands. I very much like what I’m hearing here and will be on the lookout for the new album just a stone’s throw away. The second half of the year is picking up steam in a big way.

Nita Strauss – Summer Storm

The badass shredder, apparently having stepped away (but now down) from Alice Cooper and linking up with Demi Lovato, has released a new instrumental song. Nita has a 2018 solo album but this new single does not offer any new album info, at least at this time.

This song is straight fire, it’s a monster guitar track and a showcase of someone who knows how to fly on the frets but also compose a listenable song. Whatever is going on, I’ll assume a full solo album would be a 2023 release, Nita nails everything here. A fantastic tune.

Autopsy – Skin By Skin

In 2022, many of the masters of death metal have departed or gone on to other things. Autopsy, who gave up in the mid 90’s when shit got bad then came back to us in the 2010’s, are back in the new decade. Also I just talked about them a bit yesterday.

This is a lead single from their upcoming album Morbidity Triumphant, due on the 30^th of this month. This is a total banger band for me and I’ll be totally at attention when this hits.

Ellefson/Soto – Vacation In The Underworld

Here is the title track from the long-awaited collaboration between Jeff Scott Soto and Dave Ellefson. The project was in the works for a long time but got delayed in the wake of Ellefson’s scandal and dismissal from Megadeth last year. The album sees the light of day on October 7.

The song is suitably heavy, this project seemed destined to shade that direction. I’m curious to see if we get more of a “grab bag” of songs and styles or if the album has a more unified focus, press material leads me to think it’ll be the first one. Not long before we find out.

Witch Fever – I Saw You Dancing

This band is totally new to me, I found them a bit ago when this song and video released and came across my radar. The group have been working out of England for roughly five years now and are about to release their full-length debut Congregation, out October 21.

The band have been described as coming from the punk scene, but this song is total doom/noise and also totally amazing. Their earlier singles do seem more punk in nature but still backed with a massive fuzz in the riffs. At any rate, this awesome song and very well done video accompany the new album that is now very much on my want list.

That does it for this shorter but still impactful list. I feel like I forgot something but quick scans of music sites don’t seem to offer anything. Still no word on Kerry King’s post-Slayer project yet, I expect something in the near future with the information that’s been trickling out the past few months. Maybe next time.

Bruce Dickinson – Tears Of The Dragon

On August 31, 2022March 15, 2024 By bigbadburchIn S-Tier Songs2 Comments

Bruce Dickinson – Tears Of The Dragon

Today’s song is from Bruce’s second solo album Balls To Picasso. It was also Bruce’s first album after his infamous exit from Iron Maiden in 1993. Bruce had made a few attempts to start the record with other bands and producers, but he scrapped those efforts and hooked up with Roy Z and Tribe Of Gypsies. That band would back Bruce on this effort and the partnership with Roy Z would yield great results over the ensuing years.

Tears Of The Dragon is generally viewed as the best song from Balls To Picasso. The song has over 40 million streams on Spotify, which basically obliterates the totals from any other Dickinson solo tune. While none of the solo catalog did massive numbers sales-wise and The Chemical Wedding is widely hailed as a masterpiece, it is Tears Of The Dragon that is the first song recalled when talking about Bruce’s solo career.

Our song today is not a blazing metal scorcher. It would fit quasi-ballad territory – the song opens with soft, somber verses that build to a powerful chorus suiting The Human Air Raid Siren’s voice. It is replete with the standard fare you’ll find in any good hard rock/metal song, including a fast-paced solo and also a jazzy sort of interlude that, well, I guess you don’t find in every hard rock or metal song. And yeah, the very first time I heard the song I was really thrown off, but I’ve gotten used to the bit and now I can’t imagine the song without it.

Lyrically the song deals with the idea of overcoming one’s fears to “throw myself into the sea” and see what happens. The song revolves around Bruce’s decision to leave Iron Maiden and throw himself into the sea, to experience what else might be out there that he was missing. I can’t readily access the source material for this, but Bruce gave the info in an interview with Rolling Stone when he was promoting his biography in 2017. It was a huge gamble to cast off from Iron Maiden and go at it alone. And while it might not have been a lucrative prospect, in the end Bruce does have an acclaimed solo catalog from his endeavors.

And the song’s greatest strength is that it wasn’t specifically couched in the terms of him leaving Maiden – it was a song for anyone who was unsure about a course in life, who needed that push to go ahead and jump into the sea of doubt. I think music in general will grab people at places and times, be the right song in the right place for someone. That much doesn’t consider genre or form – people have benefited from a song bringing the right message at the right time.

But I think we know rock and metal have long been the refuge of the loner, the doubter, the unsure of foot. And Tears Of The Dragon is a call to anyone feeling those kind of emotions – metal is often at its best when it appeals to the outcasts, and this is a song for those on the margins that need a push for that motivation to succeed and overcome when the odds aren’t good or even known.

It’s the overriding reason why many of us chose this kind of music as our own. We didn’t fit, we didn’t like the same things as those around us, or whatever it was, we faced life with doubt and trepidation. It was shit like this that got many of us over the hump, just as this song did when I was just before the age of 17 in 1994.

While life wasn’t exactly great for Iron Maiden-Bruce Dickinson-hard rock and heavy metal fans in 1994, we still found our own way. And a fair bit of that had to do with the mainstays like Bruce offering viable product, updating with the times yet still staying the course. It would only come to pass years later that staying the course was the true line to walk, even in the turmoil of the early 90’s, and the greater turmoil of the years beyond.

Why is this an S-Tier song?

Tears Of The Dragon is a magnificent ballad of conquering self-doubt that offered its artist an early signature hit in a period of great uncertainty. While charts and sales figures weren’t entirely kind to Bruce’s solo efforts, the talk of the time and also the retrospective analysis paints his work away from Maiden in a fantastic light, and Tears is one of the main calling cards for his time in the 1990’s wilderness. It’s a song about conquering fears and embracing the unknown, which Bruce did by word and deed in a period where many thought rock and metal as we knew it was lost forever. Yet, by simply executing what he knew, we would be led back to a new legacy we couldn’t even begin to imagine.