Culling the Herd: Guns N' Roses - Use Your Illusions I & II

When you think of bloated double albums, I’ll bet money that the Use Your Illusions by Guns N’ Roses are the first ones that come to mind. It was understandable for the long-awaited follow-up to the iconic Appetite for Destruction to consist of two fully loaded CDs, especially since the only thing out in the four years between was the half-fake live/half-acoustic GNR Lies EP. It was less understandable when said CDs were filled to the brim with what seemed to be every single piece of music that Axl and friends had ever written. They’re a strange two-part odyssey where hard rockers intermingle with power ballads and attempts at legitimate artistry surround a song where the band calls their critics out by name and threaten to beat the crap out of them…

Thus, it’s only inevitable to try Using the Illusions (heh) to make them fit on a single disc. Sure enough, an officially sanctioned Use Your Illusion compilation does exist and came out in 1998; but that release was a move to appease retailers like Wal-Mart and Kmart who didn’t want any of that naughty potty mouth rock & roll to grace their retail shelves. I’m more motivated to remove the filler and make a concise release bad language or none, but I’ll more than happily swipe that compilation’s twelve-track format as I switch these songs around.

Also, just so you know, apparently some people think Use Your Illusion II is the better half. I am not one of those people. Mainly because “Get in the Ring” and “My World” exist.

1. “Civil War”
The Illusions originally kicked off with “Right Next Door to Hell,” an energetic three minute rocker that’s good but doesn’t quite represent what they were trying to go for overall. With its opening sound bite and climactic structure, “Civil War” is a power ballad that goes beyond mere love song musing and manages to be encompassing without being too self-contained. It’s also a nice chance to properly bid adieu to drummer Steven Adler, as this is the only song on either album to feature his “talents” before the band decided that his severe drug habits made him more trouble than he was worth.

2. “Dust N’ Bones”
The epic power ballads may be these albums’ most remembered tracks, but the band’s penchant for sleazy Rolling Stones-style blues rock is subtler yet ultimately just as present. This is made immediately clear with “Dust N’ Bones,” a dirty mid-tempo tune featuring a slinky bassline and lead vocals by guitarist Izzy Stradlin. While Izzy’s voice isn’t as technically accomplished at that of LA’s leading howler monkey Axl Rose, itgoes down smooth and is just the first of many instances where Izzy proves to be the real talent behind Guns N’ Roses. Sorry, Slash.

3. “Don’t Cry”
I almost put “So Fine” in this spot, but I thought it’d be best not to deny the band one of their bigger singles from this era. “Don’t Cry” is pretty subdued by power ballad standards with some sentimental guitar/piano and a surprisingly delicate vocal performance. You can also put the version with alternate lyrics here if you want; I really don’t understand what the point was in releasing two versions personally.

4. “Bad Obsession”
After the first three songs’ brooding, “Bad Obsession” opts for a more upbeat direction. A combination of harmonica, boogie piano, and a lower pitched drawl from Axl make this song’s hooks even more enjoyable than they would’ve been. There may not be much to say about it but it might get stuck in my head more than any other song on here.

5. “The Garden”
It takes far too long to get to “The Garden” on Use Your Illusion I, which is unfortunate as it would’ve made a neat curveball midway through. While it isn’t exactly a heavy track, the verse-chorus contrasts and ominous atmosphere do make it one of the most esoteric Guns N’ Roses numbers. The snarls courtesy of Alice Cooper during the choruses also make it a mandatory inclusion; his performance is the right amount of spooky and tongue in cheek worthy of shock rock’s patron saint.

6. “Right Next Door to Hell”
“Garden of Eden” comes off “The Garden” well with its fast tempo and motor-mouth vocal delivery, but “Right Next Door to Hell” also works as a fast way to close out the A Side. It may be a bit odd to place an album opener in the middle, but I find the briefly building introduction and catchy hook are just as effective here.

7.”Knockin’ on Heaven’s Door”
It only seems fair to put at least one of the cover songs that GNR recorded on this track listing, and their take on the old Bob Dylan classic won out over “Live and Let Die.” They do the Wings track justice but its original placement seemed like a source of unneeded whiplash. In contrast, “Knockin’ on Heaven’s Door” is a steady slow burn and I like the idea of opening the B side with another ballad. And what kind of monster would I be if I deprived your uncle’s fraternity brother of his favorite drunken karaoke jam?

8. “14 Years”
Now to another Izzy-sung blues tune following up the opening ballad. Compared to “Dust N’ Bones,” “14 Years” sounds more direct thanks to its hookier vocal lines, slightly more upbeat shuffle, and blunter lyrics. Songs like this are why I can’t really call the current Guns N’ Roses lineup a “legitimate” reunion; it just ain’t the same without Izzy Stradlin up there full-time. I strongly recommend his 1992 album with the Ju Ju Hounds if you want to hear more eclectic rock & roll in this vein.

9. “Bad Apples”
Like “Bad Obsession,” “Bad Apples” is another upbeat Stones-style boogie number. Dizzy Reed’s piano playing as is fun as ever and while the vocals are higher pitched than they were on “Bad Obsession,” the catchy lines combined with the smooth transitions between the verses and choruses keeps things enjoyable.

10. “Pretty Tied Up”
Putting another upbeat song here may suggest some interchangeable songwriting at work in the Guns camp. That may be the case with the albums as originally released, but “Pretty Tied Up” does manage to stand out on its own terms thanks to another catchy chorus and a nifty Eastern flavor sprinkled throughout. I also like the idea of an album that starts out ballad-heavy and gets progressively more upbeat as it goes on, as the reversal seems to be more common from my experience.

11. “You Could Be Mine”
Speaking of upbeat, “You Could Be Mine” is a driving anthem. It doesn’t quite hit the speed of “Perfect Crime” nor does it have the jovial feel of the other upbeat rockers, but it does ride a solid guitar chug and more drawn out vocal lines. Though with that said, I don’t think this Terminator 2 vehicle really should’ve been the song to close things out…

12. “November Rain”
Now this is the song that would close out the Use Your Illusion single album as well as the only epic song that honestly needs to be included. “Coma” has interesting parts but ultimately bites off more than it can chew, and “Estranged” simply goes nowhere. While “November Rain” is an admittedly overplayed song that nobody over the age of thirty ever needs to hear again, it does have heart behind it and its nine minute runtime does ultimately build up to a nifty Queen-style climax. And that climax is especially effective when there’s nothing that tries to follow it up or steal its thunder.

I must admit that getting this track listing together was more challenging than I had first anticipated. Despite the fillers running rampant on both Use Your Illusions, there are several good songs that I didn’t include on my list. With the mood whiplash that also persists throughout, it’s also even more of a challenge to get these songs in something resembling a coherent order. This is a double album where I’ll be especially curious to see what people think and how their lists will compare. Just don’t ask me about ways to fix Chinese Democracy; that album had enough cooks ruining it for me to start sticking my nose in it…

Culling the Herd: Metallica - Load and ReLoad

Metallica has always had a problem with releasing albums that are just too long. It wasn’t as much of a problem when Master of Puppets and …And Justice for All were padded with a score of ambitious riffs, but it became a serious cause of concern when Load and ReLoad came out in the mid-90s. The Loads certainly aren’t the sellout records that old-timers and revisionists claim them to be, but even those of us who like the Corrosion of Conformity meets Alice in Chains style have to admit that the two albums have a lot of filler between them.

Thus, I would like to prove how Load and ReLoad could’ve been condensed to a single disc of eight songs to serve as a worthier followup to the illustrious Black Album. This culling won’t take the place of Ride the Lightning as the be-all, end-all Metallica album since the shift to metallic blues rock still would’ve resulted in some controversy, but a much shorter presentation of the style likely would’ve made it a much easier pill to swallow twenty years ago.

1. “Ain’t My Bitch”
   My gut instinct tells me to put “Fuel” as the hypothetical opener but I have some personal bias against that particular track. It’s an enjoyable song and probably would’ve been successful as a standalone single, but the song’s structure comes off as clunky and the vocals are a little too on the goofy side. “Ain’t My Bitch” may have a goofball tinge (just look at the damned title) but it offers a much steadier tempo and more attitude in James Hetfield’s vocals. It doesn’t have the buildup of “Battery” or “Enter Sandman,” but it’s a nice driving song that starts things off nicely.
2. “2 X 4”
   As with the album proper, the second track on this playlist is the groovy as hell “2 X 4.” I’ve always liked the bluesy swing on this song and love how the main riff is basically a “Hole in the Sky” rewrite. I even dare wager that it’d be a stoner metal staple if it had been recorded in a drop tuning and sung by Pepper Keenan. Any doom band with the balls to cover any of the songs on here has my eternal respect.
3. “King Nothing”
   The upbeat momentum continues for “King Nothing,” the song that would likely be this version of Load’s lead single. While the track could be seen a slight retread of “Enter Sandman,” the main riff is catchy as hell and the chorus does provide some good buildup along with the excellent bass intro.
4. “Bleeding Me”
   In the grand tradition of “Fade to Black,” “Welcome Home (Sanitarium),” and “One,” the A-side of this Load ends with a sprawling long player. While “Bleeding Me” certainly isn’t as theatrical as those staples and never transitions from its slow tempo to all-out thrash metal, you can’t deny the track’s catharsis and the power behind its plodding buildup. The original Load does seem to have this intention, but putting an A-side closer four songs in instead of seven would make a respectable nod to the classic Metallica album structure.
5. “Devil’s Dance”
   While ReLoad is basically a glorified shelter for all the songs that didn’t make it onto Load, the album did distinguish itself by boasting the darker, heavier songs from those recording sessions. The slinky bass thumps and intertwining guitar riffs on the sinister “Devil’s Dance” would ensure a similar direction for the B-side of this album. And any song that reminds me of the White Zombie track that plays during the peyote scene from Beavis and Butthead Do America is okay by me.
6. “Carpe Diem Baby”
   I wouldn’t hold it against you if you’ve never listened to this song on the basis of its cringeworthy title. It was definitely hard for me to look past it, but once you hear that infectious main riff, it’ll come through as one of the most severely overlooked songs in the Metallica catalogue. “Bad Seed” would also be a pretty good song to have in place of this one, but “Carpe Diem Baby” gets brownie points for not featuring a riff that blatantly rips off Alice in Chains’ “Rain When I Die.”
7. “Hero of the Day”
   It’s only fair to include a token ballad on here (gotta have another single after all) and “Hero of the Day” is probably the strongest one of the batch. Its melancholic tone and heavy crescendos in combination with its second-to-last place in the track listing give it a vibe similar to “My Friend of Misery” or even “Orion.” The part of me that enjoys watching train wrecks is tempted to put “Mama Said” in this spot, but that would’ve been best as the introductory song to Hetfield’s pending outlaw country solo album. I swear he has one in him somewhere…
8. “The Outlaw Torn (Unencumbered by Manufacturing Restrictions Version)”
   If “The Outlaw Torn” isn’t my favorite Metallica song ever written, then it’s at least in the top ten. Its ten minute runtime is justified by emotional vocal and guitar performances set to a plodding ‘wild west by way of Dio-era Sabbath’ rhythm. Load had the right idea in making this song the epic closer but having it be the eighth track as opposed to the fourteenth is much more appealing for those who’d rather not wait seventy minutes to hear the best thing on the album. I’d also put in the unedited version of the song that was included on the single version of “The Memory Remains.” After all, an extra minute with Kirk Hammett’s wah pedal won’t kill ya…

But with this said, I know every Metallica song has fans and multiple versions of this list that could be made. Feel free to comment with your suggestions or alternate ideas. Just remember that I don’t think a song is bad just because it isn’t included on this track list. Unless that song is “Poor Twisted Me.” “Poor Twisted Me” is a shit song and everybody knows it.

Originally published at Indy Metal Vault on August 2nd, 2017

Album Review: Warbringer - Weapons of Tomorrow

Warbringer’s scope has never been broader than it is on Weapons of Tomorrow. Clocking in at just over fifty minutes, the album is the thrashers’ longest to date and features several tracks that reach beyond their standard three to five-minute fare. Nothing ever reaches the length of “When the Guns Fell Silent” off 2017’s Woe to the Vanquished but tracks like “Notre Dame (King of Fools)” and “Glorious End” work to channel a similarly grandiose splendor.

This album also features some of the band’s most experimental songwriting thus far, perhaps second only to 2013’s IV: Empires Collapse. The most striking example comes with “Defiance of Fate,” which pairs blackened vocals with more melodic guitar textures. The effect is jarring though enhanced by the tense atmosphere with “Heart of Darkness” achieving success by similar means. “Unraveling” stands out on the less epic side of things as its blistering speeds come close to death metal levels.

Of course, there’s still plenty of time for straightforward thrash. “Firepower Kills” and “The Black Hand Reaches Out” make for a strong one-two start, the latter tailor made for the pit like “Remain Violent” before it, and “Outer Reaches” puts in some frenzied riffing to match its spaced out lyrical theme. Through it all, Carlos Cruz’s drums are constantly blasting, the riffs are choppy, the guitar and bass tones are punchy and full, and John Kevill’s shriek is as distinctly shrill as ever.

While Weapons of Tomorrow isn’t quite a new thrash classic, it may be the strongest Warbringer album since 2011’s Worlds Torn Asunder. A move to longer songs is certainly a risky move, especially when every other old guard band is releasing albums that are way too long, but it works surprisingly well. The greater lengths give the experimental tendencies more space to develop and the theatrical tone keeps the variety consistent. There are better Warbringer albums out there, but they’ve never sounded this mature.

Highlights:

“The Black Hand Reaches Out”

“Defiance of Fate”

“Heart of Darkness”

“Glorious End”

Final Grade: B+

Album Review: Testament - Titans of Creation

With Testament releasing albums at consistent four-year internals since 2008’s The Formation of Damnation (On election years too, no less), it’s only natural for them to stick with a reliable thrash style. Their twelfth full-length doesn’t deviate too far from that formula, riding on the defining core of Eric Peterson’s chunky guitar work and Chuck Billy’s gruff versatility. But at the same time, Titans of Creation manages to put in its share of distinct quirks.

Coming off the direct pummeling on Brotherhood of the Snake, this album feels closer to Dark Roots of Earth with its broader influences at play. Lead guitarist Alex Skolnick and bassist Steve DiGiorgio have heightened presences this time around, most notably contributing the angularly intricate rhythms of “Symptoms” and “Code of Hammurabi” and the Eastern tinges on “Ishtar’s Gate.” “Night of the Witch” and “Curse of Osiris” also see the band experimenting with black metal influences complete with more extreme drumming and Peterson’s supplementary shrieks, instantly triggering Dragonlord associations.

But with these factors in mind, the songwriting doesn’t quite stick the landing. “Dream Deceiver” and “City of Angels” come out strong thanks to their memorable choruses and more melodic touch, but neither quite reaches the height of a true staple. The album’s near hour runtime doesn’t help either; there aren’t any bad tracks on here but a song or two like “The Healers” could’ve been cut without too much trouble.

The inclusion and placement of “Catacombs” as an outro is another minor but very noticeable nitpick. It definitely should’ve been the album’s intro as its swelling symphonics build up to something that isn’t actually there. It also doesn’t help that the guitar chugs are nearly identical to those on “Legions (In Hiding).” When I listened to this album for the first time, I thought that I had somehow switched over to Low by mistake.

For better and for worse, Titans of Creation is another serviceable Testament album. It offers the tropes that fans have come to love with a few extra spices but seems to be holding back in certain regards. The hooks aren’t as effective as the 80s albums and the incorporation of extreme influences isn’t as innovative as it’d been in the 90s. Those who’ve appreciated the other albums of Testament’s comeback era should enjoy this one just as much, but I admit that Dark Roots of Earth is starting to feel like a fluke.

Highlights:

“Dream Deceiver”

“City of Angels”

“Gates of Ishtar”
“Curse of Osiris”

Final Grade: C

Album Review: Freeways - True Bearings

Following up 2017’s Cold Front EP, Freeways’ first full-length album is an enjoyable drive through the best of 70s melodic rock. While the band never goes full AOR, there’s a certain shine to the material that recalls a mix of Thin Lizzy and Boston with sprinklings of Fly by Night-era Rush. There’s also a brazen feel-good attitude that reminds me of more contemporary bands like High Spirits and Gygax, but I wouldn’t necessarily call this metal.

The musicianship strikes a perfect balance befitting the style, easygoing without sounding milquetoast and active without getting too brash. With the rhythm section setting a rock-solid foundation, True Bearings is a very guitar-oriented album. The leads play off each other beautifully and the riffs are executed with a vibrant tightness. The vocals’ workman delivery also suits the material well, putting in a nasally melodicism that reminds me of Cauldron or Haunt.

While such a meat and potatoes method could’ve made for generic songwriting, the album’s seven tracks are accessibly engaging. Moving from the EP to full-length format allows the band to stretch their dynamics a bit more, resulting the title track’s dreamy atmosphere and the slinkiness of “Dead Air.” From there, “Battered & Bruised” adjusts the tempo to a more mid-paced battering that comes to a hazy swing on the slow, seven-minute splendor of “Time Is No Excuse.” The opening and closing tracks do a splendid job of bookending the album with more straightforward rock roll.

As the RV on the cover art indicates, True Bearings is an album tailor made for cruising. While its classic rock influences are readily recognizable, the vibrant musicianship and upbeat execution give it a distinct identity. Along with groups like Tanith and Demon Eye, this is the sort of album that demands to be put on a road trip playlist alongside your old favorites. This is the sort of feel good music we’ve been needing and I’m happy to see Freeways deliver it.

Highlights:
“True Bearings”
“Dead Air”
“Battered & Bruised”
“Time Is No Excuse”

Final Grade: A-

Album Review: Ambush - Infidel

Ambush has always had a more accessible edge compared to most of their peers in the NWOTHM movement and that’s especially true on their third album. Infidel seems to have mixed influences from Scorpions and Dokken in with their usual Riot and Judas Priest; the backing vocals are noticeably cleaner throughout and the rhythms on songs like “Yperite” and lead single “Hellbiter” would feel right at home on Blackout or Love at First Sting.

Thankfully the shift is incorporated gradually enough to avoid sounding watered down. A good majority of Infidel keeps to the blazing power metal speeds established on the band’s first two albums and songs like the title track and “Iron Helm of War” are rife with gang shouts and soaring guitar solos and harmonies. The darker tone on “A Silent Killer” makes for another strong track, drawing comparisons to such groups as Midnight Priest and Satan’s Hallow.

The album also benefits from a strong production job and great musicianship. The mix is pristinely balanced, but the bass and guitars come out especially strong, the former displaying more booming prominence and the latter putting in the band’s beefiest tone thus far. There’s a punchiness that makes things breezy regardless of the tempo at hand and the vocals keep that Tony Moore-style range quite nicely.

Much like the recent albums by Traveler and RAM, Ambush’s third album is affirmation that some extra catchiness can go a long way in making meat and potatoes metal more enticing. The contagious enthusiasm alone would be enough for a safe recommendation to classic metal fans, but the strong writing and energetic playing forge the band’s best achievement to date. Five years is a long gap for such a stylistically conventional album, but its masterful execution is more than worth the wait.

Highlights:
“Yperite”

“Hellbiter”

“A Silent Killer”

“Heart of Stone”

“Lust for Blood”

Final Grade: A-

Album Review: Annihilator - Ballistic, Sadistic

I’m not sure how they pulled it off but there isn’t a single outlier track on Annihilator’s seventeenth album. No joke songs, out of genre experiments, groove metal slowdowns, or even a power ballad to be found anywhere on Ballistic, Sadistic. What you will find are ten songs of nonstop high-octane thrash metal from start to finish. This setup seems poised to expand upon the technical attitude that returned with 2017’s For the Demented and just might be the most punishing, straightforward effort they’ve ever released.

Alas, the Annihilator flavor seems to always be vanilla no matter how consistently it’s portrayed.

Somehow the disconnects between the band’s musicianship and songwriting skills are even more apparent without all the weird shit on display. The drums are executed with mechanical precision and the guitar work is as intensely intricate as ever, but the structures generally opt for energetic sweeps and drive-by melodicism in lieu of memorable riffs. The vocals even manage to show noticeable improvement and greater confidence yet are stuck delivering the same predictably stilted verses and flatly barked choruses.

Their tendency to recycle song concepts is also more blatant than usual. The “Stonewall” flashbacks on lead single “Psycho Ward” are manageable thanks to it having a memorable chorus in its own right, but the “Knight Jumps Queen” miming on “Lip Service” is far too close for comfort. It’s especially egregious when you consider that “The Demon You Know” off the previous album had already retread this ground with a much more enjoyable spin.

Ballistic, Sadistic is hardly the worst Annihilator album out there but it certainly highlights their one step forward, two steps back trajectory. The prospect of an effort completely free of any bizarre experiments is ultimately hindered by the unmemorable results. Fans of the band are sure to get something out of the relentless playing but even the more solid thrashers come out generic as what should be a savage barrage just lapses into soundalike speed. There must be a way to channel the varying moods of Annihilator records past without getting saddled with their awkwardness. As much as I'd love to see it happen, I’m rather skeptical.

Highlights:

“Psycho Ward”
“I Am Warfare”

“Riot”

Final Grade: C-