What’s not to like about Immortal Randy Rhoads: The Ultimate Tribute? You’ve got the songs of one of the greatest metal guitarists of all time recorded by an all-star cast of hard rock and metal musicians with the blessing and participation of the Rhoads family.
Unfortunately, there’s quite a bit not to like about it.
While the song choices from the Ozzy catalog feature very few surprises, it is nice to see that they plucked a couple of tunes from Randy’s days in Quiet Riot, and they even get an assist from his brother Kelle on vocals for “Back to the Coast.”
Being a huge fan of Tim Owens, I was excited to see that he was singing on eight of the 11 tracks from Immortal Randy Rhoads: The Ultimate Tribute. After listening to it, though, I think we might have found a metal legend that “Ripper” can’t mimic. I remember him doing a great version of “Mr. Crowley” with Yngwie Malmsteen for an Ozzy tribute some years ago. Here, he sings some of the songs well, but most just don’t work. Though Owens is inarguably a more technically talented vocalist than Ozzy, there’s a quality in Ozzy’s voice that Owens just can’t recreate.
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.
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.
With Ozzy focusing on Black Sabbath and Firewind on a hiatus, guitarist Gus G. found himself with a little time on his hands, resulting in his first solo album, I Am the Fire.
Gus manages to cover a lot of metal/hard rock ground on I Am the Fire. There are a few power metal-tinged numbers that will be familiar to Firewind fans, but there are some much heavier tunes, some more commercial pieces, some grunge-influenced material and a few softer moments, too.
For the solo record, Gus called on a number of special guests, notably singer Mats Leven (Yngwie Malmsteen, Therion), who appears on four of the 12 tracks on the album. Leven also filled in on the road for Firewind with the departure of Apollo Papathanasio.
While Gus G’s debut with Ozzy Osbourne was a pretty disappointing mess, with Gus as primarily a hired gun playing other people’s riffs, his other outfit, Firewind, has yet to disappoint.
It’s not that they do anything out of the ordinary or innovative in the power metal world. It’s just that they do what they do so well. It’s a very guitar-driven, traditional-influenced power metal sound, and they’re one of the most consistent acts out there doing it.
Few Against Many gets started right where you expect it to with first single “Wall of Sound.” There’s a very awkward part in the first verse where vocalist Apollo Papathanasio delivers this strange “yeah, yeah, yeah” line. After that it recovers quickly and settles into the band’s niche with a big chorus. It might not be their best effort from a lyrical standpoint, but gets things started on a good foot.
Firewind has long been one of the steadiest, most reliable acts in the power metal genre. Despite guitarist Gus G.’s newfound stardom as Ozzy Osbourne’s latest guitarist, nothing has changed on the band’s latest record Days of Defiance.
The record comes blazing out of the gates with “Ark of Lies,” a tune that has everything fans have come to expect from Firewind. It’s a fast-paced, melodic and memorable. If anything, Gus’ guitar work here is leaner, meaner and more focused, as on the traditional opening riff of “Chariot,” the chunky riffing under the keys on “Killing in the Name of Love” or the almost thrashing opening of “The Yearning.”
In listening to Scream, one has to wonder why Ozzy was in such a rush to change guitar players. Just about every guitar riff on the record was quite obviously written by Zakk Wylde (the claim is that producer Kevin Churko wrote them, but if so, he's a great Wylde mimic), and though Gus G. plays them, it still sounds, with the exception of a few notable moments, more or less like Zakk Wylde. So, if you’re expecting a big departure from what you’ve heard from Ozzy due to the addition of Gus G., then you’re going to be somewhat disappointed.
Despite a rotating cast of musicians, no one in the melodic/power metal realms has produced more consistent records over the past several years than Firewind. Their latest record, The Premonition, is the second record for Century Media and the second with the same lineup, a first in the band’s history. While it doesn’t bring any major shifts in direction, it does find the band beginning to mesh better.
The record opens with a bang on the thrasher “Into the Fire.” This track features an obvious homage to classic Metallica. In its opening, you’ll hear elements of “Battery,” “Sanitarium,” “Blackened” and a few others leading into some fast-paced riffing that finally settles more into power metal territory when Apollo Papathanasio begins singing. It’s not the rip-off of Metallica that a few other bands are pushing these days, and perhaps it’s not exactly a straightforward tribute, but it’s certainly a tip of the hat to the influence, and it’s a welcome beginning to a welcome CD.
The Premonition has a nice variety about it. The songs range from pounding power metal numbers to more commercial pieces, like the first single “Mercenary Man,” where the band brings some 1980s arena rock influence. That track also features one of the most memorable hooks to be found here. It’s really a tune to get out on the highway and crank as loud as it will go with that soaring opening and chorus, just set the cruise control if you don’t want it to be an expensive trip. The record keeps going strong with the slashing riffs of “Angels Forgive Me” and a return to the thrash touches that opened the record on “Remembered.” The Police-inspired clean opening of “My Loneliness,” which finds Papathanasio doing his best early Sting, is cool. I was impressed by the choice not to include a ballad on their last record Allegiance, but for the most part I like this one. The verses are cool, but the chorus is not quite as catchy, sounding a bit like a Scorpions throw-away.
There are some rough moments later in the record that make it not quite as enjoyable as Allegiance. After a nice traditional metal opening riff, “Circle of Life” loses its steam and becomes perhaps the most lifeless offering of the 10 tracks here. And I’m not sure what they were thinking when they decided to cover Michael Sembello’s “Maniac.” Yeah, the song from “Flashdance.” They crunch it up enough to make it listenable, but it’s still a real head-scratcher for me. The only thing I can figure is that keyboard player Bob Katsionis really wanted to do the synth line that opens the song and somehow convinced the rest of the band to do it.
Fortunately, they make a comeback after that to close the album strong with “Life Foreclosed.” The song is perhaps the darkest moment on the record, and despite some small lyrical challenges in the chorus, it’s still one of the best numbers here.
With The Premonition, Firewind delivers exactly what I’ve come to expect from them, a set of tasteful, melodic and catchy songs that are well-played and well-produced. Founder and guitarist Gus G. has quickly become one of my favorite players in the current crop, and his chops continue to impress here. While I occasionally think Papathanasio needs a little more grit in his voice, it’s hard to argue with the power he puts into moments like the chorus of “Mercenary Man.” You’d be hard-pressed to find a better band in the current crop of power/melodic metallers than Firewind. While The Premonition doesn’t top 2006’s Allegiance, which stands as Firewind’s best work to date, it’s still a very solid, consistent album and one worth your consideration.
What’s not to like about Immortal Randy Rhoads: The Ultimate Tribute? You’ve got the songs of one of the greatest metal guitarists of all time recorded by an all-star cast of hard rock and metal musicians with the blessing and participation of the Rhoads family.
