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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download link = http://lix.in/536054
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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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download link = http://lix.in/35c0b6
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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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HALFORD: (2002) Crucible

Rob Halford's 2000 comeback album, Resurrection, won over even the most jaded metalhead, and Crucible is likely to do the same. Paying no attention to current trends and sell-out bandwagons, the former Judas Priest frontman and his mighty crew stay true to traditional heavy metal, yet they never come across as dated. Guitar duo Patrick Lachman and Mike Chlasciak swap monstrous riffs and fluid solos that are as solid as a brick wall, while Halford himself is in top form, able to reach high notes with an ease that could put youngster metal shriekers to shame. Even when he belts out the disc's only ballad, the bonus track "She" (found on initial pressings, along with the cut "Fugitive"), it's with unsurpassed conviction. The album is a nonstop metallic assault complete with anthems ("One Will"), speed metal ("Betrayal"), and accessible midtempo rockers ("Sun"), as well as dark and moody moments, such as "Crystal" (which deals with the dangers of crystal-meth addiction). Looks like this metal god is going to be with us for a long time. --Gail Flug

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HALFORD: (2001) Live Insurrection

His vital days with Judas Priest behind him, legendary vocalist Rob Halford has returned to his British heavy metal roots. This impressive 27-track double-disc covers all phases of Halford's career, from Priest to Fight to Two to his current band, simply titled Halford, a lineup of young backup players who attack Halford's songs with taut force and accuracy. From newer gems such as "Made in Hell" to Priest staples "Electric Eye" and "Breaking the Law" to a duet with Iron Maiden's Bruce Dickinson, this comprehensive collection was largely recorded at various venues throughout a seven-month tour. Three studio songs close Live Insurrection, providing an indication of where the celebrated metalmeister is headed. --Katherine Turman

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SOULFLY: (1998) Soulfly

After the release of the cross-pollinating metal landmark Roots, Brazilian metal giants Sepultura acrimoniously splintered, with frontman Max Cavalera--the instigator of the primal rhythms that made Roots such a ferocious prospect--striking out bravely with Soulfly. Their eponymous debut picks up where Roots left off, as "Bleed" opens with a fearsome patter of drums--and then the floodgates open with a seldom-rivaled burst of speed-metal riffing. By no means is this Cavalera standing still, though; Soulfly skips tempo with virtuosic ease, showing a loose affinity with the harshest grooves of crossover hip-hop/metal groups such as Korn. The aforementioned "Bleed" features a spittle-flecked rap from Limp Bizkit's Fred Durst, and Chino Moreno of the Deftones turns up in "First Commandment" engaging in a duel with Cavalera. They're brave men, for few can take him on in his own turf. --Louis Pattison

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SOULFLY: (2000) Primitive

I guese I was expecting some thing different, It's still a good CD for soulfly on their second release, there are two songs that I feel could have been done better and/or left out of the album, Terrorist was the song that I had the highest hopes for, but it feel short for me, it started off nice but mutaited into a mess towards the end of the song, The one song that should have been left out is the the .... Hip=Hop, same old limp bzk .... I think it's good that Max wants to expand his boundry's but I think this was going a little to far, I don't like rap, I don't like hip hop, and when I see one of my favorite heavy Mtl bands doing a hip hop songs, it just makes me want to screem(this is why I give the 4 stars).
Other than those two the rest of the album rocks, the album goes with the Roots and Debute sound, with a little added " texture " I recomend to all sepultura, soulfly and trash metal fans,..by Joseph Cherwinski

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SOULFLY: (2002) 3

Better than their overrated debut and the disappointing "Primitive", Soulfly's third album, appropriately titled "3", is their best effort yet. The rhythm section sounds tighter than ever before, and Max Cavalera hasn't sounded this good since his Sepultura days. The only real flaw with "3" is the same flaw that Soulfly has had since their inception; the music gets repetitive, but thankfully Max and co. have ditched the whole rap/rock thing and are going for straight ahead metal that is very reminiscent of later Sepultura. Standout tracks include "Seek & Strike", "Enter Faith", "One", and the touching "9/11/01" which is a one minute long track that is completely silent as a tribute to those who lost their lives on that fateful day. All in all, "3" is Soulfly's heaviest and best album to date, but there must be better things to come from Max and crew.

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SOULFLY: (2004) Prophecy

"Prophecy"'s spiky, churning guitars and rolling, tribal-tinged drums are very much as in "Roots," Max Cavalera's last album with Sepultura. But unlike Sepultura, Soulfly experiments with sounds beyond Brazil, such as dub, flamenco, and even Serbian folk music. The results can be jarring, as acoustic interludes come out of nowhere, only to be steamrolled by the next thrashy stomper. However, this ultimately makes for an enjoyable and varied, if occasionally humorous listen. The album falters near the end, starting with an unnecessary cover of Helmet's "In the Meantime" that drops into a baffling psychedelic coda. Overall, however, the album is energetic, uplifting, and colorful....by Cosmokane31


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