Saturday Shuffle: Flotsam and Jetsam, Testament, III, ST, Ratt

This week starts strong with an underrated album and ends on a mediocre note.


Flotsam and Jetsam, "Empty Air." From the album Drift (1995). Drift is far and away my favorite Flots album. I loved the slightly more progressive tone of it. "Empty Air" is one of the heavier tracks from the record, and it's got as much power as anything that the band has ever recorded. A fantastic song from a fantastic record.

Saturday Shuffle: III, Hank Jr., Priest, ST, Godsmack

It's a shame I couldn't have had a Hank Sr. song come up to hit the Hank trifecta, but two out of three ain't bad. Things get a bit heavier after that ...


Hank III, “Thunderstorms and Neon Signs.” From the album Risin’ Outlaw (1999). One of several Wayne Hancock songs that III did in his early years, this tune, highly influenced by his grandfather, fits III’s wail perfectly. This version is great, but I think I still prefer the Hancock version which has a little more character.

Review: Body Count, "Manslaughter"

As its opening song “Talk Shit, Get Shot” would suggest, much of Body Count’s return album Manslaughter revels in gratuitous violence and sex. That’s always been the case for Ice-T’s metal outfit, of course, but most of the band’s early output built that around a framework of social commentary.

A lot of the material on Manslaughter takes that violence and sex to an absurd level, but I have to admit that many of the tunes, like that opening song, are pretty catchy.

If there’s one reason that you should check out this record though, it has to be for their new version of Suicidal Tendencies’ “Institutionalized.” Metal fans will be familiar with the original, in which the subject’s concerned parents want to get some help for what they see as his problems. The classic ST song introduced the black humor that has permeated frontman Mike Muir’s work and spawned perhaps the band’s most memorable lyric as Muir calls for a Pepsi.

Saturday Shuffle: Crue, Quiet Riot, Testament, Megadeth, ST

A very 1980s feel to this week's Shuffle ...


"Jailhouse Rock (Live)," Motley Crue. From the album Girls, Girls, Girls (1987). I must admit that Girls, Girls, Girls hasn't held up as well over time as some of Crue's other records, but I still enjoy this messy, bashing cover of Jailhouse Rock. It's not a perfect cover, but it's the perfect cover for Motley Crue.

Saturday Shuffle: Bruce Dickinson, Savatage, Suicidal Tendencies, Shooter Jennings, Queensryche

After a few weeks of wildly varied shuffles, we're back to something a little more metal, minus one country tune, of course ...


Bruce Dickinson, "Kill Devil Hill." From the album A Tyranny of Souls (2005). Man, we're long overdue for a new Bruce Dickinson solo album. His solo work, at least for me, has been far better than Iron Maiden's records in recent years. My shuffle seems to love this song, which naturally, deals with the Wright Brothers' first flight. It's one of those great, dramatic Dickinson tunes.

Best of 2013: Hard rock and metal

Any time my year-end list starts with more than 20 candidates, it's been a pretty metal year for me. That was the case for 2013, and I had a few tough calls on who would make the list, and even tougher calls on what order they'd make the list.

It was a year of comebacks, with great records from Suicidal Tendencies, Tom Keifer, Skid Row, Carcass and, of course, Black Sabbath. All made the list in one form or another.

It was a year of surprises as a couple of albums that I would have predicted to be neck and neck for my top spot slid down, while a couple of unexpected ones moved up.

It was a year of two albums from bands named Queensryche, neither of which, it turns out, were really the best Queensryche album of the year. But more on that a little later.

So, without more blather, here are my favorite hard rock and metal records of 2013 (order subject to change) ...


10. Pamela Moore -- Resurrect Me. I'm a latecomer to this album, and I fully expect it to rise higher in this list. Moore, who performed the part of Sister Mary on Queensryche's classic Operation: Mindcrime record, delivers a fantastic album in the vein of that release. So far, I haven't found a song on the record that I dislike.

Best of 2013: Mid-year hard rock and metal picks

It’s been a really solid year for hard rock and metal so far. At six months, I’m often adding mediocre albums that I know won’t make the final list to get to 10. This year, I actually had to make a tough call or two. Maybe I should have gone to 13, but with two 13s on the list already, that might get confusing …


No. 10: GLORYHAMMER – TALES FROM THE KINGDOM OF FIFE: Christopher Bowes, the man who brought us Scottish Pirate Metal with Alestorm, now brings us Scottish Epic Fantasy Metal. Tales from the Kingdom of Fife pokes a little bit of tongue-in-cheek fun at the formulas of power metal, but also shows a great respect for the music. It’s a little cheesy, a lot of fun and better than a great deal of the “serious” power metal out there. If for nothing else, this album gets a nod because “Angus McFife” is the most fun I’ve had singing along to a song with my son all year.

Review: Suicidal Tendencies, "13"

Most metal fans are probably looking a little more forward to another album titled 13 later this year from a barely known band called Black Sabbath. Me, too, but I was also quite intrigued by Suicidal Tendencies’ album of the same title.

I was a big ST fan in the 1980s, both the energetic hardcore punk of their self-titled debut and the thrash sounds of their later albums in the decade, like Lights, Camera, Revolution. The 1990s were a bit shaky for the band, though, with the very commercial The Art of Rebellion (which I haven’t revisited in quite a while, but seemed anything but rebellious to me at the time), the more metallic and underrated Suicidal for Life and a couple of uneven albums in Freedumb and Free Your Soul … And Save My Mind, both of which had their moments, but were fairly unmemorable.

Still Spinning: Infectious Grooves, "The Plague That Makes Your Booty Move"

Converting a huge CD collection to digital as I’ve been doing slowly for the past couple of weeks can be tedious, but it also has its rewards: Namely, stumbling across very cool records that you haven’t spent any quality time with in years.

I’ve rediscovered several in the process, the most recent being Infectious Grooves’ 1991 debut The Plague That Makes Your Booty Move.

Founded by Suicidal Tendencies vocalist Mike Muir and bassist Robert Trujillo (now in Metallica), Infectious Grooves also featured guitarists Dean Pleasants (George Clinton, Ugly Kid Joe, Jessica Simpson) and Adam Siegel, as well as former Jane’s Addiction drummer Stephen Perkins.

Heavy inspiration

Hopefully, you’ll forgive me for a little sappiness on Christmas. Since I’ve done the metal Christmas song bit a couple of times, I thought I’d try something a little different this year. Instead, I’m going for inspirational hard rock and metal tunes. I’m not talking about religious tunes (as some of the choices will clearly show) or, necessarily, songs that will inspire others. These are simply songs that have inspired or moved me for some particular reason over the years. Feel free to discuss your own in the comments section, if you wish.

“Believe,” Savatage. In my mind, this is one of the finest rock songs ever written – period. It’s amazing. It’s moving. And no matter my mood, it’s a song that always makes me feel better and more hopeful. It’s far from the only Savatage song that I find inspiring (at least half this list could have been from the band), but it’s far and away the most inspiring.

April Fools: Songs on the goofy side of rock and metal

In honor of April Fool's Day, I thought I'd take a look at some of those goofy songs that bands often throw on a CD just for giggles. Maybe you love them, maybe you hate them or maybe they're a guilty pleasure that you really don't want people to know you like. Here's a look at a few of my favorites. This list is by no stretch of the imagination comprehensive. It's done completely off the top of my head, and I'm sure I've missed even a few that I enjoy. Please feel free to add your own.

AC/DC, "Big Balls" (Dirty Deeds Done Dirt Cheap, 1976). This one's become such a classic that it hardly belongs on this list. I've never known anyone who didn't laugh at this (barely) double entendre goof.

Aerosmith, "Big Ten-Inch Record" (Toys in the Attic, 1975). As with the first one on the list, this tune that draws its humor from the pregnant pause is a classic. But I still love it, and I've got to get Aerosmith on here.

Annihilator, "Kraf Dinners" (Never, Neverland, 1990). Sandwiched between heavy subject matter like environmental responsibility and dark tunes about insanity is this fun ode to mac and cheese. Somehow, it works.

Anthrax, "Startin' Up a Posse" (Attack of the Killer Bs, 1991). Anthrax has a few tunes that could fit on this list, but none quite as good as this ditty about Tipper Gore and the PMRC that manages to work in a thrash version of the "Bonanza" theme.

Body Count, "KKK Bitch" (Body Count, 1992). Body Count often used humor to make serious points, but this tune poking fun at racists is way over the top.

Bruce Dickinson, "Dive, Dive, Dive" (Tattooed Millionaire, 1990). I'd always thought of Bruce Dickinson as very proper and dignified until this song, filled with bad maritime sex puns, and it's companion piece "Zulu Lulu" arrived on his first solo record.

Guns 'n' Roses, "I Used to Love Her" (G'n'R Lies, 1990). You can't go wrong with Guns 'n' Roses' three-chord tongue-in-cheek ballad about a relationship gone wrong.

Infectious Grooves, "You Lie and Yo Breath Stank" (The Plague that Makes Your Booty Move, 1991). I'm not sure that Infectious Grooves belongs here because so many of their songs were tongue-in-cheek. Lyrically, this one is pretty bad, but for some reason I still love it.

Nuclear Assault, "Poetic Justice" (Something Wicked, 1993). While the killer title track was the centerpiece of this record, the band's take on a famous song from "The Sound of Music" has certainly given me my share of snickers over the years.

Pride & Glory, "I Hate Your Guts" (Pride & Glory, 1994). Basically Zakk Wylde's answer to GnR's "I Used to Love You," it covers similar ground with a southern twang.

Scatterbrain, "Don't Call Me Dude" (Here Comes Trouble, 1990). Like Infectious Grooves, I'm not sure if Scatterbrain belongs here because humor was their norm. But I can't resist this ode to a guy down on his luck with some serious thrash licks to back up the humor.

Suicidal Tendencies, "Institutionalized" (Suicidal Tendencies, 1983). "All I wanted was a Pepsi."

Tesla, "Tommy's Down Home" (Five Man Acoustical Jam, 1990). Having grown up around people like the one portrayed in the song, this tune always brings a smile to my face.

Van Halen, "Happy Trails" (Diver Down, 1982). Van Halen has a few tunes to choose from as well, including "Big Bad Bill" from this same record, but for some reason I've always had a special connection with their cover of "Happy Trails." ... bombadida, bombadida ...

Wrathchild America, "I Ain't Drunk" (3-D, 1991). I spent many nights tipping a glass to this cover of Albert Collins' classic drinking song.

Dweezil Zappa, "I Want a Yacht" (Havin' a Bad Day, 1986). While I love his cover of his dad's "My Guitar Wants to Kill Your Mama," this tune featuring the screams of comedian Bobcat Godthwait is just too bizarre to not make the list.

Review: Ozzy Osbourne, "Down to Earth"

The madman is back. And this time he's brought one of the best bands he's had behind him since the early 1980s.

"Down to Earth," Ozzy Osbourne's first studio release in six years, marks the return of the always-amazing Zakk Wylde to the Ozzman's realm.

Taking a break from his own band Black Label Society, Wylde returns to his duties as Ozzy's sidekick with all of the crunching riffs and insane harmonic screams his fans expect.

Bass player Rob Trujillo (Suicidal Tendencies, Infectious Grooves) and drummer Mike Bordin (Faith No More) provide one of the most solid rhythm sections you'll find in hard rock. They're also not afraid of a good groove, as you can hear on songs like "Junkie" and "No Easy Way Out."

Trujillo and Bordin even get a chance to step to the forefront on "Can You Hear Them?," which is driven by the rhythm section.

The opening cut of "Down to Earth" announces that this album won't be like 1995's more somber and morose "Ozzmosis," which met with mixed reviews from fans. "Gets Me Through," the first single and Ozzy's tribute to his fans, kicks this album into high gear from the start with a crushing riff and a nice word play on one of his best-known songs.

"I'm not the kind of person you think I am/I'm not the Antichrist or the Iron Man," Ozzy sings. While it sounded a little vanilla to me at first, the tune is catchy and gets stuck in your head after a couple of listens.

One thing that strikes the listener quickly, though, is that Ozzy's voice isn't what it used to be.

I remember reading an interview several years ago that talked about some of the classic tunes he no longer performs live - like "Symptom of the Universe" and "Hole in the Sky," both of which were in his upper registers 30 years ago. His reply was that you'd have a better chance of getting the Pope to sing those songs than him.

Still, Ozzy compensates for his diminished range with some unique phrasings and vocal melodies on songs like "Facing Hell," "That I Never Had" and especially "Alive." The album also shines lyrically, with some clever and often thought-provoking song themes.

Even the ballads - not normally Ozzy's strongpoint - are good. The piano-driven Beatles-esque "Dreamer" puts me in mind of the slower songs on his first two solo albums, and "Running Out of Time" could be Ozzy's best ballad since the Sabbath classic "Changes."

But the star of the album may still be Wylde. Despite his best attempts to tone down his guitar work and give Ozzy the spotlight, he still shines when he's given a chance. His huge riffs pay obvious tribute to Black Sabbath without ever crossing the line into imitation.

The heavy, borderline funky riff of "No Easy Way Out" is easily the best on the album, but "Facing Hell" and "Junkie" are close behind. Wylde's guitar work lends a heavy sound to the album that will have heads banging everywhere.

The real strength of "Down to Earth" is that it incorporates all of the things that Ozzy has done best over the years. It has the raw energy of "No Rest for the Wicked" mixed with the production values of "No More Tears" and healthy doses of "Blizzard of Ozz" and "Diary of a Madman" sprinkled liberally throughout.

The madman is back - and his fans are glad to have him.

Get "Down to Earth."