Since today is the Fourth Of July, the Independence Day of these United States, I wanted to have a little fun and share some of the songs that bring some American spirit to the song. Now these aren’t necessarily patriotic numbers of course but have our branding in them somewhere and I hope that you enjoy this little summary. Please know that clicking the album artwork will launch the song on Spotify or on YouTube if I couldn’t find a link there. You’re going to need a Spotify account to enjoy this best and by now you should have one anyway. Here we go.
“We’re An American Band” by Grand Funk Railroad: Recorded in 1973, this perennial by the great Grand Funk Railroad has long been a favorite of Rockers everywhere. Everything about this song is great from its rousing lyrical base to the overall melody and not only does it start with some solid drumming, but its sung by the bands drummer Don Brewer. It’s been covered a number of times but some varied artists over the years but the original remains the very best. I’ll be featuring a few of the covers as well for the sake of comparison but a little later on in the narrative.
“(You Can Still) Rock In America” by Night Ranger: Fast forwarding ten years in Rock Music history comes my very first go at the band Night Ranger thanks to this single from their “Midnight Madness” album. My friend had MTV (as we didn’t in NYC at the time) and when I saw this track I was an immediate fan and recall going out to buy the LP and the bands first album “Dawn Patrol” as well. At least I think that is how it happened but we are talking so many years ago but I digress. This tune is amazing from beginning to end as well with stellar guitar work and drumming and a lyrical base that finds you singing along right after your first listen. It’s still one of my favorites in the bands catalog and finds me screaming at the top of my lungs when I see them do it in concert.
“Happy New Year and Welcome Back!!!” Did you have a nice New Year’s Eve? Is your head still ringing like a fire bell? I will hope that it’s just a little bit of a headache and oh if you are wondering how the heck I am already up and at ’em and posting the first blog post ever for 2013 at this unholy hour wonder no more. I programmed it to go online yesterday afternoon (snicker). Ah the magic of technology. So let’s get right down to it and enjoy the continued “New Year’s Music Resolutions for 2013” from some musical greats.
1. Gogo Melone (Luna Obscura): If the world won’t destroy in December 21 which will be very odd because we already live in a destroyed world :)) then my New Year’s Music Resolution for 2013 will be to finish the recordings and everything for Luna Obscura’s new album plus my solo work “Black Silent Vision”. Both have very dark, emotional music and is the most mature stuff that we have ever write so it’s imperative need for us to share them with our fans. Let’s see 🙂 Continue reading New Year’s Music Resolutions For 2013: Part 7→
When I do my NY Comic Con coverage, I always refer to the fourth chapter or segment as being my “Fantastic Fourth” edition since its kind of aimed at the comic book of the same name. Since
I could not come up with anything different as I compiled all of these resolution responses you will just have to bear with me as I use it once more to proudly welcome readers to our “Fantastic Fourth” chapter of “New Year’s Music Resolutions for 2013”; That’s all I have for you now, so get thee reading.
1. Erik Kliuber (Gypsyhawk): For 2013 I resolve to keep doing what I’ve been doing with music. Writing, performing, and learning new music is a state of being. I have to force myself to write a little to a lot every day I’m home. I’ll have very limited free time next year due to touring and having to work shitty jobs between tours. The next album has to be even better than “Revelry and Resilience”.
2. Elizabeth Schall (Dreaming Dead): To embrace my fears, doubts, my convictions, embrace my truth and turn each one of them into music.
You know you are in for an entertaining night when Lizzy Borden comes a calling and wishes to give the Metal Republic forty whacks. It’s been a little over a year since we caught the band when they opened up for Lordi over at Irving Plaza which was at the time called The Fillmore NY (thank the Metal gods that they changed that name back) so I was looking forward to seeing them in action again. To see photos and review text from that Monster Mash of a Metal time just click HERE. There were also a couple of other reasons that this show piqued my interest and they included the band Black Water Rising who were opening up and that the entire affair would be held at The Bell House which was a new venue to me. You can read our views about the gig and enjoy all of the photos by clicking the bands logo below, and then continue on for some other stuff that’s only presented in this blog posting.
Artist: Lizzy Borden Venue: The Bell House (Brooklyn, NY) Opener: Black Water Rising Date: 6/1/2010 Label: Metal Blade Records
This evening’s entertainment sure got off to a very rocky start and there was no doubt about it. First of all, the venue called The Bell House while being a relatively new one was still growing in popularity but as one of my friends had said, was not really the place for a knock down Metal show. With this in mind I had a lot of curiosity when the L.A. maniac Lizzy Borden and the band that bore his name had announced that a gig would be happening here. The venue is located in Brooklyn and not too far away from my home so in some sense I was looking forward to a shorter trek home depending on the hour that the show would actually end. Continue reading Lizzy Borden @ The Bell House (6/1/2010)→
These album overviews were originally written for Metal Edge Magazine when I was a contributor to their “Hear Us Out” CD reviews section back in 2006-2007. With the magazine wrapping up publication a few months ago, I decided to add them to the context of our PiercingMetal presentation. I felt that by doing this I would not only be raising the horns in remembrance of the magazine but would also be able to showcase just how different writing for a major publication was when it all came down to it. Since “Hear Us Out” notations were usually “100” words in length, these posts will feature several reviews each until we run out of them. The freelance writing tenure at Metal Edge Magazine was discussed on THIS LINK so please check that out when done. Here are the reviews, so “Hear Us Out”.
You can say with levels of certainty that bands like All That Remains and Burn In Silence along with a laundry list of others owe a debt of gratitude to Killswitch Engage for both their music and their efforts on the Heavy Metal genre as a whole. It was Killswitch who made it clear that both the intensity of Metalcore and the traditional melody of conventional Metal could and would work together with a bombastic result; now with As Daylight Dies, the band continues to show why they are the undisputed masters of this formula for many years. As you listen, you find that the aggression is still there and you find it prominently displayed on “Unbroken” where Jones rails against the world in anger only to break into the melodic parts with ease and perfection. Tracks like opener “As Daylight Dies” and “This Is Absolution” remind you that you are listening to professionals who have really grown into their role as a leader for this brand of Metal. The success that they have achieved over the past few years have really given the format a massive push ahead the rest and with every tune on the new record you can see why they have become so influential in this kind of sound. Instead of choosing to rest upon the laurels of success, we find the new album once again taking the band in a venture ahead to new again and focusing a little more on the melodic side than ever before. This might cause some dismay in the folks who wanted a non-stop brutality fest and they should be aware that the use of melody does not mean that they have grown soft by any stretch. This is actually a very killer album and I expect that when its numbers come back that it turns more people onto the group than it does turn off. In Metal, the only constant is change and since they deal with so much in the way of competition, I am glad to see KE opting to lead the charge one more time. One of my favorites is “Still Beats Your Name” which is an intensely dynamic number with throttling drums by Justin Foley, while “Reject Yourself” closes out the release with a punch that is as hard as only Killswitch Engage can deliver. As Daylight Dies, the power of KE grows all the stronger.
KISS: ”Alive 1975-2000” (Universal Music)
It’s been over thirty years and KISS is still one of the most visually exciting bands ever formed and the levels of spectacle and entertainment at their concerts have given millions of fans worldwide experiences that are forever remembered. This CD collection celebrates the performances of KISS by featuring all three of their Alive releases as well as a special bonus disk. Alive was the album that saved KISS’ career for it was not until the band took the risk of releasing a double live album that their true powers over the listener were realized. Yes they had an ever-growing fan base but the albums were not selling. Instead of the career suicide many predicted with this effort it became a blockbuster that many live recordings are measured against. The band’s anthem would officially claim that status as a result of Alive and soon “Rock And Roll All Nite” was on radio stations everywhere. Alive II was culled from three shows at The Forum in LA and the increase in technology allowed KISS to make this release much more of an in your face listen than its predecessor. The third side would give the listener five new studio tracks to enjoy. “R&R All Night” is presented as a bonus on this set. Alive III finds a long unmasked and different roster KISS (Peter Criss and Ace Frehley were long gone). In their place were Bruce Kulick and Eric Singer (Singer had joined shortly after the passing of Eric Carr). Also released on video the album was met with approval but dissent at the one CD instead of two. The bonus CD is the long missing Millennium Concert, recorded in front of 45,000 fans during the bands “Farewell Tour” and once again featured the founding four members. Continually delayed, this album would simply vanish from the radar of fans. Some tracks made their way to the Boxed Set but that would be it. It would also be the final live recording to feature completely original members, as Ace would leave again and be replaced by Tommy Thayer. Wrapped in a highly decorative deluxe digipack it includes a booklet that features every insert found in the original albums as well as a score of bonus photos. It’s time to get out the greasepaint and stick out your tongue once again for KISS – “The Hottest Band In The World”. Continue reading Revisiting “Metal Edge” Magazine: The CD Reviews – Part 6→