Best of 2022, Part 2: Ozzy, Zeal & Ardor, Whiskey Myers, Parkway Drive, Amon Amarth, Alestorm, Skid Row

Continuing my Best of 2022 list with the top 10: 

No. 10. OZZY OSBOURNE – PATIENT NUMBER 9: Who’d have thought that an Ozzy Osbourne record would ever crack my Top 10 again? This one really kind of hit home for me despite some questionable production choices. The title track with Jeff Beck is the best thing that the Prince of Bleeping Darkness has done in ages, and there’s plenty more to like here with guest shots from Tony Iommi, Eric Clapton, Zakk Wylde and Mike McCready. Though it doesn’t quite capture the classic Ozzy energy, there are certainly shades of all of his incarnations to be found in the songs here, and it’s probably the first Ozzy album that I’ve truly enjoyed since 2001’s Down to Earth. (And yeah, I know most people dislike that one, too, but I don’t.)

Standout songs: “Patient Number 9,” “Immortal,” “No Escape from Now,” “One of those Days,” “A Thousand Shades,” “Evil Shuffle,” “Mr. Darkness”

Review: Amaranthe, "Manifest"

I always imagine what the conversation with friends might have been like when Amaranthe decided to get together.

Friend: So are you guys going to be a pop act, a prog metal outfit or a melodic death metal band?

Amaranthe: Yes.

The band has made a decade-long career out of mixing things that shouldn’t go together, and their sixth album, Manifest, continues the tradition. The vocal trio of Elize Ryd, Nils Molin and Henrik Englund Wilhelmsson all give the music a different perspective. Ryd brings the pop hooks and looks, Molin delivers the power and mystery, and Wilhelmsson hammers it home with his death-style growls. Guitarist and primary composer Olof Morck plays them all masterfully in an irresistible genre-blending brand of metal.

Best of 2014: Hard rock and metal

We enjoyed a really strong year in hard rock and metal, so much so that some albums I really enjoyed got bumped off of my Best of 2014 list. There were great comebacks from the likes of Sanctuary, Body Count and, of course, Judas Priest. There were releases from some very promising new acts like Anti-Mortem and Black Crown Initiate. There were entries from some steady-as-ever acts.

As always, this list is subject to change with my mood, or as I discover a few records that I somehow missed over the course of the year, but here’s my Best of 2014 list for hard rock and metal — at least, as of the last week of the year …


No. 10 — SANCTUARY – THE YEAR THE SUN DIED: It’s been 25 years since Sanctuary’s last album, but you’d be hard-pressed to tell that from this record. This is a bit heavier perhaps, a bit more progressive, than the band’s earlier work, but just a stellar album all the way around.

Review: Arch Enemy, "War Eternal"

The Alissa White-Gluz era of Arch Enemy begins with quite a bang on War Eternal, the band’s 10th album — and one of its best overall efforts to date.

For the record, there’s no drama with former vocalist Angela Gossow. She stepped down due to family and other obligations, but remains with the band in a managerial position and even had a hand in choosing her successor. White-Gluz, who some fans may know from The Agonist, will be, at the same time, a familiar and quite different voice for the band. Her death growls have as much venom as Gossow’s ever did, but I would say that White-Gluz’s vocals also sound just a wee bit more feminine. I realize that’s really relative when you’re talking about death growls, but there are more moments when I realize there’s a woman snarling here than there were with Gossow.

Best of 2014: Mid-year hard rock and metal

Just so we’re clear, this list gets completely blown up in a couple of weeks when I can officially add Judas Priest’s Redeemer of Souls, which I’ve been jamming at high volumes for about a week now. But, at the official midpoint of the year, these are my picks in hard rock and metal.

Overall, it’s been a good year thus far in the genres. There are a few old favorites, at least one newcomer and a couple of surprises …


No. 10 — BODY COUNT – MANSLAUGHTER: Eight years after a disappointing return with 2006′s Murder 4 Hire, Ice-T’s metal outfit brings back its early glory, delivering a violent gutpunch of an album that’s a little heavier on gratuitous sex and violence than social commentary, but still entertaining.

Review: Delain, "The Human Contradiction"

Every now and then, I come across a record that for some weird reason seems to call out to me for a listen despite past history.

When Nightwish’s Imaginaerum came out a few years ago, I wasn’t a huge fan, but it ended up being my favorite record of the year. Likewise, I’ve had a couple of Delain records cross my desk in the past, including their 2009 effort April Rain, which seems to be regarded as their best. They’ve never grabbed my attention.

But as I scanned my available promos over the past weeks, my eye kept hitting on their latest, The Human Contradiction, so finally I decided to give it a listen. Pretty randomly, I picked the song “Stardust” to sample. By the end of the song, I was downloading the full record.

15 Years, 15 Records: 2007 -- Down does it again

Initially, I didn’t like Down’s third record, Over the Under, as much as the first two, but it didn’t take long for me to come around.

The things that give Down so much appeal for me are there – that organic sound that blends all the various influences of their New Orleans home into an amazing stoner/doom sound.

Like all of their records, Over the Under is driven by those big, grooving guitar riffs of Pepper Keenan and Kirk Windstein, but this album is helped by some very personal lyrics from Phil Anselmo. “Mourn,” in particular, stand out. The song was written after Anselmo was barred from the funeral of “Dimebag” Darrell Abbott, and the emotion is raw and gritty.

15 Years, 15 Records: 2003, Anthrax comes for us all

It’s no secret that I’m a huge fan of the John Bush era of Anthrax, but in my opinion, We’ve Come for You All is easily on par with any of the records of the band’s classic lineup.

While I like all of the Bush records, this one is special. It’s an album born out of Sept. 11 through the eyes of New Yorkers. An album that expresses both the anger and disbelief over what happened that day, as well as an album that seemed to show a new unity within the band.

It’s a very varied record from the semi-ballad ode to their hometown “Safe Home” to determined tracks like “Refuse to be Denied” to good time rock ‘n’ rollers like “Strap It On” and “Cadillac Rock Box.”

15 Years, 15 Records: 2001, Jon Oliva takes the helm for Savatage again

The field of candidates for 2001 wasn’t the strongest, but the year did see original singer Jon Oliva return to the helm of Savatage on Poets and Madmen. The album is probably the band’s least publicized and, possibly, least known, which is a shame because it’s a great record.

The record has a loose concept based around the work of journalist Kevin Carter, whose Pulitzer Prize-winning photo from the Sudan was featured on the tray card of the CD, but covered by a black-backed jewel case because of record company financial ills. It wasn’t until I interviewed producer Paul O’Neill just a few years ago and he told me the story that I even discovered the photo was there. Like all Savatage records, this one has great variety from big metal mashers like “I Seek Power” to tender piano-driven ballads like “Back to a Reason” to the more symphonic sounds of “Commissar.”

Review: Spiritual Beggars, "Return to Zero"

I remember being a little taken aback the first time I heard Michael Amott’s side project Spiritual Beggars. Being familiar with his work in Carcass and Arch Enemy, what I heard was not at all what I expected, but being a classic hard rock fan, I enjoyed it.

The band’s latest effort, Return to Zero, doesn’t change the formula a whole lot. Perhaps it dials back the psychedelic and puts a little more hard rock edge out front, but it won’t be a foreign sound to fans of previous records. There’s a heavy 1970s rock vibe on this record and a strong Deep Purple influence.

Best of '07: 10. Arch Enemy, "Rise of the Tyrant"

Editor's note: Over the next few weeks, I'll count down my favorite records of the past year. For each I'll repost my original review if I wrote one, or write one if I didn't. Then, for those with a previous review, I'll offer a second opinion after time has passed.

When Arch Enemy signed on Angela Gossow to provide vocals, a lot of fans wrote them off. Whether it was just the idea of a “girl” fronting a death metal band, or if they truly didn’t like her vocals, I don’t know, but it’s even hard for those folks to deny the power of their latest release “Rise of the Tyrant.”

Admittedly, I thought “Wages of Sin” and “Anthems of Rebellion” were pretty good records, too. But this one destroys both of those, as well as the mediocre “Doomsday Machine.” For me, it’s probably their best record ever. Gossow’s vocals have improved (though I was not one of those people that had a big problem with them to begin with), and drummer Daniel Erlandsson continues to provide a solid base. But the real strength here is in the guitar work of the Amott brothers, which offers a little more depth and melody than on previous releases.

Michael and Christopher Amott manage to do something on “Rise of the Tyrant” that’s truly unusual. This record is filled with huge hooks, but none of them are in vocal form and none of them make the music seem any less heavy. Instead, the Amotts lay down some incredibly catchy guitar riffs that will play over and over in your head well after you finish listening to the album. Just listen to the lead single, “Revolution Begins,” and see if you can get that guitar lick out of your head. Similarly, as much as I hate keyboards and synthesizers, I have to admit that the synth line on “I Will Live Again” is completely infectious.

There’s a nice mix on this record of songs that will appeal to fans of Arch Enemy’s Gotheburg death roots, like “The Last Enemy,” and much more melodic songs, like “Vultures,” which pulls in elements of traditional metal and straight up hard rock. A very nice touch running throughout the record is a trend toward thrash, heard particularly on songs like the title track and “Night Falls Fast.”

After the disappointing “Doomsday Machine,” “Rise of the Tyrant” is a fantastic comeback and points the way to a brighter future for the band.

Get "Rise of the Tyrant."

Review: Annihilator, "Metal"

The name of this album pretty much says all it needs to say, right?

I still remember the first time I heard Annihilator. I was a senior in high school when a friend of mine popped "Alice in Hell" into the tape deck of my truck. When the soft, classical strains of "Crystal Ann" came out of my speakers, I was impressed. When the schizophrenic riffing of "Alison Hell" started, I was sold. It was some of the craziest stuff I'd ever heard, manic time and melody changes, but it all seemed to work. By the end of the day, I owned the album and I still consider it one of the greatest (and most underrated) thrash records of all time.

The band followed with "Never, Neverland," which was still a solid record despite being slightly less aggressive and having a new vocalist. Things began to unravel with the third record, "Set the World on Fire," which featured yet a third vocalist (who was not particularly appealing) and the band's least aggressive songs. Some were practically radio-friendly.

Since then, Waters and the revolving door of musicians have been hit and miss, but certainly he's hit more than he's missed. With this record, he goes for the Santana approach, bringing in guest stars from some of the biggest metal acts out there today. Including Jeff Loomis from Nevermore, Alexi Laiho of Children of Bodom, Anders Bjorler from The Haunted, Michael Amott and Angela Gossow of Arch Enemy, Jesper Stormblad of In Flames, Corey Beaulieu from Trivium, Willie Adler from Lamb of God.

To me, it's kind of strange that Waters brings in guest guitarists when he's one of the best out there. But after hearing the album, I think he probably should have stuck with guitarists. Make no mistake. This is an Annihilator record. Waters wrote all of the songs, and none of the guest musicians really make an impact on the sound. The guest singers on the other hand have a big impact.

In the early going of the record, the vocals are just not aggressive enough for an Annihilator album. As much as I like Nevermore, Loomis just doesn't do it for me on "Clown Parade," and Danko Jones is almost enough to ruin a good tune on "Couple Suicide." Then there's the kind of cheesy "Army of One," with its name-dropping and a chorus I just can't bring myself to sing along with: "We are an army of one." Ummm... OK.

But from the fourth track on, this record is pure Annihilator. It starts with "Downright Dominate," featuring Laiho. Dave Padden, who has provided vocals for the past few Annihilator records, moves back to a more aggressive sound and we start to get those snarled choruses I expect from the band. Waters himself takes a turn on vocals for "Operation Annihilation," which recalls the band's early work, and there are also some nods here and there that fans will appreciate, particularly little snippets reminiscent of "The Fun Palace" from "Never, Neverland" and "Criteria for a Black Widow" from the record of the same name. Waters is still one of the greatest technical thrash guitarists to ever strap up, and he proves it again with these riffs.

While it gets off to a rough start, over the second half, "Metal" transforms into a serious contender for my end of the year Top 10 list. It's the second killer album from Waters in a row. Maybe he's finally getting back on track. Now, how about getting this thing released in the U.S. so we don't have to shell out for the import?

Get "Metal."

Read my review of Annihilator's "10 Years in Hell" DVD.

Review: Arch Enemy, "Doomsday Machine"

When Angela Gossow joined Arch Enemy for 2002's "Wages of Sin," she not only kicked down the door for women in the male-dominated extreme metal genres, she stomped it into splinters.

This, the band's third album with Gossow on vocals, completes an evolution begun on "Wages of Sin" from a Gothenburg-style death metal band to a melodic metal machine. The only blast-beats to be found are on the mediocre "Out for Blood," and the melodies on songs like "My Apocalypse," "Carry the Cross" and "Mechanic God Creation" are almost hummable. That's sure to make the heavier-than-thou death metal set foam at the mouth and scream "sellout," but it's also sure to open the band up to a wider audience that may not be comfortable exploring the most extreme fringes of the metal genre.

The band offers a nod to their influences, including British metal band Diamondhead on "Machtkampf" and Queen on the instrumental "Hybrids of Steel." Brothers Christopher and Michael Amott deliver biting guitar riffs, and the album contains some of drummer Daniel Erlandsson's best work to date, as heard on the first single "Nemesis."

Fans of the band's first two albums with vocalist Johan Liiva may not like it, but fans of old-school thrash bands like Metallica and Slayer will want to check this out.

Get "Doomsday Machine."

Review: Original Soundtrack, "Alone in the Dark"

By all accounts the movie stinks, but for metalheads, the soundtrack is worth the price of admission.

"Alone in the Dark" is the first big Hollywood production to boast an all extreme metal soundtrack, and this is no collection of throwaway tracks. It's got some of the heaviest hitters in the business.

If you're looking for an introduction to the metal world, this two-disc set is your best bet. It covers all the bases from the goth metal of Lacuna Coil and Nightwish to the classic thrash of Death Angel and Exodus, the Gothenburg style of In Flames and Dark Tranquillity, the hardcore of Agnostic Front, the black metal of Dimmu Borgir and Cradle of Filth, the stoner rock of Fireball Ministry and the experimental metal of Meshuggah and Mnemic.

The album takes a look back at some of the best releases of the past couple of years. High points include tracks from Fear Factory ("Cyberwaste"), Machine Head ("Imperium"), Diecast ("Medieval"), Shadows Fall ("What Drives the Weak"), God Forbid ("Gone Forever") and Arch Enemy ("Dead Eyes See No Future").

The album also offers fans a preview of Soilwork's latest album, due in early March, with the title track "Stabbing the Drama." (Take my word for it, the new Soilwork is killer. Watch for my review in a couple of weeks.)

The bottom line on this soundtrack is that if you like metal, there's something here for you.

Get "Alone in the Dark."

Review: Arch Enemy, "Anthems of Rebellion"

Arch Enemy's second album with new vocalist Angela Gossow shows the band continuing to grow and broaden its horizons.

While Gossow spent much of her debut album with the band, last year's "Wages of Sin," proving that she could hang with the boys, she stretches out a little on this album. On some of the songs, you can actually tell the vocalist is female. That's not to say there's any angelic crooning here. It's just as aggressive as ever.

The music continues to drift more and more toward thrash and the band continues to add some nice melodic touches. The psychedelic influence of Michael Amott's side project Spiritual Beggars invades the dark corners of the album, and "Exist to Exit" is an unabashed homage to the band's forefathers Slayer.

Overall, "Anthems of Rebellion" is a pretty daring album for a band in a genre where fans love to toss around the word sellout. Arch Enemy breaks new melodic ground on tracks like "Instinct" and the outstanding track of the album "Leader of the Rats." Of course, there are still the burners like "Despicable Heroes" and "Saints and Sinners" for those longing for the band's older sound.

Arch Enemy has hit its stride with "Anthems of Rebellion." It's a perfect blend of guitar-fueled aggression and dark melodic sensibilities. It lives up to the promise made on "Wages of Sin" and promises even better things to come.

Get "Anthems of Rebellion."

Review: Arch Enemy, "Wages of Sin"

While the hard rock and metal arena has become more open to female performers over the past two decades, the more extreme end of the spectrum has still been pretty much an all-boys club - until now.

When Arch Enemy vocalist Johan Liiva departed, the band raised some eyebrows by choosing a woman, Angela Gossow, as his replacement. In a press release, guitarist Michael Amott said the choice was a no-brainer.

"She's really one in a million, musically, as well as visually," Amott said.

On receiving their new album "Wages of Sin," my first thought was, "a death metal band with a female singer, that's a great gimmick." Then I popped the CD into the player. About halfway through the opening song "Enemy Within," my opinion changed.

Gossow is the real deal. Not only does she kick the door down for women in extreme metal - she stomps that sucker into splinters and starts a raging bonfire with it.

Brave Words & Bloody Knuckles, one of the leading metal magazines, said of Gossow, "Her performance is nothing short of staggering, giving many of her peers serious competition if not putting them to shame entirely." I can't disagree.

Arch Enemy's sound could probably best be described as progressive death metal. That may sound like a contradiction until you hear how the ethereal opening lead and dark grinding verse of a song like "Shadows and Dust" work together.

Musically, the band has more in common with early Dream Theater than Slayer, but Daniel Erlandsson's furious double-bass drumming and Gossow's feral snarls are pure death metal. Their arrangements are satisfyingly complex, but still unrelentingly heavy.

Songs like "Heart of Darkness" and "Ravenous" are burners that show the incredible technical prowess of the band, but they're also shot through with intriguing, catchy melodies and musical hooks. Soft, but dark interludes - like the opening of "Enemy Within" and the instrumental cut "Snow Bound" - are sprinkled liberally throughout the album.

The most interesting songs on "Wages of Sin" come when the band throws the listener a curve. "Savage Messiah" opens with a twangy lick that sounds like it came straight out of an old Western movie. The main riff of the song shows shades of early thrash, with an artsy chorus and a classic-sounding twin guitar lead break. Likewise, the groove of "Behind the Smile" seems a little out of place, but it works well.

Even the obligatory death metal standards like "The First Deadly Sin" have melodic elements that set Arch Enemy apart from their peers.

If you don't believe girls can play extreme metal, give "Wages of Sin" a listen. It just might change your mind.

Get "Wages of Sin."