Quarter Century Review: Master Of Puppets

Metallica
Master Of Puppets
Elektra
Produced by Metallica and Flemming Rasmussen.

Perhaps the finest album from metal's kings. Puppets is the last release to feature original bassist Cliff Burton. An album filled with masterpieces that received little or no airplay until 5 years after its release when Metallica's popularity soared. The album builds off of what the band began with 1984's Ride The Lightning, sprinkling acoustic guitars and "ballads" within a thrash template. Unabashed by "sell-out" claims, the band was merely exploring directions that their contemporaries hadn't dared.

"Battery," tolls the bell that begins the record with the aforementioned acoustic guitars. I have to imagine metalheads across the nation, mouths agape, hearing what could have been an Ennio Morricone soundtrack. The thrashing would begin soon enough but the songs' arrangements become more complex and drawn out with all tracks at least a minute longer than any the shortest song on Lightning. Anyone that was looking for a return to the Kill 'Em All status quo is still looking.

The overall sound of the album is remarkably the same as Lightning due to the continuing production and engineering of Rasmussen. The songs, though, are on another level. "Master Of Puppets" (first metal song about substance abuse as far as I know), "Battery", "The Thing That Should Not Be", and "Welcome Home (Sanitarium)," have never been out of the band's setlist rotation. One underappreciated genius song is "Disposable Heroes", a song that has been even more poignant over the past five years with the insurgence in Iraq. A story of soldiers being used as pawns and being told not to question why.

While Metallica would go on to far greater financial success, it is near impossible for me to think that they ever or will ever achieve greater musical success than this.

Overall Grade = 9.41

Quarter Century Review: November-Coming-Fire

Samhain
III: November-Coming-Fire
Plan 9/Caroline
Produced by Glenn Danzig

Punk rock was becoming less and less of an influence and priority in Glenn Danzig's music three years after his departure from The Misfits. His music beginning to segue into metal. Samhain was, as expected, just the bridge between the 'Fits and Danzig. You can hear elements of both but that leaves the album a bit disjointed. The confusion of what Danzig wanted to do with his band or to even continue it seems evident. He was often disappointed in the caliber of musicians (some say, he still is) he had to play with while having to keep up the horror punk aesthetic. Danzig himself played drums on a few tracks of November-Coming Fire.

Also, present is Danzig's eerie, somewhat annoying keyboard, something not heard since the Misfits original "She," single released nine years before. It would be a further annoyance down the road with Glenn's Black Aria instrumental albums as well as the industrial-drenched Blackacidevil. The one reason to listen to the whole album is the sheer power of Danzig's voice. He hadn't yet learned to use his voice in subtle ways but there are way worse things than Glenn Danzig shouting on record. The true highlight of the album, once you get past the cheesy keyboard, is the one track where he really allows himself to sing: "To Walk The Night,". While many had probably written him off at this point, Rick Rubin would eventually bring Danzig back to prominence.

Overall Grade = 6.95

Quarter Century Review: The Ultimate Sin

Ozzy Osbourne
The Ultimate Sin
Epic
Produced by Ron Nevison

I found listening to this album as a pleasant surprise. I always regarded The Ultimate Sin to be terrible other than "Shot In The Dark," and "Lightning Strikes,". While the rest of the album isn't great, it is passable. And when compared to the next album, "No Rest For The Wicked", it's brilliant.

Jake E. Lee's guitar work is impeccable, as usual, as is the late great Randy Castillo (his first with Ozzy) on drums. Ozzy was pretty consumed with drugs at this point (he did snort ants, for heaven's sake) but that doesn't seem to effect his performance. Bassists in Ozzy's band have usually been interchangable but Phil Soussan did co-write "Shot In The Dark,". Because of legal issues with Soussan (is there anyone Ozzy and Sharon haven't forced into legal action), the album is out-of-print.

No question the 2 hit singles did positively impact the grade of this album and, if not for those two songs, the album would not be terribly missed. Even with that...

Overall Grade = 7.59

Quarter Century Review: Atomizer

Big Black
Atomizer
Homestead
Engineered by Iain Burgess

A perfect first album for this year's 25 year reviews. Atomizer is the album where Steve Albini and Santiago Durango figure it out. Their guitars never had or would gel together better than this again. The sound of this album is what would come to define Big Black and all subsequent Steve Albini bands. Albini made a very industrial sounding album with some help from his mentor Burgess. Burgess's work with Durango's previous band Naked Raygun was inspiring to Albini. The guitars are very tinny and driving. It also marks the last time Albini used excessive effects on his vocals.

Surprisingly, this album is not musically as aggressive as Lungs was and Songs About Fucking would be. Even with the unrelenting beats of Roland, the drum machine, mid-tempo rockers "Bad Houses," and "Fists Of Love," serve as almost calming points sandwiched between the assaults of "Big Money," and "Stinking Drunk,".

Atomizer, in its glory, never manages to top its first two tracks: "Jordan, Minnesota," and "Passing Complexion,". The sound of these songs embodies what was great about Big Black: pounding, metallic, and screamy. The middle is great but it ends with two more-or-less throwaways with the instrumental "Strange Things," and a live version of the Bulldozer track "Cables,". It is still a very powerful album that would shape the sound of what industrial would become (that, along with Albini's public ripping of then-electronica artist Ministry) as well as influence Nirvana's Kurt Cobain. Atomizer is confrontational, angry, poignant, and nearly perfect.

Overall Grade = 9.04

Quarter Century Review: Psychocandy

The Jesus And Mary Chain
Psychocandy
Blanco y Negro
Produced by The Jesus And Mary Chain

What to say about this? Loud, cacophonous, poppy, shoegazey, lovely. There are few albums off the top of my head that are this drenched in distortion and feedback while being this breathtakingly beautiful. This is widely accepted as the first album in the rock subgenre of shoegaze and definitely one of the greatest.

Psychocandy, with its huge wall of sound and mumbled vocals, is an album that is enjoyable in spite of itself. Upon listening, you try to decipher lyrics or if there even are any words but the feedback keeps you just out of earshot. It is as if the lyrics contain the answers to life's great mysteries but the guitar's first line of defense disorients you and the monotonous beats are further pummeling your senses into submission. These secrets belong to the brothers Reid and they are not for you to know. It doesn't stop us from searching, though, does it?

Overall Grade=9.0

Quarter Century Review: Spreading The Disease

Anthrax
Spreading The Disease
Island Records
Produced by Anthrax and Carl Canedy

My issue with early Anthrax has never been the songwriting. It is quite impressive the amount of melody they managed to jam into all the heaviness. The first half of Spreading The Disease is especially impressive. Concert staple "A.I.R.," and classic "Madhouse," are massive achievements and are widely considered the band's flashpoint.

My problem, while always, present truly rears its ugly head in the second half of the album. Joey Belladonna's voice is that ugly head. While this is his first album with the group, he never did much more than hold the band back from truly breaking through. "Lone Justice," and "S.S.C.," could have been amazing if they weren't hampered by hair metal vocals. Even Pantera used to sound like this and it took them the better part of a decade to figure out that a stylistic change was necessary. Eventually, Anthrax would follow their lead but it wouldn't be for 8 more years. The result is a very top-heavy album that hints at a greater ability and reveals the measures it would take for the band to realize its potential.

Overall Grade = 7.92

Quarter Century Review: Frankenchrist

Dead Kennedys
Frankenchrist
Alternative Tentacles
Produced by Jello Biafra

This, the last studio album by the Dead Kennedys, is largely devoid of anthem quality. There are plenty of great messages. Right off the bat, "Soup Is Good Food," is a Eastern-tinged musical adventure that expands the idea of Punk or Hardcore as well as good advice for kids and their diets. "MTV - Get Off The Air," is a request that, unfortunately, was never granted.

Frankenchrist, great song titles not withstanding, sounds called in. East Bay Ray's guitars are well done but uninspired. Jello Biafra's vocals sound as they always do but without spitting vitriol. The Dead Kennedys were a band that motivated punks to riot and be counted. There are no moments of such revolutionary sincerity here. A good album but hardly a worthy sendoff for such an awe inspiring band.

Overall Grade = 7.83

Quarter Century Review: Listen Like Thieves

INXS
Listen Like Thieves
Atlantic/Mercury
Produced by Chris Thomas

As far as an album containing the strongest singles of the year, 1985 had Listen Like Thieves. A somewhat forgotten album compared to mega-hit Kick, this album was the Aussie band's breakthrough and beginning of their creative apex. "What You Need," is as good a start-off as any and doesn't let up with the wonderful title track. Those along with "Shine Like It Does," and "This Time," revealed that singer Michael Hutchence and multi-instrumentalist Andrew Farriss could be a potent creative team. Not to be discounted is the influence and guiding hand of producer Chris Thomas, who had the unique distinction of having previously worked with The Beatles and The Sex Pistols.

Hutchence's voice is just a cooler, less abrasive Jagger croon while the Brothers Farriss provide the backing. There aren't any epically disappointing tracks on Listen Like Thieves and that's more than one can hope for most times. "Same Direction," is a fine deep cut that deserved some airplay in the "We Are The World," pop landscape. Is this largely pop fluff? Sure, but that doesn't make it less well-performed ear candy. This is a pleasure I refuse to be guilty of.

Overall Grade = 8.37

Quarter Century Review: Hell Awaits

Slayer
Hell Awaits
Metal Blade Records
Produced by Slayer and Brian Slagel

Even though the style, content, and philosophy have remained the same throughout Slayer's career. Hell Awaits, aside from the ominous title, did not seem a portent of the band's greatness to come. Their sophomore effort is actually more of a step backwards, not in agressiveness or volume, but in songwriting. The album is almost exculsively chords. Missing are the soon-to-be trademark off-putting minor note riffs that signaled the dawn of the metal apocalypse. Also, Tom Araya had not yet begun to prefer yelling the lyrics, so much as growling them. The album's message rendered an idle threat.

All that being said, this is still a Slayer album and this early misstep is still better than that some of the other "Big Four" (I'm looking at you, Belladonna-era Anthrax). The lead guitarwork is spot-on. It's just that the album is one note. Despite what people may think of Slayer, they are actually quite diverse in their methods of attack. It is fitting that "Hardening Of The Arteries," (the standout track on the album) is the finisher because it gave marginal fans a reason to think the best was yet to come. They would not be disappointed.

Grade = 7.51

Quarter Century Review: This Nation's Saving Grace

The Fall
This Nation's Saving Grace
Beggars Banquet
Produced by John Leckie

Another album I had some trepidation in bothering with. But part of the point of this recurring feature was giving something a fresh listen to see if time had changed my ears. I certainly liked the short opening of "Mansion," that set a mood that I'm not sure matches with the album other than the musical archetype reprisal with the closer, "To NK Roachment: Yarbles,". The repetitiveness of "Spolit Victorian Child," is not redeemed by its blah instrumental interlude. "L.A.," and "Paint Work," are nice diversions from the Clash-esque guitar string-plucking romp of the majority of the album, which, as time wares on, starts to irritate.

It is difficult to deny the magnetism of frontman Mark E. Smith. His performance on the album is impossible to ignore, if not enjoy. I find that this album is far less annoying than other Fall albums I've heard and deserves multiple, but limited, listens.

Overall Grade = 7.03

My Pitchfork Festival Schedule: Because I Know You Care

Though I say it every year, "I'm never going to Pitchfork again", here I go again. I at least drew the line at not going Saturday. Other than Raekwon and Titus Andronicus, I really couldn't care less. As for the rest, these are the must watches:

Friday (I should be arriving as this entry posts):
4:30 El-P, dick around until
7:20 Broken Social Scene
8:30 Modest Mouse

Sunday
1:55 Best Coast
4:15 Lightning Bolt, then rush over to
4:45 Surfer Blood, then lightly jog over to
5:15 St. Vincent
6:15 Major Lazer
7:25 Big Boi
8:30 Pavement

Quarter Century Review: Little Creatures

Talking Heads
Little Creatures
Sire
Produced by Talking Heads

To be honest, I'm not sure why I'm even listening to this in its entirety. I have, on occasion, enjoyed some Talking Heads tunes but the thought of an entire album rubs me the wrong way. There are certain instances where David Byrne's voice is not so irritating (like his 2007 collaboration with Brian Eno) but this album is not it.

Creatures starts off well enough with "And She Was,". There is then the canyon that the album inevitably falls into. It claws its way out for "Stay Up Late," only to slip back down into the deep recesses of pop hell. Early Talking Heads had an edge to it that is largely missing here. The eighties weren't kind to many artists and Byrne and company were not exempt.

Overall Grade = 6.83

All-Time Best EPs

The EP is somewhat of a lost art. There are several indie bands like The Pains Of Being Pure At Heart, No Age, and Fucked Up trying to keep it alive. Longer than a single, the name "Extended Play" makes it sound like it should be a really long album. But as albums were "Long Players", I guess the name is fitting. Anyhow, here is the list of my favorite all-time EPs:

Misfits
Bullet
Engineered by Dave Achelis
Plan 9 Records, 1978

The second Misfits release and first to establish the horror punk asthetic they are now known for. With the title track's brutal depiction of the aftermath of JFK's assassination and the chorus to "Attitude", it would be hard not to consider Glenn Danzig a male chauvinist. "We Are 138," is a violent call-to-arms and "Hollywood Babylon," is the first classic to delve into Danzig's fascination with the town. The four tracks were later released on the amazing Static Age comp.

Nine Inch Nails
Broken
Produced by Trent Reznor with Flood
Nothing/TVT Records, 1992

Broken is the most industrial Nine Inch Nails release. The guitars are front and center this time, as is the anger. Like other Reznor penned projects, this one is filled with dejected disenchantment. "Wish," and "Last," are the most aggressively excellent 1-2 punch in the NIN catalog, followed closely two tracks later by "Happiness In Slavery," and "Gave Up,". The two "hidden" covers are also gems. "Physical," can make you believe that Adam Ant was capable of great things and "Suck," would go on to be a live staple.

Mission Of Burma
Signals, Calls, And Marches
Produced by Richard W. Harte
Ace Of Hearts Records, 1981

No EP starts off with a better song than "That's When I Reach For My Revolver,". I have always been a greater fan of Clint Conley songs than Roger Miller songs and "Revolver," is the only Conley contribution on Signals and it outshines every other track. To be fair, Miller followed up that classic with four stellar tracks that are better than most subsequent Burma album tracks. The one Conley/Miller collaboration is the one just OK track on the album. They must have felt that way too as, almost 30 years later, there has not been another songwriting collaboration between the two.

Alice In Chains
Jar Of Flies
Produced by Alice In Chains
Columbia Records, 1994

I hope when historically, when we look back at the Seattle scene in the 1990's, Alice In Chains will get their just due. There are doomed to never be revered like Nirvana because Kurt Cobain died before he could make any mediocre music. Pearl Jam are the goodwill ambassadors of Seattle just because they tour endlessly and battle billion dollar ticket corporations. They haven't actually made any worthwhile music since 1995. AIC also flamed out too early due to the overdose of lead singer Layne Staley. But they did have one spectacular album, Dirt, and this beautiful left turn follow-up. Jar solidified Jerry Cantrell's place as one of rock's most gifted songwriters and Alice In Chains as versatile force to be reckoned with.

Godspeed You! Black Emperor
Slow Riot For New Zerø Kanada
Recorded and mixed by Dale Morningstar
Constellation Records, 1999

For only 2 songs, this EP runs over 27 minutes and has some strange backstory. The first song is named for guitarist Mike Moya, who left the group prior to the release. The second features the band putting their exquisite instrumental accompaniment to the raving poetry of a street performer going by the name Blaise Bailey Finnegan III, thus "BBF3,". What the band didn't realize at the time was that passages of Finnegan's poetry were taken directly from the Iron Maiden single, "Virus,", co-written by one Blaze Bayley, the ill-received, ill-voiced, and short-lived third singer for Maiden. That aside, Godspeed were never known for lyrics since they never wrote any, and the music was wonderful.

Black Flag
Nervous Breakdown
Produced by David Tarling & Black Flag
SST Records, 1978

The 4 best songs from Black Flag may have been their first 4. Now, I like Henry Rollins (see later in list) but even I can't deny that Keith Morris was the best frontman to carry the Flag. The title track was the blueprint for hardcore. Self-isolation? Check. Threat of violence? Check. Short, raw and concise. It may sound bad but Greg Ginn's guitar playing was much better when he wasn't so ambitious.

Minor Threat
In My Eyes
Engineered by Don Zientara
Dischord Records, 1981

The second hardcore entry on this list and it was a tough one. I was going to have the original Minor Threat EP because there were 7 great songs compared to In My Eyes' 4 songs. In the end, though, the title track was too much to ignore here. "In My Eyes," was the longest MT song to date and it had an MC5 feel to it complete with *gasp* tempo changes. "Guilty Of Being White," is a classic anthem of reverse racism. Both songs were eventually covered by much more financially successful bands. Rage Against The Machine's "In My Eyes," is perhaps even more emotionally charged than the original but Slayer's "Guilty Of Being Right," was a miscalculation. EP ends with a raucous version of "(I'm Not Your) Steppin' Stone,".

Lacuna Coil
Lacuna Coil
Produced by Waldemar Sorychta
Century Media Records, 1998

This EP is basically the cause for all the horrendous "metal" bands that are fronted by women like Evanescence and Flyleaf. Where those bands failed is that Cristina Scabbia has a mystique to her voice and there is something that European and unable to be quantified about the band. "Falling," is an amazing song. Sorychta's production was key to the band's development as well. As the band moved onto American producers and were influenced more by American bands, the more they started to sound like the terrible bands they spawned. But the sparseness of the arrangements here works well for these songs.

Henrietta Collins and The Wifebeating Childhaters
Drive By Shooting
Produced by Norm Clout
Texas Hotel Records, 1987

This is a humorous, tongue-in-cheek release from Henry Rollins with future Rollins Band guitarist Chris Haskett. It starts with the surf rock title track about exactly what you would think. Following that is a positively stellar cover of Wire's "Ex-Lion Tamer," that actually improves on the original (even if the lyrics are wrong, what are they anyway?). What follows are the hard rock version of a knock knock joke, a strange tale of a widow and tools, a mutilation of "We Will Rock You", the mock recording of a sex act, and a nice uptempo instrumental number. I wish Rollins' music could reclaim some of this humor.

Bad Brains
Omega Sessions
Recorded and mixed by Billy Brady
Victory Records, 1997

Recorded in 1980, Omega Sessions are little more than demos but are somehow the definitive versions of the classics "I Against I", "At The Movies", and "Attitude,". These songs had all been recorded several times with different tempos and pitches. It is a shame that the band didn't make more formal recordings of these versions.


Your turn. Any suggestions?

Albums I Didn't Have Time to Write Full Reviews Of Part 6

Janelle Monáe
The Archandroid
Wonderland Arts Society/Bad Boy Records
2xLP/CD

I wish I had heard this earlier as it is as fresh-sounding an album as I have heard in ages. There are Michael Jackson elements but put through a Beyoncé filter. At least 3 future classic tracks here. Fantastic.

Overall Grade = 8.36

Devo
Something For Everybody
Warner Bros. Records
LP+CD/CD

Leave it to Devo to make an album that is dancier and more timely than any of their previous efforts. They were always ahead of the curve as far as their sonic landscape but this album fits this era creating the impression that pop culture has caught up these New Wavers. Strangely enough, it is their most club-ready track that I enjoy the best.

Overall Grade = 7.43

Stone Temple Pilots
Stone Temple Pilots
Atlantic Records
LP/CD

Admittedly, this is an album that I kind of avoided listening to. It was not nearly as wretched as I thought it would be. This is a fairly solid effort. Would have higher marks if not for a couple of less than mediocre tracks.

Overall Grade = 7.4

LCD Soundsystem
This Is Happening
DFA/Virgin Records
LP/CD

Let me start off by saying LCD Soundsystem is never playing in my house...my house. That being said, "I Can Change," is now in heavy rotation. Too bad nothing else on the album is.

Overall Grade = 6.8

Fate Of The Metal Gods

Ozzy Osbourne
Scream
Epic
CD

Let's start with the bad news. For all I can say about this album, the one positive is that the title is apropos. It did make me want to Scream at Ozzy.

"Get away from Kevin Churko and get a new writing partner!" or "Who is Gus G and why him?"

This is easily Ozzy's most disappointing album of new material in two decades. It is just really uninspired. It is a shame because the song that Ozzy contributed vocals (also co-written by Churko) to the Slash compilation should have been a good portent. With Velvet Revolver in limbo and Slash with no real permanent gig, that would seem to be a great partnership. What Ozzy needs is a true musical partner, a visionary in the vein of Randy Rhoades (hard to come by, I realize). Mr. Pinched Harmonics Zakk Wylde managed to make at least one amazing and a few other solid albums as the foil for the Prince Of Darkness. The first with Wylde, No Rest For The Wicked, would be the aforementioned last big disappointment. So perhaps it is unfair to place much blame on Gus G as he didn't write a note on the album. He is little more than a hired hand at this point. It is also no coincidence that the band's sound suffers since the rhythm section came directly from Rob Zombie, who himself is in a big-time musical slump.

Even 2007's Black Rain delivered some classic, signature Ozzy tracks. Every one of his albums has at least that one great song. Until now. There's no "Bark At The Moon," no "Fire In The Sky," or even a "Gets Me Through," here. Like shock rock disciples Zombie and Marilyn Manson, Osbourne has become guilty of being uninteresting.

Track Grades:

1. Let It Die - 6.5
2. Let Me Hear You Scream - 4.8
3. Soul Sucker - 6.2
4. Life Won't Wait - 7.7
5. Diggin' Me Down - 7.0
6. Crucify - 6.7
7. Fearless - 6.0
8. Time - 8.0
9. I Want It More - 7.4
10. Latimer's Mercy - 6.1
11. I Love You All - 5.3

Overall Grade = 6.52

Danzig
Deth Red Saboath
Evilive/The End Records
LP (Import)/CD

Now for the good news: Evil Elvis is back with his most consistent album since Danzig 4p (not counting 2007's stellar Lost Tracks Of Danzig comp). As always, the true album highlights are when Glenn's voice is used as a weapon, not just a blunt instrument. The leadoff track, "Hammer Of The Gods," is perhaps the best album track since 1993's "How The Gods Kill,". It does go decidedly downhill from there but that is only because of the incredible heights of that track.

The rest of the album is altogether solid, not necessarily eternal stuff, but nice. The obvious issue overall is the production and mix. Though he has the greatest voice in metal (now that Ronnie James Dio has passed), Glenn Danzig has preferred to almost drown out his voice on every album that he has produced. Rick Rubin knew what he had on those first four classic albums. Like his later work with Johnny Cash, Rubin tried to keep a sparse arrangement, allowing his electric frontman to truly shine as the centerpiece of every track. As Danzig became more and more enamored with electronic influences, the more his voice was hidden and manipulated to the point where it almost wasn't recognizeable. While there are not a lot of effects on his voice this time, Danzig has kept the general sound of Deth Red Saboath sludgy. This isn't Tool where Maynard James Keenan and the band have gone on record as saying that the vocals are just another instrument in the mix and shouldn't be front and center. This is Danzig. Glenn is the main attraction and should allow himself to be that. If and when he comes back to that notion, as long as he keeps writing songs this impressive, that is a recipe for a classic.

Track Grades:

1. Hammer Of The Gods - 9.9
2. The Revengeful - 8.0
3. Rebel Spirits - 7.7
4. Black Candy - 7.7
5. On A Wicked Night - 7.8
6. Deth Red Moon - 7.3
7. Ju Ju Bone - 8.1
8. Night Star Hel - 7.5
9. Incanticle - 7.0
10. Seasons Of Pain - 8.5
11. Left Hand Rise Above - 8.3

Overall Grade = 7.98

Quarter Century Review: Fables Of The Reconstruction

R.E.M.
Fables Of The Reconstruction
I.R.S.
Produced by Joe Boyd

By this time, the band were indie alternative darlings that could do no wrong. Murmur was a dynamic debut and Reckoning showed R.E.M.'s myriad of influences. Fables was a more concerted effort to conquer rock singles charts with longtime staples "Feeling Gravity's Pull", "Driver 8", "Life And How To Live It", and "Can't Get There From Here,". Unlike what would come in the next decade, there weren't any true classics on this album but there were many great, solid songs.

In fact, out of their eighties output, this would be their weakest effort. But that's like saying Ringo Starr was the Beatles worst member (he was). Another solid album but it would be their last ho-hum effort for over a decade.

Overall Grade = 7.74

Collaborations That Are Less Than The Sum Of Their Parts

Broken Bells

Broken Bells

Sub Pop

LP/CD

Grade = 5.77

Nas & Damian Marley

Distant Relatives

Universal Republic Records

CD

Grade = 6.03

These were extremely disappointing, much like last year's Monsters Of Folk and Them Crooked Vultures.

The Besnard Lakes Live Review

Caught The Besnard Lakes at the Pritzker Pavilion last night for the latest installment of the venue's Free Concert Series. It was kind of a nightmare getting into the city and ended up missing a couple of songs. But what I heard was enough to whet my appetite for more. A band with a sound that big should come from more than 4 members. The Arcade Fire has 35 members and they can't reach the crescendo that Jace Lasek (guitar/keybords/vocal), Olga Goreas (bass/vocal), Kevin Laing (drums), and Rich White (drums) manage to inflict upon the audience. Add into the fact that Lasek is a master-produced and it's amazing that the band can even come close to recreating the vast expanse of their studio works. I will definitely pay to see my perceived best band in the world right now when they come around next.

Slash

Slash
Slash
EMI
LP/CD

Slash, following in the footsteps of fellow (and superior) lead guitarists like Tony Iommi and Carlos Santana, decided to put out a record with 12 different lead singers. The results are expectedly mixed. The guitarwork is, of course, not too shabby. The interesting part, as well as detriment to these songs, is that Slash conforms to the styles of the singer. With singers like The Cult's Ian Astbury (who will sing for anyone, anytime, and anywhere), Ozzy, and Iggy Pop, this technique works. Working with mediocre "artists" like Myles Kennedy and Adam Levine shows Slash playing down to their level. Not to say that they better the singer the better the song.

The album nosedives after the surprisingly pleasant "Beautiful Dangerous," with Stacy "Fergie" Ferguson. Even after the unforgiveable "Billie Jean," cover and terrible collaboration with Timbaland, Chris Cornell has still found a way to reach new lows. Once, Cornell was the greatest, most powerful voice in rock. Now, he is nothing more than Tom Waits in training. Lemmy also has a hard time fitting in here. He was much more at home on the Rise Above compilation singing Black Flag's "Thirsty And Miserable,". This collection, ultimately, is just more evidence of how Axl Rose and Slash should bury the hatchet (preferably not into each other). Musically, it is clear that they miss each other. And we miss them too.

Track Grades:

1. Ghost feat. Ian Astbury - 7.4
2. Crucify The Dead feat. Ozzy Osbourne - 8.8
3. Beautiful Dangerous feat. Fergie - 7.8
4. Back From Cali feat. Myles Kennedy - 5.5
5. Promise feat. Chris Cornell - 3.6
6. By The Sword feat. Andrew Stockdale - 5.8
7. Gotten feat. Adam Levine - 2.5
8. Doctor Alibi feat. Lemmy Kilmister - 7.0
9. Watch This feat. Dave Grohl & Duff McKagan - 8.0
10. I Hold On feat. Kid Rock - 6.9
11. Nothing To Say feat. M. Shadows - 6.5
12. Starlight feat. Myles Kennedy - 4.9
13. Saint Is A Sinner Too feat. Rocco DeLuca - 3.8
14. We're All Gonna Die feat. Iggy Pop - 7.6

Overall Grade = 6.15

Quarter Century Review: Killing Is My Business

Megadeth
Killing Is My Business....And Business Is Good
Combat
Produced by Dave Mustaine and Karat Faye

The album that began the quest of Dave Mustaine to crush his former bandmates in Metallica beneath his bootheels starts with, curiously, a piano. Seconds later, the thrashing begins with "Last Rites/Loved To Deth,". There would be no relenting again. Though Megadeth's legacy in metal is now cemented, in 1985 Dave Mustaine was desperate to succeed and to prove to his detractors that he could be a force to be reckoned with.

If comparing this to Metallica's debut Kill 'Em All, I'll probably give the edge to Metallica. However, Mustaine had a great deal to do with the songs and musical direction of Kill 'Em All, having several songwriting credits. One of theose credits was the classic "The Four Horseman,", the one song that was poached a bit here with the album's closing track "Mechanix,". Musically, the original lineup of Dave Ellefson on bass, Chris Poland on lead guitar, and Gar Samuelson is the second best of many configurations of Megadeth (first being the early-mid '90s lineup). At the end of the day, Mustaine and company definitely made a debut album to be proud of and instantly made a name for themselves as one of thrash metal's best and pioneers of the genre.

Overall Grade = 8.11