Review: Kittie, "Until the End"

The members of Kittie have come a long way since their 1999 debut when they were a group of teenagers trying to prove they could hang with the boys in the burgeoning nu-metal scene.

On their third album, the band has completed its evolution into a true metal band, as evidenced by the pummelling opening track "Look So Pretty," which veers into death metal territory.

On the whole, "Until the End" is a much heavier album that shows a lot of growth. Musically, it's probably the most solid album Kittie has done, and it shows the influence of bands they've toured with over the years. That influence is most noticeable on songs like "Sugar," which opens with a blast of good, old-fashioned speed metal that leads into some chugging, offbeat Meshuggah-style rhythms.

The melodic "In Dreams" and the lead single "Into the Darkness" look back at the band's past, while "Burning Bridges" - a song that's sure to prick up any extreme metal fans' ears - plants their feet firmly on the road to the future.

Though they still seem to be searching for just the right balance between gnarly, heavy riffs and melodic hook-laden rock, the Canadian girls' third outing should give them some real respect in the metal world.

Get "Until the End."

Interview: Tim "Ripper" Owens of Iced Earth

When Tim "Ripper" Owens went into the studio in the summer of 2003 to lay down vocals for Iced Earth's latest album, "The Glorious Burden," he thought it was going to be a one-shot collaboration. After all, he already had a job - singing for metal legends Judas Priest.

But even then, the rumors were swirling about a Priest reunion with original vocalist Rob Halford, and when the official reunion announcement was made in the fall, Owens decided to make the full jump into his new band. Owens says he felt an immediate chemistry with Iced Earth guitarist and founder Jon Schaffer.

"I definitely think that it's something that seems right, and John and I get along so well," he said. "It's a perfect fit."

The result of the collaboration "The Glorious Burden," released in January, shows Schaffer's passion for history and has been hailed by many Iced Earth fans as the band's best effort to date. Owens was called in on the project when Schaffer was not happy with the performance of long-time singer Matt Barlow, who seemed to have lost his passion for the music.

"The problem is that this album just has so much passion that if you lose your way, you're going to be able to tell," Owens said.

Owens himself didn't have that problem. He loves the album, and with Iced Earth, he's already got something he never had in his years with Judas Priest - a writing credit on the track "Red Baron, Blue Max."

"Jon actually offered for me to write three different songs before I was even in the band," he said. "It's quite amazing."

Owens said he and Schaffer have distinctly different writing styles, and he's already looking forward to what the two of them can come up with for the next Iced Earth album.

"It's something that Jon and I talk about all the time," he said. "We can't wait to work together."

The singer also got to show some vocal chops that he was never able to showcase on a Judas Priest album. With his former band, he was often relegated to trying to sound like his predecessor, Halford, and never got to stretch his talents like he does with Iced Earth.

"The thing about John's writing is that he lets the vocals soar and sing more," Owens said. "This is singing with a lot of emotion. It's definitely more of a showcase for my vocals."

But there were some challenges involved in joining Iced Earth. For one, Schaffer is a notorious perfectionist who challenges and pushes his bandmates. Owens was ready for that.

"Glenn (Tipton, of Judas Priest) was really demanding," Owens said with a laugh. "I'll probably never be worked that hard again, but it taught me a lot. John's the same way; he's a perfectionist."

The second challenge is one faced by any newcomer - stepping out of the shadows of a vocalist that a lot of fans liked. After nearly a decade in Judas Priest, there's probably no one in the world more prepared for that than Owens.

"I filled Rob Halford's shoes," he said. "Matt's good and everything, but when you go to a band where Rob Halford is the singer ..."

Owens, who provided a basis for the movie "Rock Star" (a very loose basis, according to him), thinks he'll quickly win over the Iced Earth fans, just as he did the Judas Priest fans, and he's looking forward to putting his stamp on some of the old songs on tour. But the one thing he's really excited about performing live is the 30-minute epic "Gettysburg," which tells the story of the famous Civil War battle. It's length is a bit prohibitive for a live show, but Owens thinks it has to be done in its entirety.

"I think it will be pretty exciting live," he said. "I think it would be a nice change of pace because it's got really heavy parts in it and really melodramatic parts."

Despite losing his position as frontman in one of the biggest metal bands of all time, Owens is happy with where he is now and excited about the possibilities for the future. He's ready to move forward, and holds no ill will for his old band. He remains a fan.

"I'm really happy for them, and I think it's going to be awesome," he said. "Rob's the man, and this is a great situation for him. I think it's great to get them back for a 30-year reunion."

Review: Death Angel, "The Art of Dying"

Death Angel was perhaps one of the most underrated thrash bands of the late 1980s.

Coming out of the thriving thrash scene of the San Francisco Bay Area, the members of the band were young phenoms. At the time they recorded their debut, 1987's "The Ultra-Violence," drummer Andy Galeon was only 14. Their two follow-up albums 1988's "Frolic Through the Park" and 1990's "Act III" are classics of the genre that belong in any thrash fan's collection. But a bus accident that sidelined Galeon for a year also fractured the band. Several of the members went on to form the short-lived band The Organization, but it didn't have the same spark.

Now, 14 years later, Death Angel has reunited to unleash their fourth studio album, and not a lot has changed - either in the band or in the music. The album picks up right where "Act III" left off with the same big lightning-fast riffs and catchy vocal melodies.

Tunes like "5 Steps to Freedom," "Famine" and "No" are like hopping in the wayback machine and jumping back to 1990. The semi-ballad on this album, "Word to the Wise," doesn't play as well as softer songs from their past like "Veil of Deception" from "Act III," but it's still a solid effort.

If there's one knock against this album, it's that it does sound dated. It's unapologetically a late '80s thrash album. My only complaint is that we should have gotten this album more than a decade ago.

Get "The Art of Dying."

Review: Black Label Society, "Hangover Music, Vol. 6"

If there's one man in the world of heavy rock that seems able to do no wrong, it's Zakk Wylde.

From the heavier sound he brought to Ozzy Osbourne's band in the late 1980s to Southern rock with Pride and Glory to his acoustic solo debut to the bone-crunching Sabbath-inspired riffs he lays down with Black Label Society, Wylde has rarely made a misstep. Now comes his sixth outing with BLS, the aptly titled "Hangover Music." If the first five Black Label albums have been the wildest, loudest and craziest party you've ever attended, then this album is definitely the morning after.

On "Hangover Music," Wylde revisits the acoustic stylings of his 1996 album "Book of Shadows." And why not? Over the years, his slow songs have been some of his best. They seem to fit his vocal style well.

"Hangover Music" is a bit grungier and uses more electricity than "Shadows," which was almost completely acoustic. But the trick to this album is in how he uses the electric guitars, not as a crutch, but sparingly to create mood and atmosphere - and of course, to kick out some blistering solos.

Even in a semi-acoustic setting, though, Wylde is still served better by the more upbeat numbers. The CCR-meets-Sabbath stomp of "House of Doom" is a perfect example of Wylde in his element and at the top of his game, and the album-opener, "Crazy or High," is simply one of the best songs the band has written.

Wylde and Co. hit rough waters when they slip into Elton John mode on "Yesterday, Today, Tomorrow," but fare better when they slide into an Alice in Chains groove on "Layne." Wylde shows off his piano skills on "Damage is Done" and the jazzy chords on "No Other" are a nice surprise.

Overall, the album shows that you don't have to plug in to be heavy. But as much as I like the more laid back side of Zakk, I still think he needs to plug back in as soon as possible. The metal world needs him at full intensity.

Get "Hangover Music."

Review: Anthrax, "Music of Mass Destruction"

Though he's been in the band longer than any other singer, Anthrax is just now getting around to a live album and DVD with John Bush. It was well worth the wait.

In addition to showcasing the band's live show with Bush, it also gives fans the chance to see one of the last Anthrax shows with original bassist Frank Bello, who recently parted ways with the band.

On "Music of Mass Destruction," 'Thrax rips through a collection of songs both new and old with incredible energy.

There are a few stumbling points along the way. "Bring the Noise" really doesn't work without Public Enemy involved, and I still think Bush isn't up to some of the older material because it doesn't really fit his style. That being said, I have to give him credit for the ones he belts out better than the original. "Be All, End All" sounds great with Bush on vocals, and even the classic "I Am the Law" takes on a gruffer, more powerful sound.

Of course, when they rip out newer songs like "Inside Out," "Refuse to be Denied" and "Safe Home," Bush is in his element and the performances are tight all around.

Anthrax also throws out a couple of surprises, going way back to the band's debut album for the bonus track "Metal Thrashing Mad" and whipping out a cover of Metallica's "Whiplash." There's also a nice treat for comics fans on the DVD as artist Alex Ross chats about designing the cover for this album, as well as the band's stellar 2003 release "We've Come For You All." He also talks comics with drummer Charlie Benante and shows off some of his personal collection of memorabilia.

Having had the pleasure of seeing Anthrax live, I know this doesn't compare to the real energy, but it's close - a must-have for thrash fans.

Get "Music of Mass Destruction."

Review: Aerosmith, "Honkin' on Bobo"

It's a shame these are cover songs because this is the album that a lot of Aerosmith fans have been waiting on for more than 25 years.

There are no synthesizers, no horn sections and no bows to radio airplay. It's just the five members of Aerosmith (with occasional help from vocalist Tracy Bonham and pianists Paul Santo and Johnnie Johnson) rocking out on some of their favorite blues tunes. The result is a very warm, organic record that recalls the band's best work of the 1970s. And why shouldn't it? Some of the band's hottest songs in the '70s were covers of old blues tunes.

Hearing the band put their stamp on "Shame, Shame, Shame" or Willie Dixon's "I'm Ready" will make you think you're listening to one of Aerosmith's classic albums like "Toys in the Attic" or "Rocks." The songs would certainly fit right in there.

A real surprise on this album are the two Joe Perry sung tunes, "Back Back Train" and "Stop Messin' Around." In the past, Perry songs have been like an afterthought, perhaps throwing a little bone to the guitarist. On this collection, they're two of the best songs. Perry's smooth, smoky voice is a perfect fit with the bluesier numbers.

The only weak spot on the album is, surprisingly, the only new Aerosmith song, "The Grind." It sounds like the same ballad we've heard them do seven or eight times since the early 1990s. But the energetic numbers like Bo Diddley's "Road Runner" and "Baby, Please Don't Go," and the down and dirty numbers like Sonny Boy Williamson's "Eyesight to the Blind" and "Never Loved a Girl," a reworking of Aretha Franklin's "I Never Loved a Man," will soon make you forget that one misstep.

This is what Aerosmith should sound like. Here's hoping the Boston bad boys will throw us some new rock 'n' roll in this vein in the near future.

Get "Honkin' on Bobo."

Review: Grip Inc., "Incorporated"

When drummer Dave Lombardo parted ways with Slayer in the early 1990s to form his own band, I thought it was a bad move.

Grip Inc.'s first three releases were good, but not outstanding, and when Lombardo rejoined his old bandmates in Slayer a couple of years ago, it could have signalled the end of Grip Inc. Instead, the band has delivered its best album to date.

"Incorporated" is easily the most diverse album the band has done. It has the same mix of Slayer-style thrash, punk and progressive, but every time you think you've got it figured out, the band throws in something new. They add some electronic industrial beats on tracks like "The Answer " and "Prophecy." They throw out a little flamenco guitar on "Enemy Mind," and several songs have a Middle Eastern flavor.

Perhaps the most surprising touches are the strings on "(Built to) Resist," and the Gregorian-style chanting on "Blood of Saints."

What won't surprise you are thrashers like "Endowment of Apathy" and the slab of crunch on "Man With No Insides." They may mix things up a bit, but they haven't sacrificed any heaviness.

Get "Incorporated."

Review: Godsmack, "The Other Side"

Acoustic sets are a tricky thing for hard rock bands. For every Alice in Chains or Tesla that gets it right, there are a dozen bands that take the stage with an acoustic and bang out the same power chords they use with an electric. Without the wailing wall of distortion, all of the weaknesses are exposed.

Luckily, Godsmack is one of the bands that gets it right. On "The Other Side," the band offers up acoustic versions of several of their songs, along with three new tracks.

Godsmack shows an impressive side on this album, that they've hinted at before on songs like "Voodoo" and "Serenity." The most impressive and surprising moment on the album is a reworking of their heavy hit "Awake." They've renamed it "Asleep" for this version and changed it from a pounding headbanger to a melancholy ballad. It gives a whole new signifigance to the song's subject.

I was also a bit surprised by how well other heavy tunes like "Re-Align" and "Keep Away" translated into acoustic numbers. They perhaps hovers a bit close to the "same three chords" approach, but the songs take on a warm, rootsy feel that works well.

Of the three new songs, the most interesting is "Touché," which features members of Dropbox, the first signing to Godsmack singer Sully Erna's label. It's got a twangy, almost country feel that's a bit out of character for the band. All in all, "The Other Side" reminds me a lot of Alice in Chains' "Jar of Flies," and that's a very good thing. This album shows that Godsmack isn't a one-trick pony and further reinforces their position as one of the top hard rock acts out there.

Get "The Other Side."

Review: Manowar, "Hell on Earth III"

Is there any band that better represents the spirit of metal than Manowar?

Whether you love Manowar or think the metal warrior schtick is a little corny, you have to admit that there are no greater champions of the music than the world's loudest band, and they prove it again on this DVD.

The first disc chronicles Manowar's travels around the world with plenty of behind-the-scenes footage, fan interaction and some live performance clips. This disc shows first-hand Manowar's dedication to their fans and vice versa. Their love of performing their music is evident, and they seem to truly appreciate the people that allow them to do it. How many other band have you ever seen that allow a fan to grab a guitar and come on stage for a jam session almost every night?

The second disc contains an hour-long performance from an outdoor festival in Cologne, Germany, where about 27,000 fans packed the streets of the city to see the band. It's a rousing performance, if a bit brief.

The rest of the disc is full of vintage Manowar videos, along with their latest two clips. I would have liked just a little more live performance, but beyond that, I've got no complaints. The DVD shows truly that Manowar are "Kings of Metal." All hail.

Get "Hell on Earth III."