Stuck in My Head: "Dimebag" Darrell Abbott, "Whiskey Road"

Unlike many passed artists, “Dimebag” Darrell Abbott doesn’t seem to have left behind much unreleased material. Either that or his family is being very careful with what they let out. But every now and then, something we haven’t heard before trickles out.

A while back, Guitar World premiered the track “Whiskey Road,” recorded on Pantera’s final tour in 2001. The song features the late Dimebag on all instruments and vocals, and though it’s a rough demo, it shows a lot of promise. If you’re expecting a crushing Pantera tune, think again. “Whiskey Road” is a Southern rock drinking song from start to finish. Though there’s a little bit of “Cemetery Gates” in the clean guitar sound and some of the leads, there’s a lot more twang than crunch.

Saturday Shuffle: Down, Jamey Johnson, Metallica, Dio, Pantera

A couple of Phil Anselmo's finer moments, a couple of bona fide metal classics, oh, and a country song wedged in there ...

Down, “Mourn.” From the album Down III: Over the Under (2007). I thought this was a very tastefully done tribute to “Dimebag” Darrell Abbott and a very good way for Phil Anselmo to address the controversy surrounding it, with him being blocked from the funeral and blacklisted by members of Dime’s family.

Still Spinning: Anthrax, "We've Come for You All"

As I await the release of Anthrax’s Worship Music, the band’s reunion with 1980s singer Joey Belladonna, I’ll try to drown out the soap-opera drama with changing lineups and re-records surrounding it by cranking up their last record — and one of their best — 2003’s We’ve Come for You All.

Don’t get me wrong. I grew up on the 1980s version of Anthrax with Belladonna, and I still love it. But when he exited, and they tapped Armored Saint singer John Bush, the band became something different, and while I know a lot of fans will disagree with me, something better, in my opinion. The Belladonna era of the band was perfect for my teenage years. It was fast, brash and a little cartoonish and goofy. The band with Bush, though, was Anthrax for my adulthood. It was a little slower, a little heavier and a lot more thoughtful. Plus, Bush is just an all-around better singer to my ears. There’s more soul and a greater range of emotion in his voice, and if I’m being honest, I actually preferred Bush’s version of a lot of the Belladonna songs.

Review: Down -- "Over the Under"

I'll admit it took me a little longer to come around to New Orleans supergroup Down's latest record than it did for their first two. Initially, I missed those big hooks from their second record (the ones that some fans thought were a little too commercial.) Then, there was the mix on this record, which at times is as muddy as the bottom of the southern Louisiana bayous the music crawled out of. After a week or so of listening, though, I couldn't help but like it.

At its best "Over the Under" delivers exactly what fans have come to expect since the band's 1995 debut "NOLA" - a very organic record that's part stoner rock, part doom and heavy as hell. The sound here is equal parts Southern-fried groove, ominous Black Sabbath slab riffs and psychedelic Jimi Hendrix fuzz. Blues influence crops up throughout the record in the grooves and lead guitar licks, and you'll even hear a touch of country twang on the song "Never Try" - where Phil Anselmo paraphrases Yoda in the lyrics with his "Never try, never try/ you either do it or don't waste your time."

The heart of this record, as with the first two Down offerings, are the monster riffs and head-bobbing grooves of guitarists Pepper Keenan and Kirk Windstein layered over the solid rhythm section of Rex Brown and Jimmy Bower. Anselmo brings a world-weary, often agonized delivery that reflects the darkness of much of the subject matter. His lyrics are very personal on this record, if on occasion a bit incoherent - take, for example, the line "Partake no tangible out in tomorrow" from "On March the Saints." Huh?

Despite the occasional head-scratcher line, though, the album delivers lyrically perhaps a little more than the previous two records. There's a more real and gritty feeling to Anselmo's approach to the lyrics, and truth rings through, particularly on the song"Mourn," which seems to address his feelings at being blocked from former bandmate "Dimebag" Darrell Abbot's funeral due to a feud with the guitarist and his brother Vinnie Paul. "Hotel room of doom/ I can't find a clue/ confusion, broken hearted woe/ sheets and pillows soaked/ telephone seems broken/ I'm calling crucified/ blacklisted, no reply..."

It's also a record that tracks both the misery and resilience of the city of New Orleans in the aftermath of Hurricane Katrina. Most notably "On March the Saints" and "Beneath the Tides," two of the stronger offerings on the record.

There are misses here and there on the record. The "Planet Caravan"-sounding "His Majesty the Desert," which serves as more of an intro to "Pillamyd" than an actual song just doesn't quite capture the same atmosphere of the Sabbath classic, despite some spacey guitar work. And "Pillamyd" itself, despite being the fastest track on the record, sounds kind of out of place among the other work here. Still, the bouncing, undeniable grooves of songs like "The Path" and "N.O.D." more than make up for the few misses.

Despite my initial misgivings, after a few weeks of listens, I can say Over the Under easily ranks as one of, if not the best record of the year, and it also ranks as Down's most honest and frank offering to date. Perhaps with the upheaval and challenges of the band's previous years in the past, we'll start to see more frequent offerings from the band. I, for one, would welcome it.

Hear a clip of "On March the Saints."

Hear a clip of "Mourn."

Read my review of Down "II."

Get "Over the Under."

Review: Black Label Society, "Mafia"

I'm getting pretty used to my annual spring fix of Black Label Society. With "Mafia," Zakk Wylde and Co. deliver their fourth album in as many years, and the sixth since 1999. They also deliver one of their best.

This album may be the most solid all-around offering from the band to date. Gone are the production problems that have plagued them in the past – for example, the paper-thin sound of "1919 Eternal" or the busted speaker sound of "Sonic Brew." "Mafia" sounds good, and it’s loaded with good tunes.

The album gets off to a strange start with the talk box riff of "Fire It Up," one of a few new guitar surprises on this album. Another is the use of a whammy bar on a couple of tunes courtesy of his new Randy Rhoads look-alike flying V. By the third track and first single "Suicide Messiah," Wylde has hit full insanity mode. His diatribe against blind followers of all stripes, "Suicide Messiah" is one of those songs you just can't crank up loud enough. Lyrics haven’t always been Wylde’s strong point, but these are pretty pointed. "Bow down you chose your maker/he never gives, he’s always a taker/the electric burns that fuel the fire/it’s just your suicide messiah." Coupled with a chugging detuned riff, it should rank high for the Black Label faithful. Not far behind are other berserker anthems in the typical Black Label style like "Say What You Will," "Electric Hellfire" and "Been a Long Time."

Among the rockers, the only misstep on the album is perhaps the robotic-sounding chorus of "You Must Be Blind." After what seems like the thousandth time he sings the line in the song, it gets a little old. Though I normally detest the slower songs on most records, I've always been partial to the Black Label ballads. They pick up a rougher edge from the Southern rock that Wylde loves, and "In This River," his tribute to slain guitarist "Dimebag" Darrell Abbott, is no exception. He draws on Dime's guitar style to create one of the strongest songs on the album. For the morbid "Dirt on the Grave," Wylde breaks out the talk box again to deliver a memorable lick that sounds strangely like the melody line from a medieval ballad. He closes the album with an even stronger nod to the Southern rock influence by covering Lynyrd Skynyrd’s "I Never Dreamed" and doing it well.

Vocally, this album finds Wylde sounding more and more like a testosterone-fueled version of his mentor Ozzy Osbourne. I personally prefer the gruff, throaty vocals of his earlier recordings, like 2000's "Stronger than Death." The vocals on this album are a little less ballsy by comparison, but the style still serves him well on more Ozzy-style numbers like "Forever Down."

In the end, Black Label Society isn’t really about the vocals or lyrics. It all comes down to Wylde's guitar work, which is solid as always. In that department, he hasn't disappointed fans yet. As I mentioned earlier, he does try a few different tricks, mostly by way of effects, but the guitars on this album are undeniably Zakk Wylde. The chunky riffs, trademark harmonic squeals and take no prisoners attitude of "Mafia," makes it easily Wylde's best work since "Stronger Than Death," perhaps ever.

Get "Mafia."

Review: Damageplan, "New Found Power"

Pantera fans, rejoice. Founding brothers Vinnie Paul and "Dimebag" Darrell Abbott have called in reinforcements for their MIA bandmates and recorded an album that will have Pantera fans asking one question - Phil who?

They had big shoes to fill on vocals, but former Halford guitarist Patrick Lachman was up to the challenge. Lachman can do a spot-on Phil Anselmo impersonation in case the band wants to roll out some Pantera tunes, but he's also got a versatility that allows him to do much more than just be a clone of his predecessor. (Take a listen to "Reborn" or "Soul Bleed" to hear another side.) The band's tattoo artist Bob Zilla takes over on bass, laying down a solid bottom end.

With song names like "Breathing New Life," "New Found Power" and "Reborn," it's not hard to figure out that a lot of the songs are about new beginnings and reflect the band's struggles over the past few years. (There's also a very pointed jab at Anselmo.)

The album is a new beginning in more ways than one, though. Without the expectations of a Pantera album, Dime and Vinnie took the opportunity to stretch their songwriting skills, resulting in a much more varied album.

While numbers like the title track, "Breathing New Life" and "Explode" are ripped straight from the Pantera songbook, there are songs you'd never hear on a Pantera album, like the acoustic "Soul Bleed," the earthy "Moment of Truth" or "Pride" and "Save Me," which come down more on the commercial side of today's metal scene. In essence, they can have their cake and eat it, too, with pummelling songs that will satisfy Pantera fans and a few that could find crossover success.

Is it a new Pantera album? No. Half the album is too mellow, and it just doesn't have the same spark. But it's as close as we're likely to get.

Get "New Found Power."

Review: Anthrax, "We've Come For You All"

In the years since their last album, the members of Anthrax have seen their band name become a household word. Unfortunately for them, the word is usually spoken in fear, rather than out of respect for their music.

In the wake of the Sept. 11, 2001, terrorist attacks, the threat of biological attack with anthrax bacteria became very real. The band members went through a period of questioning and anger, even briefly considering changing their name. In the end, they decided to remain Anthrax and take all of those frustrations out on their latest album, "We've Come for You All."

The record, released earlier this month, is fully locked into the groove the band has gained since vocalist John Bush came on board in the 1990s. The bashing and speedy riffs in songs like "What Doesn't Die" and "Nobody Knows Anything," may take fans back to the 1980s thrash sound, but those tunes are the exception rather than the rule on this album.

Far more than any other album, "WCFYA" showcases Anthrax's influences. Shades of AC/DC come through in the chorus of "Strap It On," an ode to old school metal. Who vocalist Roger Daltrey guests on "Taking the Music Back." "Cadillac Rock Box," featuring Pantera/Damageplan guitarist Dime, is aptly described by drummer Charlie Benante as "Lynyrd Skynyrd meets 1976-1977 Kiss." Throw a touch of ZZ Top in, and you've got the sound of one of the tastiest morsels of feel-good hard rock I've heard in a while.

But it's not just the bands that came before them that influence this album. The insane frenzy of the pre-chorus in "Black Dahlia" even calls to mind their contemporaries, Slayer.

Fans may miss the tongue-in-cheek humor of the past that's lacking on this album, but that's to be expected considering the turmoil the songs grew out of. What it lacks in the fun factor, the album more than makes up for in raw power.

Ultimately, guitarist Scott Ian gives the bottom line on the album - "It sounds like Anthrax."

Indeed it does, but not the thrash-happy Anthrax of the 1980s, nor even the grunge-tainted sound of early '90s Anthrax. Instead it sounds like a growing and evolving organism - a band that remains loyal to its roots, yet at the same time, isn't afraid to try a new approach here and there.

Get "We've Come For You All."