TRANCE: (1983) Power Infusion

In one of the last polls I stood very high in the esteem of our webzine with an impressive 1%. For this great result I want to thank this one reader and his pet. And for you out there I have this review. TRANCE from Edenkoben released their second album in 1983 and it showed a dramatic improvement to the debut "Break Out". To say one thing right away, who doesn't know anything about TRANCE, and that should be most among you, the guys played pure, straight Heavy Metal of typical German heritage, without superfluous frills and decoration, just straight from the heart, so to say. Simple, great riffs, thundering drums, pumping bass and the shrill voice of Lothar Antoni, which at times almost sounds like an out of tune church organ, and the great melodies make this album a true highlight of "Made in Germany".
RHAPSODY and BLIND GUARDIAN fans will vomit their soul out after listening to pearls like the fast "Heavy Metal Queen", the hymnic "Rockstar", the balladesque (in the chorus, though, fast) "SLD (Dedicated To MCE)" or the great stomper "Sensation", but does this interest the true steelheart? No, not in the least! (Online April 20, 2003) .. Hawk - Metal Observer

Tracks:
1. Heavy Metal Queen
2. Rockstar
3. Children of Illusion
4. Glasshouse
5. SLD
6. Shock Power
7. Burn Your Lies
8. Sensation
9. Storm and Thunder

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ROSE TATTOO: (2002) Pain

Rose Tattoo are just great. No disrespect to the other guys but frontman Angry Anderson is the business! Bad, vibrant and on stage, he has that same charisma/sense of hunour that made Bon Scott so great with early AC/DC. Angus and Malcolm Young should listen to this CD and think just how much better Angry's voice is than Brian Johnson's these days.Pulling Angry into AC/DC would inject new life into the band and make them vibrant again. Combine Angry's voice (and harder lyrics) with Angus and Malcolm's riffs and there's a classic album in the making for sure! In the meantime, enjoy this CD from one of the orginal hard rockin' bands that sound as good today as they did in the late 70s and early 80s. It's great!

Tracks:
1. Black Magic
2. The Devil Does It Well
3. No Mercy
4. Pain
5. Kisses And Hugs
6. 17 Stitches
7. House Of Pain
8. I Can't Help It If I'm Lucky
9. Union Man
10. Satan's Eyes
11. Hard Rockin' Man
12. Stir Crazy
13. Living Outside My Means
14. Heat Of The Moment
15. Illustrated Man
16. One More Drink With The Boys

D-load album - http://lix.in/9100f8
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ROSE TATTOO: (2000) 25 To Life

The boys go all out for this one. Very raw, high energy, lots of power. Guaranteed to get your blood flowing. Absolute mayhem. Angry kicks out the vocals despite having to work hard to be heard over the guitars. Which he makes reference to several times. He says "Need a little help on the vocals" and "It's getting hard pushing uphill...(on the vocals)." I love that. A true live performance. After the boys get warmed up there is no stopping them. All the songs you want to hear! They ...(getting a bit older/rough life) but they still play as well as ever. Very satified. Much better than expected. No pretenses, just good old fashioned Rock n' Roll!

Tracks:
Disc: 1
1. Outta This Place
2. Bad Boy For Love
3. Assault And Battery
4. Tramp
5. Butcher And Fast Eddie
6. Rock 'N' Roll Is King
7. Rock 'N' Roll Outlaw
8. We Can't Be Beaten
9. Astra Walley
Disc: 2
1. Scarred For Life
2. Remedy
3. Juice On The Loose
4. Who's Got The Cash
5. One Of The Boys
6. Nice Boys (Don't Play Rock 'N' Roll)
7. Manzil Madness
8. Suicide City

D-load album 1 - http://lix.in/fe50de
D-load album 2 - http://lix.in/67c77d
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ROSE TATTOO: (1982) Scarred for Life

This was Rose Tattoo's 3rd release and formed the third part of the classic trilogy of albums they released between 1978 and 1982 - all produced by Harry Vanda & George Young - the team behind AC/DC's rise to greatness. This album was probably The Tatt's most innovative work, but paradoxically, also stayed closest to the bands' roots of the early Stones, Kinks and Chuck Berry. It's got the huge wall of sound with clever hooks and searing vocals laid over the top by Angry Anderson but its probably a bit brighter and flashier than the preceeding works - but no less brutal in delivery. The title track lays the foundations first up with an opening axe attack that floors you. We Can't Be Beaten is truly anthemic and an unashamedly honest if you've ever seen this band live.
Of the remaining tracks, Branded and the thuggish Who's Got The Cash are the standouts. In short, the album kicks arse and in true Australian style does not bother with any of the niceties - it just rips, tears and lacerates or as we put it in Oz: it's got mongrel. This was the last album before Rose Tattoo's classic line-up fell apart (even though Mick Cocks had already left by this stage) and represented the last of the classic Rose Tattoo sound as all other subsequent releases were commercially compromised (even though there are some good songs still to be found on these later albums). Rose Tattoo should have been as huge as AC/DC but bad luck and internal troubles dogged the band just when they were breaking in the UK in 1981. Ironically, their lack of success makes their early albums all the more treasurable.

Tracks:
1. Scarred for Life
2. We Can't Be Beaten
3. Juice on the Loose
4. Who's Got the Cash
5. Branded
6. Texas
7. It's Gonna Work Itself Out
8. Sydney Girls
9. Dead Set
10. Revenge

D-load album - http://lix.in/e450cf
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ROSE TATTOO: (1978) Rose Tattoo

This album has gone down as a true rock n roll classik! From the opening cut of 'Rock N Roll Outlaw' to the bluesy 'The Butcher and Fast Eddy' this CD will have you screaming for more. Back in the days of record albums, the first side (or first 5 cuts of the CD) may be considered to be called the best album side album.
The best tracks on the album (as if there are any bad tracks) are 'Rock N Roll Outlaw', 'Nice Boys', 'One of the Boys', 'Remedy'.. well damn the whole CD is awesome. As Angry Anderson has told me, 'The Butcher and Fast Eddy' is a true story about a gang fight that took place in Melborne Austrailia. After this album was released, it was rumored that Angry Anderson was in fact 'The Butcher', although he denies it. Buy this CLASSIK CD, hear some fantastic hard rock, learn some Australian Folklore, and understand why the Aussies have put out some of the best hard rock ever.
1998 Repertoire reissue of this 1980 debut by one of Australia's hardest rocking outfits. This reissue features eight bonus tracks, six of which are previously unreleased. The band features the distinct vocals of Angry Anderson. Picture CD.

Tracks:
1. Rock 'N' Roll Outlaw
2. Nice Boys
3. Butcher and Fast Eddy
4. One of the Boys
5. Remedy
6. Bad Boy for Love
7. T.V.
8. Stuck on You
9. Tramp
10. Astra Wally
11. Never Too Loud [*]
12. I Had You First [*]
13. Fightin' Sons [*]
14. Snow Queen [*]
15. Rock 'N' Roll Outlaw [Live][*]
16. Bad Boy for Love [Live][*]
17. Rock 'N' Roll Is King [Live][*]
18. Suicide City [Live][*]

D-load album - http://lix.in/5db600
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ROSE TATTOO: (1984) Southern Stars

Reissued 1984 album. Angry Anderson & Co.'s fourth studio LP, including the Australian hit single 'I Wish', finds the band moving in a more AOR style. However, the 10-featured tracks lack none of the bands customary bite and, on 'Saturday's Rage' in particular, they more than actually capture the cross between Hard Rock and Metal.

Tracks:
1. Southern Stars
2. Let Us Live
3. Freedom's Flame
4. I Wish
5. Saturday's Rage
6. Death or Glory
7. Pirate Song
8. You've Been Told
9. No Secrets
10. Radio Said Rock 'N' Roll Is Dead

D-load album - http://lix.in/6a5648
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ROSE TATTOO: (1981) Rock 'n' Roll Outlaw

You know you're listening to a truly great band when the weakest, no that's completely the wrong word - least strong of their three classic albums contains 5 tracks that are absolute killers:
- Out of This Place (an awesome intro)
- All The Lessons (pure speed)
- Assault & Battery (relentless riff)
- Magnum Maid (a wailing wild slide rocker)
- Suicide City (more speed with razor chords)
All other songs on this album are really strong and don't follow a set formula - each have their unique nuances and identity. I wont bother trying to explain the rest only to say that the feel of this album is a lot more sparse and vicious than either album before (the classic self titled album) and after (the mighty Scarred for Life).
If ever you were going to called Rose Tattoo a speed metal - skin band, this album would be it. But the point is they were never a skin band: they were and always will be a real hard rock 'n' roll band that digging its roots and finding gold. Even on this album the traditional rock 'n' elements are there, it's just that they've been transmogrified into a frightening beast infused by sheer volume and speed.

Tracks:
1. Rock N Roll Outlaw
2. Nice Boys
3. Butcher & Fast Eddy
4. One Of The Boys
5. Remedy
6. Bad Boy For Love
7. T V
8. Stuck On You
9. Tramp
10. Astra Wally

D-load album - http://lix.in/348015
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ROSE TATTOO: (1981) Assault & Battery

Reissued 1981 album. A UK No. 40 hit LP in late 1981 this was the Tatts second studio album, again produced by Venda Young, and again featuring 10 tracks of hard edged street rock. The 'Rock 'N' Roll Is King' single is just one of the many highlights of this Rock Classic.

Tracks:
1. Out of This Place
2. All the Lessons
3. Let it Go
4. Assault & Battery
5. Magnum Maid
6. Rock & Roll is King
7. Manzil Madness
8. Chinese Dunkirk
9. Sidewalk Sally
10. Suicide City

D-load album - http://lix.in/ebc608
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W.A.S.P.: (1997) Kill fuck Die

Being a dedicated Wasp fan, I can safely say that their early albums (such as their self-titled debut, The Last Command, and Headless Children) are truly heavy metal classics. However, the bands style of playing and glam theatrics do seem unarguably dated today, where the music marketplace is willing to promote any kind of metal music as long as it is big hair-less.
This being said, KFD represents the band's attempt to break free of their tradtional high-volume and theatrical approach in favor of a newer, more updated sound. The opening track, for example, is a cascade of Blackie's ressonating vocals and industrial guitar and synth tones. The rest of the album continues on like this, with other higlights like "Killahead", "Kill Your Pretty Face", and "Wicked Love". On the whole, Blackie and the boys sound much grimier and more dangerous than ever before, but with the creative atmospherics to make them more effective. This may be a mixed blessing for some long-time fans, however, since this album favors mean-spirited and scary imagery over just normal rock and roll themes (sex, drugs, etc.). But if think you'd like the child band of Wasp and Nine Inch Nails, this may be just for you. I hope they continue on the path of discovery toward newer, more timely music in the future. Long live Wasp!

D-load album - http://lix.in/f5a26e
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W.A.S.P.: (1996) Still Not Black Enough

Any true fan of WASP knows that this album contains what was left from Blackie after the exhausting recording and tour of "Crimson Idol", his most personal album ever. This disc has many songs that echo the struggle that lingered in his heart... listen to "I Can't", "Keep Holding On", and "Breathe"... yes, these are ballads, but if you can't see the beauty in these songs, you aren't a real WASP fan so just find some empty Scorpions albums to listen to if you can't hack it...

D-load album - http://lix.in/b074c0
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SOILWORK: (98) Steelbath Suicide

One of, if not the most impressive Swedish metal debut, Soilwork's Steel Bath Suicide (1998) belongs on everyone's short list of must-have '90s metal offerings. Includes the bonus live track 'Sadistic Lullabye'. Listenable/Century Media. Soilwork have quickly become one of my favorite bands. Now that their debut has been reissued by Century Media, all three of their full lenght albums are available in the major music stores. "Steelbath Suicide" sounds similar to their two more recent releases, but one can see the progression that they have made. This album is a little more raw sounding and does not include as many keyboards as "The Chainheart Machine" and "A Predator's Portrait". The instrumentation is fantastic, as it always is with this band. The guitars are loud and in your face; the bass is thick; the drums pound. The vocals are of the growl/shout type, the same as in their other releases. My favorite song is "Skin After Skin", but every song here is strong. If you like In Flames, At The Gates, Gardenian, etc., you will enjoy this album as well.

D-load album - http://lix.in/49a45e
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SOILWORK: (00) The Chainheart Machine

As if there was any question after the release of Steel Bath Suicide, Soilwork emphatically proved themselves to be one of melodic death metal's finest Swedish exports on this 2000 Century Media follow-up, The Chainheart Machine. Soilwork would later go on to drastically soften their sound and rely more on melody in future releases, but they gave us one last brutal, intense record before doing so. This is the closest they've ever gotten to perfection...a shame that they had to change.
While "The Chainheart Machine" does include melody, there's a difference between the usage of it and relying on it. Their future albums would rely on it, making them become redundant after a few listens. "The Chainheart Machine", on the other hand, gets better every time you hear it. Henry Ranta's drumming is hectic, a perfect fit for Björn Strid's speedy vocals. The guitars are the best I've heard on any Soilwork album - the frequent solos and interesting rhythmic changes were terrific. Lastly, Ola Fink's bass is nothing too special, but the way it harmonizes with the guitars is amazing. I seem to use the word 'perfect' a lot when discussing "The Chainheart Machine", but that's because it's the 'perfect' word to describe it. Soilwork were at the top of their game here, it's a shame to see a once great band now releasing mediocre albums like "Figure Number Five". If the idea of Gothenburg melodic death mixed with some thrash and speed metal interests you, pick this one up right away.

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SOILWORK: (01) A Predator's Portrait

Soilwork busts out of the gates with the force of a derailed train, evident from the get-go with the pummeling opener "Bastard Chain". It eviscerates with bloodthirsty riffing and an aggressive disregard for melody that makes the chorus nearly indecipherable from the rest of it all. The guitar leads are uniformly stunning and set a high standard that each song easily meets. Soilwork eases up a bit after the opener, but not by too much. The music remains heavy but with some guitar harmonies and a bit of clean vocals, there's a bit of melody to go along with it. "Needlefeast"'s glistening guitar harmonies and its forlorn-but-infectious chorus is good contrast, although it really loses none of its aggression for its melodic factor. The whole albums is heavy +++. Even "The Analyst", which is perhaps the catchiest song here, is still combative metal and loses practically none of its aggressive bite. But there's a drama to the music to go along with the intensity. "Grand Failure Anthem" has a tragic weight thrown upon the shoulders of its listener, contributed equally by Speed's desperate vocals and also the grave tenor of the mammoth riffing. "Structure Divine" is coarse and fast, but eerie and dark. "A Predator's Portrait" is punishing yet enchantingly surreal. "Shadowchild", possibly my favorite Soilwork song of them all, is thrashy but balances with a certain pleading emotion with riffs that sound like a theme for the apocalypse.
The keyboards have little presence, but you _would_ notice a significant change if they were somehow taken out. They accentuate the color of the music, oh so subtly, juxtaposing a somewhat surreal quality against the brutal guitar framework. More so on _Natural Born Chaos_ Svennson's keyboards _add_ to the music, but _A Predator's Portrait_ still wouldn't be the same without them, if that makes sense. And by the way, the guitar solos are awesome.
And to further establish this band's good taste, the title track features the demon god himself, Mikael Akerfeldt. Akerfeldt sings cleanly for chorus with a poignancy that only his distinct voice can provide. The contrast of Akerfeldt's chilling croon with Speed's abrasive voice is weird and sick but good.

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SOILWORK: (02) Natural Bron Chaos

Here it is folks: The Essential Soilwork. If/when soilwork ever give up making music and decide to release a greatest hits album, it'll be a 2-disc set: the best songs on all their other cd's, and "Natural Born Chaos." NBC is the result of the style soilwork experimented with on "A predator's portrait." Two albums into their career, soilwork was already bored with their own style of melodic death metal and decided to move on. Just stop and think about that: they'd already proved themselves as one of the great entrepeneurs of the Gothenburg-style of metal, and they decided to take it a step further. From what i've read (i dont own "A Predator's portrait," a future revision of this review is possible when i do finally get it), soilwork began to experiment with clean lyrics, and with pleasing results. for those of you new to soilwork, let me give you a basic description of their sound on "Natural Born Chaos": over cleverly crafted and thrashy guitar riffs, vocalist Strid powerfully screams during the verses, almost angrily, and then traverses to a high-tone climactic chant in the chorus, while keyboards and rhythmic drums carry the songs along; in a nutshell, that's pretty much it, but soilwork has a way of making every song unique and interesting, they're just the best at what they do if you aren't convinced yet, download "Black Star Deceiver," it's my favorite track off the CD and expresses everything good about "Natural Born Chaos"

D-load link - http://lix.in/471b07
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SOILWORK: (03) Figure Number Five

The Scandinavian dude once again show that they top the metal world, with Soilwork fifth album "Figure Number Five", they again (after their famous "A Predator's Portrait") combine the heaviness of traditional Scandinavian metal with a more catchy melodic guitar riff and chrous, the trash vocal, powerful guitar riff, fast beat, for sure will be enjoyed by a lot of metal fans, and their influence on the punk/emo scene nowadays is very significant, think bands like Story Of The Year, AFI.... if you like them and want to go for something heavier and more metal-oriented, "Figure Number Five" will be the ablum for you. Tracks like "Overload", "Departure Plan" showcase their excellent song writing ability, the unique yet catchy heavy guitar riff help solidify the whole songs, melodic and head-bangging, whereas "Figure Number Five", "Strangler", "Light The Torch", "Brickwalker" show the trashier and more progressive side of them with those speedy yet technical rhythm part. The trash vocal and the "Duran Duran, Depeche Mode"-ish melodic vocal merge together very well, and the melodies and quite strong, i'd listen the same CD whole day at the office, and i won't feel boring and annoying. the impact of Euro band are bigger than ever, we have bands like Mnemic, Opeth, Pain of Salvation, and Soilwork, etc.. Great bands technically and musically, they are at the top of the game, and "Figure Number Five" is no doubt one of the best albums of the genre so far, so check this out.

D-load album - http://lix.in/63b21e
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SOILWORK: (03) The Early Chapters (Ep)

Mini CD featuring unreleased material recorded during 'Steelbath Suicide' & 'Chainheart Machine'. Five tracks, 'Burn' (Deep Purple cover), 'Disintegrated Skies', 'Egypt' (Mercyful Fate cover), 'Shadow Child' & Aardvark Trail' (Live). Listenable. 2003. It is all too common nowadays for people to get special editions of albums just so they can get extra songs that are either unheard or hard to find. However, this becomes a tedious and often expensive process; besides, it's hard to find EVERYTHING from the artist in question. That's why artists such as Soilwork are smart and release b-side collections of at least some of their harder-to-find material.
These FIVE songs (there's also another one, "Aardvark Trail [live]," that Amazon isn't listing for some reason...) span through Soilwork's early years. It is very interesting to hear some of their beginnings. "Burn" is an electrifying, fast-paced cover that simply SIZZLES with its ferocity (not to mention a DAZZLING guitar solo). "Disintegrated Skies" is so good, it really is a wonder why it was not on any of their previous releases. "Egypt" has kind of poor production, but is still a pretty neat cover of the Mercyful Fate song. The demo of "Shadow Child" features a lot of the same aspects as the later version, and is a nice glance at their earlier songwriting. Finally, to hear "Aardvark Trail" live is definite proof that Soilwork is overdue to release a live album, and soon. This is a great little rarities album, and while not complete (where's "Asylum Dance" or "Bursting Out"?), it features most of their rare stuff and proves to be a great addition to any Soilwork fan (but not a newbie). Now if only more artists could do this...

D-load album - http://lix.in/6b4a55
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SOILWORK: (05) Stabbing the Drama

Limited Edition Digi of the Nitrous Metal Bands 2005 Studio Release.

Tracks:
1. Stabbing the Drama
2. One With the Flies
3. Weapon of Vanity
4. Crest Fallen
5. Nerve
6. Stalemate
7. Distance
8. Observation Slave
9. Fate in Motion
10. Blind Eye Halo
11. Wherever Thorns May Grow

D-load album - http://lix.in/67ef6f
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ROB ZOMBIE: (2003) Past, Present & Future

What are you waiting for? If you are or ever have been a fan of Rob Zombie or White Zombie, grab up this collection fast, it is well worth the price. Literally, this is a fantastic compilation of Past, Present, and Future hits of the mega monster Rob Zombie. From his beginnings in White Zombie to the present, Zombie has always managed to stay in the slippery groove of industrial metal, and not only flow with the changes in the industry but present himself as a leader of it.
All but three of the songs on this CD have been released previously, but what's nice is having all these favorites together, along with the bonus material. And there is a nice array of guest vocals too, with Iggy Pop showing up in Black Sunshine, Alice Cooper in Hands Of Death, Howard Stern in The Great American Nightmare (Have $eXx With A Headless Body), and Brickhouse 2003 being mostly Lionel Richie with rap-artist Trina showing up for some fun. (and I don't like rap either, but this is a great remix!) The new songs are Blitzkrieg Bop, Two-Lane Highway, and Girl On Fire; nice additions to the collection. You get a full CD of tracks from Zombie's career, from White to Rob, and the three brand new songs to boot. You get a great video (and I am not a fan of music videos), including older White Zombie videos you will never see on MTV or VH1, including Demonoid Phenomenon, Return of the Phantom Stranger, and Spookshow Baby, which are not even on the Audio CD. Most music videos are boring, but not Zombie's; so plug the video into your DVD player and have some fun. The videos are inventive and, in my humble opinion, better than his movie, House Of 1000 Corpses.
On top of the audio and visual candy that Zombie holds out to us with his pale fingers, there is a nice visual offering also, in the form of a small booklet of pictures taken of Zombie over his career, from 1985 through the present. This is especially nice for the younger Zombie fans that have not witnessed his amazing visual evolution through the years, while still staying true to his metal-fused industrial rock core. Whether you are a die-hard Zombie fan like myself, or just beginning to taste the decaying ear candy he offers, this CD will be either a great addition or a great starting point to your musical library. ENJOY!!


D-load link 1 = http://lix.in/f1d719
D-load link 2 = http://lix.in/d099df
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EDGUY: (2002) Vain Glory Opera

Asian edition of the German progressive metal act's 1998 album. Deleted in the U.S. & most other territories. Seoul Records. You read that correctly. This album is one of the most perfect listening experiences I have ever had upon the very first listen of any album and that's over almost 20 years of metal. It reminded me of that great experience that "Operation Mindcrime" was but this is better. The album is based on our world in the year 2080 that has become empty of emotion. As for the album itself, it contains all that a metal fan will ever dream : power, fast, fiercly fast moments, always extremly melodic, guitars riffs and solos that comes down to Earth from heaven, great vocal parts, both lead and choirs, a kick-a** production and the little extra, that makes an entire difference : this album is emotion packed !!! THE perfect song : Out Of Control !!! With Hansi Kursch singing only a couple a seconds then and there... but the timing and the mix with Tobias' voice is simply PERFECT! This is a must own or forever regret it album, it belongs in every metal fan's collection, and if you don't know EDGUY yet, you'd better correct that mistake and purchase a copy here. It's pricey because it's only available as an import so pray for your soul that they have a copy of VAIN GLORY OPERA left!... Daniel V Davis

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download link = http://lix.in/4aa121
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EDGUY: (2000) Theater of Salvation

Like melodic metal but think some of the stuff might be a little too cheesy for your tastes? Looking for a band that sounds like Iron Maiden without being a rip-off? Edguy probably fits the bill - fast, bombastic metal with melody (no screaming either) and great musicianship but they don't quite stray into the over-the-top territory that make some bands uncomfortable for the average listener. So if you're not a Mighty Warrior of Steel Fighting For Metal Glory, but like metal, check this band out. (If you are the aforementioned type, you probably already like this band!) My one gripe with Edguy, (and by association, Avantasia) is that they tend to overexaggerate the transitions - there are a number of places where they hold chords for easily twice as long as good tastes mandates and as a result, a musical idea that would have been great as a subtlety is crammed down the listener's throat. That's it - my only gripe. And it's not all over the album, it's just in a few spots.
On the positive side, Tobias Sammet is an AMAZING singer. I can't stress this enough. He rules behind the microphone. Seriously. His vibrato is to die for. And, if the writings in the booklets are any indication, he is a great guy to meet in person. The guitar solos stay more in the hummable-melody area than the show-off shred stuff, although there is plenty of exciting leadwork to be found here. Very symphonic, and the last track is epic. Lyrically this, like most Edguy material, is a questioning of religious conventions and the issue remains mostly unresolved at the end, despite the title track's "positive" sounding final section. And for those who complain that power metal bands take themselves too seriously, let the last track play on after the song ends for a taste of Tobias's goofy sense of humor! Bottom line, this is great German metal and truly deserves to be compared to the old-time greats. Great music, no ego, great fun, no pretention.... Aiylyn

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download link = http://lix.in/888848
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EDGUY: (2000) The Savage Poetry

Re-recorded versions of the original demos used by the German metal act to shop for a label in 1995. The originals have long been unavailable after the initial pressing was sold out during their first gigs and is now considered highly collectable. The band re-worked the material to take advantage of their improved studio prowess (the originals were written and recorded while the band were still teen-agers). During the re-recording process the band had many ideas on how to improve the songs, including adding new parts.

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download link = http://lix.in/17614b
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W.A.S.P.: (1984) W.A.S.P.

W.A.S.P. was formed in the late 70s by Blackie Lawless who had been in the New York Dolls (post Johnny Thunders) and London with Nikki Six. Their first single Animal (F*ck Like A Beast) was produced by guitar connoisseur Mike Varney. It was refused release due to the title, but it is included on this re-issue! I have good memories of getting this on cassette by skipping church (sinner!) and going to my favorite music store. I think I bought it along with Grim Reaper's debut. Anyways, about half of this album is classic metal. My favorite songs are I Wanna Be Somebody (great chorus!), L.O.V.E. Machine (cool drums by Tony Richards), The Flame (good time rocker), School Daze (amusing lyrics), and Sleeping In The Fire (haunting ballad w/ great solo by Chris Holmes). This re-issue also includes a good cover of the Stones Paint It Black, making it a great bargain. Get it and crank it!.. Christopher Fryer

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download link = http://lix.in/228d0a
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W.A.S.P.: (1986) Inside the Electric Circus

A lot of people thought W.A.S.P. was going soft with this album, but they were mistaken. One listen to 'Shoot from the Hip' was all you had to hear that Blackie was still on a rockin' rollin' rampage of sex, violence, and debauchery. At the time this album was released, the PMRC was in it's full fury. Tipper Gore had targeted W.A.S.P. as one of the worst bands ever. Blackie had to bow a little and remove the periods in between the letters of "WASP" and this is the only album where this happens. With the next album "Live... in the Raw" the dots were back as drops of blood and have been there ever since. Also on this album Johny Rod from King Kobra came in to assume bass duty as Blackie went to the guitar for the first time on a W.A.S.P. album. Randy Piper, an original member, was now gone.
The opening is a bit corny, but you gotta realize that Blackie is the ringleader and afterall, someone needs to welcome you inside the madness, so it might as well be him. The opening track is the title track and it's awesome. One of the best opening guitar riffs W.A.S.P. ever did. The song is full of energy, rampant, and exciting. The next tune, the cover of "I don't need no doctor" is simply awesome. '95 Nasty' should have been a hit, but it's still played live to this day. Not everyone liked 'Mantronic', but I liked it. A bionic man with balls of steel is always a great idea for a tune. "King of Sodom and Gommarah", "Sweet Cheetah", and the closer "The Rock Rolls on" are also standouts. This is a great album... Johny Bottom

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W.A.S.P.: (1988) The Headless Children

This is not only WASP's finest moment, it's one of the two or three best hard rock albums of all time. Released in April of 1989, it marked a significant departure from the good-time party rock of the group's first three studio releases. The lyrical focus moved to more political and social territory, with topics ranging from drug abuse ("Thunderhead") to nuclear war ("The Neutron Bomber"). These more topical songs were nicely balanced with light-hearted tunes such as "Mean Man" and "Rebel In The F.D.G.". There's even a great motorcycle tune on here ("Maneater")!
Of course this is rock'n'roll, so the shift of lyrical focus alone would hardly serve to make this record worthwhile. So why a 5-star rating? Because the songwriting isn't just good, it's out of this world. There is just NO FILLER on this record! The weakest song present is "The Neutron Bomber", and it's a great song! Some highlights include "The Heretic" (an epic worthy of Iron Maiden and easily my favorite WASP tune), the dark and athmospheric title track, the beautiful tear-jerking ballad "Forever Free", and an amazing cover of The Who's "The Real Me". It's all great stuff.
The technical aspects of the record are every bit as spectacular as the writing. The band absolutely smokes, with powerful drums from Frankie Banalie (formerly of Quiet Riot), solid bass from Johnny Rod (check him out on "The Real Me"), and Chris Holmes' usual brand of tasteful shred guitar. And the mastermind behind it all, Blackie Lawless, turns in an incredible vocal performance. His raw, powerful voice is at it's peak here and the range of emotions he manages to convey is truly stunning. This album also features great production, with each instrument sounding crisp and clear but avoiding the overly polished sound that was epidemic in the late eighties. The bottom line? GET THIS ALBUM!!! And be prepared for the heavy metal ride of a lifetime... Eugene Kodadek

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W.A.S.P.: (1998) Live ...in the Raw

Blackie Lawless and his co-horts in WASP sprung out of the early eighties L.A. metal scene with the impact of a small hurricane. This was largely due to their over the top live shows and raunchy, explicit lyrics. In hindsight, what WASP offered was nothing new-mix in an Alice Cooper/KISS influenced stage show with some of metal's true big, dumb rock songs and you have WASP at its primal best.
That being said, WASP-Live...In The Raw is a pretty entertaning 'live' album, though those who actually attended the shows may dispute the album's 'live' credibilty, as many of the songs here were never actually performed at those shows. What we have is a very energetic sounding recording that was probably more than a little doctored in the studio. The best evidence for this is in the bonus tracks included in this release-Shoot From The Hip, Sex Drive and Widowmaker sound much more 'live' than the rest of the cd.
As for the actual songs, WASP penned quite a few memorable numbers in their career and the best of them are here-Inside The Electric Circus, Wild Child, Sleeping (In The Fire), The Manimal, I Wanna Be Somebody, Blind In Texas-these are all fine songs that stand up to repeated listenings. Curious, that their controversial debut single was not included-Animal(F**K like a Beast), this song is responsible more than any other for garnering the band attention and is actually a very cool tune. The CD also includes an awesome cover of Scream Until You Like It, an old chestnut redone by WASP for one of the Ghoulies horror film soundtracks.
The large majority of the remaining material suffers from truly inane and insipid lyrics and in some cases music that borders on tedium. Shoot From The Hip and Sex Drive will have to go down in history as two of the most misogynistic and idiotic songs of all time, 9.5. Nasty and Harder Faster aren't much better either. Also, the Sleeping In The Fire(acoustic) is anything but, featuring a very electric solo.
The digipack is nothing to write home about either, featuring some superficial and fluffy liner notes by a WASP 'expert' named Dom Lawson and the same photos initially featured in the 1987 vinyl and cassette release.
For those looking for WASP at their best, this is the only place to start. Ultimately, the only release by the band that stands the test of time in a eighties hair metal sort of way.;; Eric Mehta

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W.A.S.P.: (1985) Last Command

No one who wasn't alive when this album was released should leave a review, because this was symbolic of the period in rock-n-roll (call it hair-band, I prefer to call it Metal) that a lot of us grew up listening to. Comparing this to modern metal is like comparing Johnny Cash to Alan Jackson...each is great in its own time, in its own way! And if you are thinking of buying this album, DO IT!!! it rocks! and also pick up the first album (self titled) WASP. I snuck into the office in high school, locked the door, and played the whole song "school daze" over the intercom before they stopped me. Jay Bird

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METALLICA: (2004) Live at Donington Park

Amazing show at Donin gton part with the help of Dave Lombardo from Slayer....

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METALLICA: (1997) The Golden Unplugged Album

Metallica is an American heavy metal band from California, formed on October 28, 1981.
With 57 million albums sold in the United States alone and 35 million albums sold outside the U.S., the band has sold just over 90 million albums, making them one of the most commercially successful heavy metal acts in history.
Metallica is credited, along with the other of the "big four" thrash metal bands, Megadeth, Slayer, and Anthrax, with bringing the genre to mainstream America.

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NILE: (1998) Amongst the Catacombs of Nephren-Ka

Nile's second album, "Amongst the Catacombs Of Nephren-Ka," was the band's breakthrough disc. It didn't catapult Nile into the mainstream, so you'll have no luck finding their song on the radio, but it did make frontman Karl Sanders and his band a force to be reckoned with amongst the heavy metal underground.
Pick almost any song on this album, and you'll find mind-jumbling polyrhythms (which consist of airtight, often amazing drumming), steam-rolling riffs, maybe even a careening solo or two, and Sanders' ultra-deep, growly and unintelligible vocals (which sound more like a demon belching than an actual human). The album opens with a very speedy number, "Smashing The Antiu," which has a deft, pounding blast beat and searing guitars. There are a couple of interlude-type tracks ("Kudurru Maqlu" and "Die Rache Krieg Lied Der Assyriche") which break up the album's monotony, but they don't kill the record's intensity or relentlessness. "Barra Edinazzu" boasts thunderous guitars, insane drumming, and a spoken-word part which wouldn't sound out-of-place on a Cradle of Filth album. "Ramses Bringer Of War" features lightning fast drum work, frenetic riffs, retching vocals, and a couple of scorching, wild solos. Other standout tracks are the jackhammer rhythm on "The Howling Of the Jinn" (a song which sounds more like Dying Fetus covering Slayer than a traditional Nile tune), and the Deicide-esque scorcher, "Beneath Eternal Oceans Of Sand." This song begins with some pretty acoustic noodling before going full blast with crushing guitars and drums (and there's also a brief acoustic breakdown about halfway through).
So, yeah. This is good stuff. Any death metal fan (or metalhead in general) should find a lot to enjoy here. .. A. Stutheit

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NILE: (2000) Black Seed of Vengeance

In some ways Nile are much like the typical death metal band. "Black Seeds of Vengeance" contains more than enough searing guitar work, guttural vocals, and blastbeat drumming to please any Cannibal Corpse or Morbid Angel fan. However, Nile have a unique idea that sets them apart from the pack. They combine their prototypical death metal with Egyptian/Middle Eastern elements that make this album a truly dark and eerie piece of music. It's obvious pretty early that this is more than just a death-metal album. The title track blasts forward with unbridled speed and intensity, driven by Pete Hammoura's amazing precision and variety on the drum kit. The following song, "Defiling the Gates of Ishtar," starts off similarly, but then suddenly breaks into some eerie and frightening choral chanting before getting heavy again. Another highlight is "Masturbating the War God," a slow, grinding basher that also includes some choral vocals towards the end. Probably the best song here, though, is the epic "To Dream of Ur." The song starts out with some creepy music and slow, tortured whisphering, then switches to brusing death metal, then switches back, and then back again. I know that's not much of a description, but suffice to say the song rules. And if that's not enough, "Libation Unto the Shades Who Lurk in the Shadows of the Temple of Anhur" and "The Nameless City of the Accursed" are excellent Egyptian-sounding interludes that add to the haunting atmosphere of the album without being self-indulgent. The musicianship is excellent throughout, and the lyrics are far smarter and more meaningful than the typical death metal fare, so be sure to read them (every song is explained in the liner notes too, which is cool). Now to get their other albums!... by Wheelchair Assassin

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NILE: (2000) In the Beginning

This is a compilation that features the 1995 out-of-print debut album "Festivals Of Atonement", which the first 6 songs represent, and the 1997 EP "Ramses Bringer Of War" which songs 7 through 9 represent. Their debut album "Festivals Of Atonement" was on the independent label Anubis Records and quickly went out of print, while the EP "Ramses Bringer Of War" featured early versions of three songs that would appear on their second album "Amongst The Catacombs Of Nephren-Ka", and that EP was made in very limited quantities. These two early releases are paired on this album and it gives you an idea of what Nile sounded like in their early days. On "Festivals Of Atonement" its clear they already had their own unique style of brutal death metal meets amazing technicality and Egyptian themes, yet its not anywhere near the speed based albums which would follow. Songs like "Divine Intent", "The Black Hand Of Set" and "Immortality Through Art" have long been personal favorites of mine from the debut album. As for the three song EP "Ramses Bringer Of War", which are tracks 7,8 and 9 on this album, you get early versions of "Howling Of The Jinn", "Ramses Bringer Of War" and "Die Rache Krieg Lied Der Assyriche" that as I said before went on to appear on their second album. Those three sound good here, but I actually prefer the versions on the "Nephren-Ka" album, their played with more passion. This album is a great starting point to hear what Nile sounded like in their early days.

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download link = http://lix.in/2c2771
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NILE: (2002) In Their Darkened Shrines

Coming off the masterful "Black Seeds of Vengeance," Nile have returned with another ambitious project. "In Their Darkened Shrines" again showcases the unbridled creativity and awe-inspiring technicality that make Nile such a unique and excellent band. With their innovative dynamics and heavy use of Egyptian themes, Nile have managed to bring something extremely valuable to death metal: a fresh sound. Their lyrics often read more like they were written by a bunch of history majors than by a killer death metal band, but Nile are dead serious when it comes to creating crushingly heavy music. I'll admit a was a little nervous when I read about the departure of two members of the "Black Seeds of Vengeance" lineup, most notably massively skilled drummer Pete Hammoura. However, I was relieved to find that new skinsman Tony Laureano does an excellent job of filling his predecessor's kit. Perhaps the highest compliment I can pay to Tony is that if I didn't know better I'd swear Pete hadn't left. He manages to match Pete fill for fill and blastbeat for blastbeat, and that's no small task. And Karl Sanders and Dallas Toler-Wade are once again rock-solid on guitars.
Although the first four songs on "In Their Darkened Shrines" are all strong, the album really kicks into high gear with the almost-indescribable "Unas, Slayer of the Gods." Nile had shown somewhat of an inclination toward epic songwriting on "BSOV," and that tendency culminates with "Unas." At more than eleven and a half bruising minutes, the song is chock full of tempo changes, stunning musical interludes, and the band's trademark Egyptian/Middle-Eastern elements. The lyrics, meanwhile, tell a frightening tale of an Egyptian Pharaoh's legend in Nile's typically foreboding style. It's just an amazing song, one of the best in death-metal history.
Although I chose to single out "Unas, Slayer of the Gods," it's important to note that every song on "In Their Darkened Shrines" is solid at the very least. Some may take a little time to get going, but this isn't supposed to be easy listening. With some patience and attention, the payoff will come, and when it does it's more than worth the wait. I'm trying to be really careful with my five-star ratings, but the only reason this album doesn't get one is that the vocals don't guite reach the levels attained by the music. Still, "In Their Darkened Shrines" gets my highest four-star rating, and my utmost recommendation for ALL metal fans....Wheelchair Assassin

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download link = http://lix.in/2821cc
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NILE: (2005) Annihilation of the Wicked

2002's In Their Darkened Shrines may have launched Nile into metal history for groundbreaking, synapse-snapping releases--and into the record-buying consciousness while crystallizing the unit's long-building promise. Annihilation Of The Wicked is rife with epic riffs, crisp, intelligent arrangements and playing that's masterfully focused. Simply put, it is a continuation of their campaign. Karl Sanders demonstrates once more that he is among the most accomplished death metal guitarists, possessing as he does not only acumen but an all-too-rare knack for creating the almighty death rock groove (best demonstrated on the title track, "Lashed To The Slave Stick"). "Cast Down The Heretic" is an instant genre classic. ––Jedd Beaudoin

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LAMB OF GOD: (2004) Ashes of the Wake

"Violence begins to mend what was broken." Boy, how he does it. Choosing not to borrow the pinky ring flash of the Underworld and but rather good old fashioned eye for eye justice, singer Randy Blythe croaks savagely though "Omerta." Backed by a healthy dose of lumbering menace, the song is sung as if by vengeance itself. Violence begetting violence is a constant on this album, both in music and word; in both personal trial and world politics. Lamb of God have show their 80's thrash roots on Ashes of the Wake by featuring solos from both Testament and Megadeth. The band plows forward taking from the new, the old, and adding their own stamp--heavy, angry, and political. --Daniel Mahon


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TROUBLE: (1996) Plastic Green Head

It's a shame that Trouble never seem to get the credit or attention they deserve. Bounced from Metal Blade to Def American in the late '80s, for this album this Chicago-based quintet found a home with independent Century Media. Trouble's label really doesn't seem to matter, though: their ability to crank out some of the finest and heaviest psychedelic metal around never diminishes.
Plastic Green Head is prime stuff. While Eric Wagner's occasionally screechy vocals are an acquired taste, the superheavy gothic guitar riffage takes no getting used to. Trouble may have gone through their share of bassists and drummers, but the guitar duo of Rick Wartell and Bruce Franklin has remained intact and churning out some seriously damaging sludge since their self-titled Metal Blade debut back in 1984. Trouble does the midtempo throb grooves as well as Corrosion of Conformity or Monster Magnet, but they're versatile enough to pick up the pace when necessary. They even include covers of Carole King's "Porpoise Song" and the Beatles' "Tomorrow Never Knows" that suitably honor the original versions--though the heavy-handed psychedelic flair is pure Trouble.
That, in fact, is what makes this band so durable: their versatility and consistency. They've always maintained their sound without being afraid to modify and improve it. Plastic Green Head may not win them a ton of new fans, but it will certainly please the converted and those in search of a solid Sabbath-influenced buzz. --Adem Tepedelen

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TROUBLE: (1991) Manic Frustration

Trouble. Why has this band not become huge? This CD still gets played at shows in Pittsburgh between bands or during stage set-up. Symphony X and UFO shows lately and for good reason, it ROCKS. "Come touch the Sky" kicks this off and it is just a heavy and catchy riff. Along the lines of "Toys in The attic" or "Daytripper" but much heavier and distorted. Then there is no looking back. Eric Wagner's voice just complements this music so well. It is just a shame the rest of the world or at least the US never really picked up on these guys. I just played this in it's entirety again last night. I have owned this for over a decade. It is that good. It appears this is stuck in the cult following but so many people love this, go figure. BUY IT NOW!.. Hellion Zephreid

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PUNGENT STENCH: (1993) Dirty Rhymes And Psychotronic Beats

These guys are not to be taken seriously. Sure by their cover art it looks like theyre just another Cannible Corpse-ish gorefest speed band but on closer inspection youll find the music is incredibly groovy - almost like Sabbath for the sick. Speaking of sick their lyris may get pretty putrid at times but theyre never without a good helping of dark humour. In fact at multiple times during the album I found myself cracking up at the crude and over the top lyrics. It may not be technically brilliant but its damn entertaining and heavy enough for the most hardened headbanger. Think Death Metal, mix in a bit of groove and just a trickle black comedy and youve got yourself the concoction that makes Pungent Stench so awesome. I suggest starting with this album especially since it contains the best song in their entire catalouge, Viva La Muerte. Then move on to some of their later stuff. Also catch these guys live if you can, I saw them in my home country of New Zealand and they were brilliant... Hamish Gavin

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PUNGENT STENCH: (1993) For God Your Soul...For Me Your Flesh

Unlike more technical death metal bands like Death or Sadus that kill you with their lightning speed solos and drum blasts, Pungent Stench is more of a stripped down, back to basics form of death metal. This in my opinion is their heaviest and more raw sounding album. Tracks like "Just Let me Rot" and "For God your soul For Me your Flesh" show us how brutal and raw this band can be. The vocals are simply brutal, its a cross between Chris Barnes low Devastating cries and a drunk guy vomiting his guts out. This album is essential if you are a serious Death Metal fan and you want to hear other, less well known Death metal bands. This is a good place to start and then of course the classic "Been caught Buttering" where you can hear for yourself how amazingly brutal they can sound without all the flash and hoopla that other death metal bands put into their music. Great album, get it, oh and by the way, have a vomitting bag next to you, the vocals are pretty disgusting... C. Garces

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PUNGENT STENCH: (2002) Masters of Moral, Servants of Sin

Back for more, original members Martin Shirenc and Alex Wank bring along new member Reverend Mausna for a 10-song trip of perverse, sharp, brutal and darkly humorous death metal. Nuclear Blast. After a long hiatus and a "best of" album, the boys of Pungent Stench are back with all new material......and it is better than I anticipated. "Masters of Moral-Servants of Sin" is a 42 minute excursion into songs about child molesting priests, necrophilia, a sadistic nurse and the joys of being executed....in short this album isn't for the easily offended, of course if you listen to death metal there probably isn't much that is going to offend you anyway. The production on this album is superb with every instrument sounding crystal clear. In short if you like Pungent Stench or death metal period you should get this album... Duderino 1

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PUNGENT STENCH: (1998) Praise the Names of the Musical Assasins

This is a comp of all kind's of rare PUNGENT anthem's, straghit from the toilet to yer stereo!!
The first 5 track's on here, from the split with Benediction..are really just FRIGHTENING!!! I mean the druming is so fast that I really cant take it, I promise you this is some of the most INSAINE druming, EVER!!!! WORTH THE PRICE ALONE..YOU WILL RUN!!!
There are two different version's of this(as with everey PUNGENT album or ep!!!!), one in a sorta digi box and a jewel case version, either one is good, the jewel case one will cost you no more than 2$ BRAND NEW, so you have no exscuse not to buy this!! A very mandatory comp, hail the STENCH!! ..Infester

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download link 1 = http://lix.in/ef93ca
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PUNGENT STENCH: (1994) Club Mondo Bizarre

What a shame these guys called it quits......and after such a brilliant album. This is one of those albums you just don't get sick of hearing. Very groove oriented with that funky sound. Much different than their previous grindcore albums, and much better. Whereas they used to lag far behind the likes of Napalm Death or Carcass where Grindcore is concerned, they have now moved up the ranks by putting out one of the most unique death metal albums of all time (if you would call it death metal.) The lyrics are explicit and hilarious, as are the photos. The music slams in a Black Sabbath meets Led Zepplin meets Sepultura meets Obituary mosh pit........very hard too describe. Kinda like bluesy death metal with Cavalera-esque vocals, though much deathier. Well, done my best to describe a killer album......Do yourself a favor....pick it up, you won't be sorry.

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PUNGENT STENCH: (1992) Been Caught Buttering

This album has the sickest artwork ever, bar none. The picture of two grizzled old men, decapitated and kissing, is the perfect preparation for the audio filth contained within. `Been Caught Buttering' is pure musical perversion of the vilest kind, repulsive and degrading, or porn for deviants, depending on your point of view.
Everything on this album is distorted, from the instruments to the band's view of the world. Guitar, bass and drums merge in a morass of visceral Death Metal sludge, thick and almost impenetrable. There are two gears on this album: high speed, almost tune-free jackhammering, or a mid-paced grooving grind. Schrenk occasionally pulls some odd noises from his guitar in the place of solos, and Alex sometimes hits an extra drum or two, which is about as close as the band ever get to embellishing their music.
This is all about the vocals though. Schrenk gargles and groans his way through the deliciously revolting lyrics. How revolting? Well, "Shrunken And Mummified Bitch" is about, well, shrinking and mummifying a prostitute. "Splatterday Night Fever" graphically explores the putrescent consequences of casual sex. Elsewhere, there's rebirth by crawling through your mother's entrails, mass murder both sick and sexual, cannibalism, and hideous deformity. Most comic of everything on offer is "Sputter Supper". Alex's wife butchers a different neighbour for his supper every evening, including the annoying kid upstairs. Next on the menu is the new janitor.`Been Caught Buttering' is a good old fashioned, old school piece of Death Metal obscenity. It has no socially redeeming features, zero melody, is rough as hell, and in places, it reeks of rancid gore. It couldn't be much better.

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FIGHT: (1993) War of Words

Just pretend for a moment you are the vocalist of one of the all time top selling Heavy Metal bands (yes, it is quite a stretch of the imagination!), and you are not happy. The band has only sporadically produced worthwhile material for the best part of a decade, and you are feeling like letting loose. If you are Rob Halford, you form Fight. Yes, Fight, the side project that saw Rob Halford ejected from Judas Priest, inadvertently revitalising both Halford and Priest. Rather than reinventing the wheel, Fight took a huge slab of Priest, and added a dash of Thrash sensibilities, which left an unfettered Halford free to revive the forgotten art of Screaming for Vengeance.
So what do we get? Well, lots of Priest influenced, headkicking metal, not terribly original, but entertaining and as catchy as hepatitis in a spitting competition. There are straightforward stompers like "Into The Pit", "War Of Words", "Kill It" and "Vicious". "Little Crazy" is a little different, using slide guitars to add an almost country feel. "For All Eternity" and "Reality: A New Beginning" let Halford explore power ballad country. There really isn't much more to say about this album. It is solid, straightforward 1990s Heavy Metal. Fans will know what to expect. It is unlikely to convert the unconverted. It is metal, simple as that... by Patrick Stott

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FIGHT: (1995) Small Deadly Space

A Small Deadly Space sounds less like Pantera than did Fight's first release, War of Words, and more like vocalist Rob Halford's former band, Judas Priest. There are still plenty of superheavy Pantera-like riffs, but having more input from the entire band (the first album was written almost entirely by Halford) has given this album more dynamic range and a larger variety of sounds. There's even a semi-ballad, "In a World of My Own Making," that brings to mind classic Priest. --Adem Tepedelen

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TWO: (1997) Voyeurs

Ironically, Judas Priest's replacement lead singer, Tim Owens, sounds more like the original vocal Priest, Rob Halford, than Halford himself does on Voyeurs, the first record by his band Two, which features Trent Reznor of Nine Inch Nails. Discarding his piercing scream, Halford sings complete melodies that vary in tone from plaintive to mildly annoyed. What really defines Two, however, is Reznor's mechanical manipulations, which convert mainstream metal and alternative numbers into haunting, cybernetic vistas. When he's working with the band's best material, Voyeurs is electrifying, but when the band lapses into autopilot, even Reznor can't save Two from sounding like Stabbing Westward. --Jon Wiederhorn

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HALFORD: (2000) Resurrection

As the title implies, former Judas Priest frontman Rob Halford has returned--to his roots, if not his senses. After Fight and Two, Halford's post-Priest "experiments" (read: attempts to expand his market base), failed to set the charts afire, it was the singer's career that seemed to need a little resurrection. Hence this (he claims) largely autobiographical, often strangely nostalgic trip down metal's memory lane. That Halford's black-leather sensibility extends beyond his couture is immediately apparent; the crunching, occasionally modern rhythms (Ray Chindeau on bass, Bobby Jarzombek on drums) and twin guitar assault (Patrick Lachman and Mike Chlasciak) offer a familiar metal landscape of thundering riffs and rapid-fire, diddly-squeak solos for Halford to unleash his ungodly howl upon, with the just the odd ballad (the touching "Silent Screams") to shift the mood from anxious/angry to melancholy/angry. Fellow fading metal merchant Bruce Dickinson even drops by on "The One You Love to Hate" (self-esteem problems, fellas?) to swap some venom. Lest we forget that Halford was instrumental in inspiring This Is Spinal Tap, there are lyrics here that thoroughly blur the line between the sublime and the ridiculous ("Cyberworld"'s dire warnings that the Internet is "a Trojan Horse that eats your mind") and mix metaphors ("The world's a stage that's waiting for its bad ass to be kicked") with inspired abandon. In short, a heartwarming return to form. --Jerry McCulley

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