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Napalm Death - Leaders Not Followers: Part 2



Cover albums are a dime a dozen these days. It seems like every band needs to drop a few covers to keep on their toes, burn up record contracts, or make an album for the fans or even themselves. Anyway…

Some cover albums are executed well and show insight to the band (i.e. Pro-Pain’s “Run For Cover). Other cover albums are mediocre affairs (i.e. Overkill’s “Coverkill). Then some cover albums are either horrid or unnecessary, or both (i.e. Six Feet Under’s “Graveyard Classics 2” and Metallica’s “Garage Inc.).

Napalm Death has released a well crafted and insightful cover album in the form of “Leaders Not Followers: Part 2.” While “Leaders Not Followers” was a short EP full of known covers, LNF Part 2 digs in for some obscure bands. The Napalm boys even opt to cover demo material from some of the bands they not only cover, but hold in high esteem.

Basically, Napalm Death put their touch on the tracks. For instance, Sepultura’s “Troops of Doom” sounds like Napalm Death covering a Sepultura song. While this is true for every song (even when Napalm starts fusing Celtic Frost and Hellhammer songs together on “Messiah”), it is the bizarre track-listing that makes LNF Part 2 a gem.

From doom to punk to psuedo-black metal and even trash, Napalm Death covers it all. One minute they are covering hardcore, three minutes later they are trying their hand at thrash. Even with all the sub-genre changes, the Napalm boys are more than adequate for the job and it never gets boring, clichéd, or tired.

The standout tracks are “Low Life” (which features second screeching vocals from Mick) “Clangor of War,” and jaw-dropping groove of “Master.” “Devastation” songs like Napalm Death head butting 80’s era Anthrax while Die Kreuzen’s “I’m Tired” sounds like Voivod with Barney barking out his trademark Cookie Monster vocals.

LNF: Part 2 also features a reappearance of a somewhat-original Napalm Death member in the form of Jim Whiteley (bassist on side B of “Scum”). His appearance on LNF; Part 2 is just as short as his tenure in the band. He only lays down bass on “War’s No Fairytale” and “ Game of the Arseholes.”

In the end, this excellently executed cover album shows one thing. If this is an album of music from the “Leaders” than Napalm Death is surely a “Follower.”

Tracklist:
01. Low Life (Cryptic Slaughter)
02. Face Down in the Dirt (The Offenders)
03. Devastation (Devastation)
04. Messiah (Hellhammer)
05. Victims of a Bomb Raid (Anti Cimex)
06. Night of Pain ( Wehrmacht)
07. War’s No Fairytale (Discharge)
08. Conform (Siege)
09. Master (Master)
10. Fire Death Fate (Insanity)
11. Riot of Violence (Kreator)
12. Game of the Arseholes (Anti Cimex)
13. Clangor of War (Massacre)
14. Dope Fiend (Attitude Adjustment)
15. I’m Tired (Die Kreuzen)
16. Troops of Doom (Sepultura)
17. Bedtime Story (The Dayglo Abortions)
18. Blind Justice (Agnostic Front)
19. Hate, Fear, Power (Hirax)

Rating: 9/10
Release Date: 2004
Length: 43:52

On tour: 18-12 013 TILLBURG,HOLLAND

On tour: 18-12 013 TILLBURG,HOLLAND

Twisted Sister - Still Hungry



“Still Hungry” is Twisted Sister’s re-united reappearance in the form of a re-recording of the multi-platinum masterpiece “Stay Hungry.”

While the band re-united for a one-off studio song (“Heroes are Hard to Find” included here) on the “Strangeland” soundtrack, the only place to catch Sister is in the live setting. So instead of a new reunion album, the original gang decides to do it over and give some demo tracks a studio sound.

Twisted Sister was unhappy with the artwork and “tin” sound of “Stay Hungry” so bassist Mark Mendoza produced “Still Hungry” with deep bass, crunching and growling guitars, and sans the 80’s standard issue reverb. Mendoza has now replaced the classic artwork with his original concept. The overall product looks and sounds quite different from the original. For example, Dee’s vocals and A.J’s drums lack the echoes found on the 1984 album. While Mendoza’s bass lines were always audible on the original, the bass on “Still Hungry” is laid down thicker and heavier than before. But the most surprising aspect is the amount of guitar that is buried in the original. The tracks “We’re Not Gonna Take It” and “I Wanna Rock” are more guitar driven now. Before the rhythm section and Dee’s lyrics brought the song home. “The Beast,” “Burn in Hell,” and the title track are crunchier and angrier sounding than the originals.

Twisted Sister also altered the tracks just a teeny tad, but only true SMF’s would notice. For example, “We’re Not Gonna Take It” now has a few second longer guitar solos and lacks the end banter beneath the chorus. “Burn in Hell” is sans screams and groans in the intro section and Dee decides to beef up his performance and cackle instead of chuckle before the song kicks into gear. Finally, “SMF” now has a 28 second closing section full of drum rolls and guitar masturbation instead of abruptly stopping.

Of all the 7 bonus tracks, 6 of them can be found in their original versions on the “Club Daze Vol. 1: The Studio Sessions” and “Club Daze Vol. 2: Live in Bars” albums. Both “Never Say Never” and “Blastin’ Fast and Loud” were originally intended to be contained on the original “Stay Hungry” release and are now tacked on, polished up, and available for the fans to complete the album.

But the real gems of “Still Hungry” are the four studio demo tracks that are now beefed up. While the demo versions that were released a few years back are of good quality, these re-recorded versions have a ferocious bite and are… some of the best of their career. “Come Back” is an amazing rocker, while “Plastic Money” shows the guitar talents of Jay Jay and Eddie. “You Know I Cry” and the anti-disco “Rock n Roll Saviors” are decent rock tracks that sound much better in the studio in 2004 than in the late 70s.

Overall “Still Hungry” is an aging SMF’s dream. The performance is top notch and a lot of the popish of the original is gone, in favor of a more “Under the Blade” feel. Even Dee’s vocals sound rougher. The fact is, “Stay Hungry” was Twisted Sister’s last album with bite before going completely mainstream. Now “Still Hungry” sounds like a true follow to “You Can’t Stop Rock N Roll.”

But here is the problem: Tracks like “I Wanna Rock,” “We’re Not Gonna Take It, ” and “The Price” sound odd. Probably because these anthems have been hammered into our heads over the years by radio, MTV, and 80’s hair compilations. Plus the reverbs and the overall original style and flair of the song is what is near and dear to our hearts. The re-recorded versions are like looking at a reproduction of a Monet painting. While the painting is still beautiful, it’s not as breath taking as the viewing the original.

“Stay Hungry” is the far superior and the de facto Twisted Sister album. “Still Hungry” is like a live album. It’s fun, it’s great and it rocks, but it isn’t the same. But Twisted Sister was smart by including the bonus studio tracks. Therefore, “Still Hungry” is great for the fans and the curious and essential for the die hards and the collectors, but not quintessential.

Yet, “Still Hungry” kicks the hell out of “Love is For Suckers.”


Tracklist:
01. Stay Hungry
02. We're Not Gonna Take It
03. Burn In Hell
04. 4. Horror Teria
(a) Captain Howdy
(b ) Street Justice
05. I Wanna Rock
06. The Price
07. Don't Let Me Down
08. The Beast
09. S.M.F.
10. Never Say Never
11. Blastin’ Fast and Loud
12. Come Back
13. Plastic Money
14. You Know I Cry
15. Rock ‘N’ Roll Saviors
16. Heroes are Hard to Find

Rating: 8/10
Release Date: 2004
Length: 71:32

THE FIRST REVIEW IS IN - FROM ASSOCIATED PRESS.

"Still Hungry," Twisted Sister (Eagle Rock)

One of the best albums in the history of heavy metal just got better.

The Long Island quintet has re-recorded the entire 1984 classic "Stay Hungry" album that included their two biggest hits, "We're Not Gonna Take It" and "I Wanna Rock." But they also re-did four classic nuggets from the late '70s and early '80s when they were the kings of the New York area bar circuit: "Come Back," with its pounding rhythm section; "Plastic Money," an ode to credit card debt; "You Know I Cry" with its twin guitar attack, and "Rock 'N' Roll Saviors!," which used to be their signature tune in the disco days.

Also included are two 1984 outtakes that weren't finished until 2001, "Blastin' Fast And Loud" and "Never Say Never" that alone are worth the price of the disc, even though they previously appeared on "Club Daze" CD, and the band's 1998 reunion single, "Heroes Are Hard To Find." The new songs are only half the appeal: the sound quality is so much better on this remake, with meatier bass, more bashing drums and sharper guitars than the poppy 1984 version that was aimed at MTV and commercial radio.

Op maandag 1 november 2004 om 14:50 is door een medewerker geconstateerd dat je het beleid hebt overtreden. Hieronder volgt een specificatie.

Overtreder: Gefilte Fisj
Pleegdatum: maandag 1 november 2004 om 14:50
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ik ken alleen Sick of it All en Slapshot

ik mis black sabbath in het rijtje

Vorig jaar was het in Maastricht, tegelijk met het concert van Machinehead in Den Bosch. Daar ben ik toen nog met Joost, Danny en Bas geweest

Ja... dus... Danny krijg ik ook wel om hoor!

ik duik trouwens m'n mand in, morgen gaat de wekker weer om 06.30

Black Sabbath "Born Again" © 1983 Warner Bros.



In between Dio and the Martin/Iommi rotating cast line–up that was the late 1980s on one side; in between Gillan (with Janick Gers) and the Deep Purple "Perfect Stranger" reunion of 1985; sits this monster slab of heaviness that seems to have been all but forgotten by everyone except the more hardcore Black Sabbath fans, certain independent tribute albums, and the occasional PMRC dinosaur. (Check out that cover art!)

A good argument can be put forth for "Born Again" as the actual heaviest Black Sabbath record. From the thick riffs of "Trashed" and "Digital Bitch" to the moody "Keep It Warm" and title–track to the ever so slightly better known "Zero The Hero," the record is just plain strong and heavy. Listening to it makes one curious as to what Black Sabbath could have sounded like over time with Gillan as a regular front man, subsequent claims that he "did it for the money" notwithstanding.

(By the way, Gillan also claims, in "The Black Sabbath Story Vol. 2" that he was "the worst singer Black Sabbath ever had," an honor I might reserve for Glenn Hughes, who could make one pine for the throat–scarred sounds of Ozzy Osbourne at Hammersmith circa 1979!)

A better recommendation could hardly be made, for anyone who likes his or her metal heavy and from the masters.

Trashed
Stonehenge
Disturbing The Priest
The Dark
Zero The Hero
Digital Bitch
Born Again
Hotline
Keep It Warm

Time: 40:40
Genre: Metal

Black Sabbath "Dehumanizer" © 1992 Reprise, Warner



What potential! No, not on the album, that's got plenty more than potential. It is the thought of what Sabbath might have sounded like throughout the 1990s had this line–up been able to keep it together the second time around. Damn the "last" Ozzy show anyway! Alright, so maybe it was worth it to hear Halford front Black Sabbath, even it was for only two nights!

All that aside, this is a solid Black Sabbath record. It is definitely a step up from "Tyr," and more consistent than anything since "Born Again." No weak tracks come to mind; although, there are certainly some favorites, including "Time Machine" (check out the "Wayne's World" version; see if you find it heavier), "Computer God," "After All," "Letters From Earth," and especially, "I" and "TV Crimes." You can really hear Butler's renewed presence on that last track. It sounds like classic, old Black Sabbath with a well above–average production. About the only aspect taking away from the overall heaviness here is a relatively weak drum sound. Appice sounds like he is hitting cardboard much of the time.

For as much as some of us enjoyed the subsequent and overlooked Tony Martin releases leading up to the Ozzy reunion in the late 1990s, it was rather frustrating, given all the hype and excitement in the metal community during early–mid 1992, to see it all fizzle after the well–received tour for this album, especially given the strength of the material on it. The good news is for you: this got forgotten so quickly that it ended up in a lot of K–Mart and other large chain bargain bins. Buy, buy, buy!

Computer God
After All (The Dead)
TV Crimes
Letters From Earth
Master Of Insanity
Time Machine
Sins Of The Father
Too Late
I
Buried Alive
Time Machine ("Wayne's World" version)

Time: 55:53
Genre: Metal

Black Sabbath "Never Say Die" © 1978 Warner Bros.



It is another good album lost in the swirl of rumors about its making, not to mention subsequent events which just plain changed the face of heavy metal throughout the 1980s: Black Sabbath with Dio, then Gillan; Ozzy Osbourne going solo; not to mention Rainbow's subsequent line–up changes.

You have got the fairly well–known title–track giving this record a strong start, along with solid numbers in "Johnny Blade," "Junior's Eyes," and "Swinging The Chain." "A Hard Road," judging from the way things are presented in a handful of Sabbath/Ozzy related documentaries, appears to be the last song Ozzy recorded with the band until 1998's reunion album. Listen closely to this and the title–track in particular, as well as the rest of the album, and you can hear more of Iommi's Sunn sound, as well as his influence in the studio, as it seems like Butler was getting a little buried in the mix, at least relative to earlier releases.

In the middle of all the historical Dave Walker/Ozzy switches, don't miss Bill Ward handling lead vocals on the sufficiently heavy closer, "Swinging The Chain"!

Never Say Die
Johnny Blade
Junior's Eyes
A Hard Road
Shock Wave
Air Dance
Over To You
Breakout
Swinging The Chains

Time: 45:41
Genre: Metal

Black Sabbath "Eternal Idol" © 1987 Warner Bros.



It is not "Heaven And Hell," "Volume 4," or any of a number of other stronger albums, but it is a step up from "Seventh Star." "Eternal Idol" also sees the Black Sabbath debut of the intermittent and reliable frontman that Tony Martin was for the band throughout the relatively dark (no pun) days of the late 1980s and early 1990s grunge period, when it seemed like Black Sabbath was kept alive primarily through influence acknowledgments from bands like Soundgarden, whose sales probably outpaced Black Sabbath's by about eight or ten to one, at the time.

With the addition of Martin, Tony Iommi and Black Sabbath were finally able to put the Gillan/Donato/Hughes/Gillan problems that had plagued the band since Dio left to rest, for a stretch that eventually lasted through the 1990s until the Ozzy reunion, with the exception of 1992's "Dehumanizer" album and tour. It shows on this record. Black Sabbath sounds like a band again, and are relying primarily, if not entirely, on this release.

"The Shining" starts off in the bass–triplet style of "Heaven And Hell" and "Headless Cross," alternating (as much of the best Black Sabbath material does) a somewhat more intricate verse with a heavier, straight–forward chorus. It was a great choice for a first track, as it gives an indication of what we can expect from this record. "Ancient Warrior" and "Hard Life To Love" continue this upswing. With "Scarlet Pimpernel," we get back to the solo pieces that dotted classic albums like "Master Of Reality" ("Orchid," "Embryo") and "Sabbath Bloody Sabbath" ("Fluff"), which seemed to have given way to Geoff Nicholl's spooky keyboard tracks on some later recordings.

"Eternal Idol" closes strong with the momentum of "Lost Forever" and the somewhat haunting, heavy title–track. It seems almost book–ended with "The Shining," but to an even greater degree with the alternating creepy verse, heavy chorus. It leaves you with the feeling that everything's back on track.

Ozzy, Dio, or not, with at least three regular members to see it through the next phase, Black Sabbath is back on "Eternal Idol."

The Shining
Ancient Warrior
Hard Life To Love
Glory Ride
Born To Lose
Nightmare
Scarlet Pimpernel
Lost Forever
Eternal Idol

Time: 43:02
Genre: Metal

Black Sabbath "Technical Ecstasy" © 1976 Warner Bros.



"What happened to 'Technical Ecstasy' sales wise?" "I think it entered the Mongolian chart at #301." — Ozzy Osbourne in 1978.

It is a shame, too. It seems somewhere between "Sabotage" and this record, Tony Iommi switched from Orange to Sunn amplification, Black Sabbath stopped invoking images of castles and doom in favor of the occasional picture of what could be Birmingham, and their album sales seem to have plummeted in response. It might have had something to do with the rise of punk, too!

Regardless, like "Sabotage" before it and "Never Say Die" after, "Technical Ecstasy" tends to get eclipsed by one of metal's early finest hours: the first five Black Sabbath albums. Numbers like "Rock'N'Roll Doctor" and "Dirty Women" continued to be strong attractions in concert for years to come with the latter being justifiably included on 1998's live reunion album. "Gypsy," "All Moving Parts (Stand Still)," and "Back Street Kids," though not quite classic by Sabbath standards, are all the kinds of heavy songs most burgeoning metal bands would give at least one of their eyeteeth to write.

Bill Ward sings!

Was it just an experiment? A funny thing happens on the rest of this album: Black Sabbath, ambassadors of plodding doom (and this is a good thing!) leaned much more heavily on keyboards than they had in the past, and even introduce a string section on "She's Gone"! While they had certainly messed around with sounds other than a four–piece in the past ("Supertzar," "Who Are You," "FX"), here Ozzy's singing about chicks! Listen around this record; there is not a conscription–as–black–mass analogy, a mention of mental illness, or a single reference to the "lord of this world"! You have got Bill Ward singing ballads (and influencing a young Axl Rose, apparently).

All around, it is certainly a good album. Perhaps they messed too much with the formula all at once and turned off some fans. Keeping in mind that after six albums, they may have been ready for some experimentation or were trying to adapt and stay current (who knew then, that this sound would be so admired, duplicated, and in demand twenty years later?), we should also remember that between disco and punk, we were experiencing probably the first "metal is dead" backlash, of many to follow, right around this time. Ozzy's reference to sales notwithstanding, this shouldn't detract from any true metal–head's enjoyment of this record!

Back Street Kids
You Won't Change Me
It's Allright
Gypsy
All Moving Parts (Stand Still)
Rock'N'Roll Doctor
She's Gone
Dirty Women

Time: 39:58
Genre: Metal

Fisj: Wat nou schande? Wij zijn nog niet allemaal zo oud en ervaren als jij