Album Review-Airbourne: BoneShaker “Aussie Pub rock lives on!”

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Airbourne are and always have been the modern equivalent to ACDC in their peak prime. In the live circuit especially, these boys have prevailed since their debut “Running Wild” way back in 2007. Now we are in 2019, twelve years later with album number five entitled “BoneShaker”. Up to this point Airbourne have kept their Aussie sound in full tact with more polish from record to record with “Breaking Outta Hell” being sonically a very hard hitting album. However, with this new album, they decide to go a way more raw route.

It would be foolish to describe song by song as they are all pure sex, drugs and rock n roll but the sound is definitely a lot more organic with the band virtually sounding like they are recording live in a  garage. The guitars aren’t necessarily boosted in the mix and are running almost along side the bass and drums a lot of the time. The solo’s are still great as ever but they cut like chainsaws throughout the album more roughly than I think they have on any other release and I love it. Some of my favorites are the title track, the scorching “Burnout The Nitro” and the heavy grooving “Weapon Of War” among pretty much every other song. They still remain as consistent as they ever have

Airbourne are at their core pure simplicity and if you didn’t enjoy them before you sure as hell wont enjoy them now. While they are trudging repeated grounds they are at the same time keeping the four to the floor rock n roll sound of the old days alive in spades and this record shows it with warts and all. The more organic sound definitely makes this record stand out a bit more as it sounds almost like it could have been an independent release and from this band it sounds just as good as their more polished work. 8 out of 10 check it out!

Album Review- Tora Tora: Bastards Of Beale

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Tora Tora are a hard rock band that formed in Memphis at the tail end of the 80’s unfortunately sandwiched between the Glam acts and the heavy hitting Grunge bands soon to come. While they did have some minor hits and fairly strong albums with “Surprise Attack” and “Wild America”, they never saw much more than a cult status and soon folded after planning a third album that never was released. However with the recent onslaught of more obscure acts returning with full-fledged reunions, the time seems right to give this little Bluesy Hard Rock group a second chance and the market seems ripe for their return. Finally in early 2019, we are seeing the next chapter of Tora Tora entitled “Bastards of Beale”.

Right away the band come out swinging with the heavy Bluesy hard rock sound they reveled in when they first formed. We see opener “Sons of Zebedee” keeping a refined melodic rock sound all the way through its chorus all the way to the very upbeat “Silence the Sirens” which is one of my favorites here. Another major highlight is “Son of a Prodigal Son” which has an almost vintage country stomp to it with driving acoustic guitars against heavier electric guitar riffs. The production I also have to say fits the bands character as well. Every instrument is mixed evenly together and still are able to give off a garage band sort of vibe where everything still feels loose and organic. Songwriting-wise, the arrangements are very simple in their execution but hold a lot in terms of feeling and that can be heavily attributed to Anthony Corder’s soulful voice. Besides a lot of other standout rockers such as “Rose Of Jericho” and the swaggering title track, we also get some softer sides such as “Lights up the River” which absolute shines. It adds more to what is already a terrific rock solid album.

Honestly, this album is one of the major early highlights of the year and it is a totally unexpected one. While I love when bands expand their sounds to new musical heights, sometimes it is great to just put on a simple rock record with song after song of catchy hooks to keep you coming back for more which is what you exactly get here. Tora Tora have released a record in 2019 that’s a statement showing that straight forward rock n roll ain’t dead and that they aren’t either and are here to show the kids how to do it right.

 

Geordie: A Retrospective

 

 

Some groups in the history of Rock music tend to go overshadowed especially when a member becomes part of a much larger and established act. An absolute perfect example of this the band out of Newcastle, England known as Geordie. Forming around 1972, the group would release a string of albums throughout the 1970’s beginning with “Hope You Like It” and ending with “No Sweat” in 1983. However the bands most notable work was the four albums performed with Brian Johnson as their lead vocalist. Johnson of course is known as being the vocalist of my personal favorite band of all time ACDC from 1980 until 2016. However, I have always been surprised that it had taken me so long to listen to his previous groups work as (spoiler alert) it is very quality blues driven hard rock from the seventies with every albums having some characteristics that are unique to each which makes for very refreshing listens throughout. So as this article is titled, I am going to take you through a short and sweet retrospective of one of Englands most underrated Hard Rock acts that deserve more credit than they are given.

 

Hope You Like It (1973)

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When I first heard Goerdie’s debut album, I didn’t think it was their debut as it has the sound of a well oiled seasoned machine. The band crafted a sound right from the get go that would essentially be their establish go to sound for future releases. Right from the start with the groovy “Keep On Rockin'” does the band go for throat with their blues driven sound with Johnson even using his signature higher pitched snarl throughout that he’s become famous for years later. The band then rolls right into”Give You Till Monday” with the main focus of straight ahead power chord riffing mixing with some subtle melody proving simplicity can be best when done right. The title track is a more sing along tune with the vocals being presented more in a softer and slick way. it is also one of the first songs where we see a lot of bridging vocal and guitar melodies that really drive the song. Songs like “Don’t Do That” and “All Because Of You” continue that bluesy pub Rock sound that personally doesn’t get old as the band plays it really tight and with a lot of enthusiasm. One of the best tunes on the album is”Old Time Rocker” which is actually more rockabilly oriented and it works really damn well and is a major highlight on the album. The album does mix softer songs in like “Oh Lord” that is a nice short change of pace before going back into the final stretch of the album. The final track which is a traditional song that the band worked in called “Geordies’s Lost His Liggie” is a funny and quirky way to end an extremely solid debut album. The reissued version actually includes six additional tracks including a personal favorite “Can You Do It” and “Geordie Stomp” among others making it the definitive version of this album. Geordie definitely set the bar high with their debut and a sophomore release was sure to follow as well.

Don’t Be Fooled By The Name (1974)

 

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Following their debut, Geordie quickly recorded and released their follow up album which has alot of the same character and strength the first album had with the main focus being blues based riffing through out. From the heavy and singable “Goin’ Down” to “Mercenary Man” with its rock solid riffing that also hides melodic undertones within Johnsons softer vocal deliveries. One of my favorites presented here is “Ten Feet Tall” which has a very heavy rock presence but an almost psychedelic midsection that really works only for the song to have a very explosive end. There are riffs galore here and show how underrated Vic Malcolm is as a guitar player. He plays with such ferocity yet can dial it back for some nice cleaner more melodic tones as well.  However the subtle variation is very welcome with the presence of keyboards in songs like the mellow yet welcoming ballad “Little Boy” and “Got To Know” which is personally my favorite song on the album with how upbeat and bouncy the rhythm is it just grooves through in and through out. Now of course the album is possibly most well known for the bands cover of “House Of The Rising Sun” and it is probably my favorite version of the song with the low droning humming throughout and Brians vocals going from clean to his signature snarl works so well. Overall, this album is a true unsung rock masterpiece and it is a shame more people don’t know of it as it has a lot of staying power and memorable moments throughout.

Save The World (1976)

 

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As Geordie went into creating their third album, the band had progressed their sound a bit more to a more pop rock oriented sound. I feel like out of all their albums up to this point, this one has the tag “Glam Rock” tied to it mostly. While a lot of the songs still retain their catchy Blues driven Hard Rock sound, they have a bit more upbeat feeling to them which isn’t necessarily a bad thing. The band still sound as lively as ever right from the beginning notes of the very catchy and bouncy “Mama’s Gonna Take You Home” into one of my favorite songs the band has ever recorded “She’s a Teaser” which is complete with a horn section adding a lot to the song. There are even some hints of disco in the song “Goodbye Love” which at first I was taken back from as it goes for a less heavy sound to it. But after multiple listens it is a great bouncy rock tune that really sticks in your head and is one of the highlights on the album. Another highlight is the song “She’s A Lady” which is a straight Glam Rock number that is put together oh so well. Now obviously with this slightly tweaked sound, the album has a bit more of a commercial feel than the previous two but it still rocks with a bit of a pop flare and it works. The heavy moments are still present especially in songs like the grooving, guitar phaser driven “Save The World” and the incredibly heavy “Fire Queen” which is possibly the best song on the album. Although the album has a bit of a softer edge in spots, it still rocks hard when it wants to and the band has a lot of charisma as this would be possibly the last album with a stable line up as the next would feature more revolving musicians.

No Good Woman (1978)

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This album features brand new vocalist Dave Ditchburn with Johnson having only recorded a few key tracks before leaving the band and soon enough landing at the doorstep for AC/DC and the rest would be history…But anyway, back to the album. While the opener and title track has a good groove to it with some nice keyboard presence, the production feels a bit too heavy on the bass side as it makes the whole band feel a bit too laid back. It’s catchy but lacks that shot of charisma every album before had. However “Going To The City” quickly picks up the pace with Johnson back on vocals. You can definitely see the difference between both line ups as this track has so much more energy. Now “Wonder Song” does have a heavier tone to it akin to later Deep Purple and it really works well but the vocals just feel a bit underdeveloped. Ditchburn just sounds like he doesn’t have the range or the character in his voice or at least not enough of it. Honestly, the inconsistency I think is was kills this album a bit. With the focus shifting between both vocalists, it goes from powerful to laid back to up beat and in your face and then swings back to the bass heavy almost lounge rock sound the current line up had. If this was a whole album recorded with Ditchburn I feel I would accept it as is more but with it switching back and forth, it makes you wish Johnson was on the whole record. Now there are some good songs they recorded with Dave at the vocals including the groovy “Give It All You Got” and the bouncy “Show Business” which is another that gets stuck in my head. Overall, the album is good but not great like the rest of the bands discography to me anyways. It felt like the band lost their signature voice and were trying to find sort of a new sound. However I will mention the No Sweat album only briefly as the band definitely seemed to take a bit of a hint from NWOBHM group Saxon as they has a slicker heavier sound than they ever had before. Unfortunately the album failed to generate a buzz for Geordie who had been around for ten years at this point and they slowly faded into the halls of relative obscurity besides the minds of hardcore fans and/or ACDC completionists.

However, as we get further down the years, Geordie are a band that deserves to be remembered as having an arsenal of rock anthems that deserves to be dug out of the basement and heard by the masses. With enough swagger to push around the hardest rocking bands at the time but the accessibility of any songs on the radio at the time, Geordie’s music  is a great time all around and will always be. If you can find these albums I highly recommend it, they deserve to be cranked and rocked til the sun comes up.

 

What is exactly going on for 2018?

Well here is something strange, an actual post. Now I know that there hasnt been a real review or any articles since the end of november and thats sort of because I have gotten burnt out a bit on trying to keep up on the site. This doesn’t ,mean the site is going away by any means. However, there needs to be some major changes and this stem from my reviews mainly. This year I am going to focus more on older releases and things like that. It also stem from the fact that I feel I have been writing the same reviews over and over as well so this year will be more on not more obscure albums but the keyword is different. AOR, more somber Hard Rock and straight rock music will be more strongly represented this year just to give a bit more of a new flavor to the site. Now I will obviously look at new albums from Judas Priest and Saxon as well as a few other hotter albums for the year. the content will also be more spread out over time as well. I hope you all enjoy the slight new take and still enjoy the content presented on Glistening Metal over 2018!

Rock In Peace Malcolm Young….

 

 

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Its around nine or ten at night. Your 9 year old self is flipping through the channels until you land on a VH1 Classic block of rock videos. A video for ACDC’s “Hells Bells” comes on and you are immediately intrigued. A hard rocking band embraces a dark lit stage with ecstatic Schoolboy guitarist Angus Young and  Beanie wearing Brian Johnson commanding front and center. However on the back line with a bright white Gretsch Falcon thumping his one leg to the beat was the long haired almost Ramones-esque looking Malcolm Young. As somber as he was, his presence always intrigued me. He would sit and bounce to the beat of the song and walk up with the equally solid rhythmic Cliff Williams for simple sounding back up vocals only to return right back to the back line of the stage. it was almost as if he was a machine playing to the song. This was my first taste of ever watching any live footage of this band in my life. I was familiar with them of course with hearing “Back In Black” very early in my youth but seeing how they were in a live sense was awe inspiring.

Soon enough, my first CD I ever bought was “Let There Be Rock” on vacation in Texas and hearing this album front to back with headphones was a memory I could never forget. I soon followed with buying every album, dvd or any thing I could get my hands on I was obsessed. Learning more and more about how Malcolm was essentially what really made the band tick was the best part as it was his dirty rough but simple rhythm playing was what caught my ears in the first place. Listening deeper and deeper it was easier to see how his playing held the band together, it was just that tight that he could play a riff and everyone would follow through. However, what he taught me most was sticking to your guns and don’t be afraid to do it. He kept the band from falling away from their hard rock roots all the way until he left the band in 2014. He was the reason I really wanted to pick up a guitar and just riff. While Angus was the flashier up front player that every lead guitarist wanted to be, Malcolm was the brains. He knew rhythm to a science and knew how make every song in their catalog really tick. Listen to earlier songs like “Overdose” and “Night Prowler” to later songs such as “Fire Your Guns” and even a majority of the songs of Stiff Upper Lip are led by those solid rhythm sections. And now he has left us and is playing that beat up Gretsch in the sky…

We’ll miss you Mal, the music is forever here and we’ll always remember you as one of the most solid rhythm guitarist to grace the earth. Rock In Peace from a true fan.

Album Review: OZ- Transition State

 

I don’t think any album title this year pertains to a band quite like Finnish Heavy Metal act OZ’s new full length album “Transition State”. With the band essentially rising from the ashes after a reunion slowly fading away, Original drummer Mark Ruffneck brought together a whole brand new lineup for this album. Now as I’ve seen in the past, sometimes new blood can really ignite an older band with energy and possible more original ideas. We’ve seen this with bands like Diamond Head and Tygers of Pan Tang and damn good results come from them. So how about OZ?

With opening track “Bonecrusher”, The band hits hard with a very upbeat fist pounding track. The guitars have that same vintage-esque distortion that was present on early OZ albums with a higher production of course showing the band still has some of their original sound in tact. New vocalist Vince Kojvula definitely shows his worth on this track alone with a ferocious hard rock feel and some impressive high notes. The second track “Restless” continues the more traditional and catchy feel on the album. The chorus of this song is one of my favorites as well. “Heart of a Beast” definitely has a more Power Metal feel and is a bit of a different pace compared to the first two songs but is well written along with “Drag You To Hell” having a similar style. One of my favorite tracks on the album “The Witch” definitely has some of the most energetic segments on the album and some of the more infectious riffs present as well. The only issue I have with parts of the album is that it seems a bit inconsistent. It isn’t a major album ruiner but with Melodic more hard rocking songs mixed with full out heavy metal songs makes it unfortunately lose a bit of identity with the abundance of many ideas coming out on each song. Also, I found it strange how there was a bonus track inserted in the middle of the album I didn’t understand why it was exactly there instead of with the extra tracks on the tail end of the album. However, the tail end of the album does have it’s standouts like “In a Shadow of a Shotgun” and the more emotionally toned “The Mountain”. It is songs like these that show the album although a bit at a cross roads at what it exactly wants to be, is still a fun time to be had.

Overall, I give this album a solid 7.5 out of 10. Although it is nice to see OZ return in an energetic and fresh way, this album shows the band still gelling with new ideas balanced with the core sound that makes OZ still stand a part from the rest. As this is the bands first album with original songs since 1991, it is understandable that the album isn’t as solid as some had hope with some more generic songs unfortunately being toward the middle. However, with a few bumps the road becomes smooth again with some high energy and more monumental songs toward the end of the album that still show even though most are new faces, they are keeping the band alive and hopefully continue to do so.

Headbanging Highlight of the week: Thunderstick- Something Wicked This Way Comes

Characters or persona’s in bands have been around for nearly forever. From Alice Cooper to Lizzy Borden and everyone in between, musicians creating a sort of different character on stage has always been present. One of the most recognizable ones (in the underground at least) however comes from cult Hard Rock/Heavy Metal group Samson. Thunderstick was that musician. Replacing drummer Clive Burr to play on all of the classic Samson albums such as “Head On”, “Shock Tactics” etc., he developed this character who wore a mask playing his kit in a cage which became an image that really helped Samson stand out live. He also was an early drummer for Iron Maiden and has a lot of connections with them but that’s for another time…Recently, he has reappeared on the scene with his solo band after years of being dormant. Entitled “Something Wicked This Way Comes”, we see his style almost come full circle with an extreme throwback to the Samson sound of old. But is it listenable or is it just a cheap throwback of tired ideas?

The album right from the start gives off a strong bouncy classic rock vibe more or less what Samson in the late 70’s/early 80’s. Opening track “Dark Night Black Light” is such a fun and very bumping song that has that catchy 70s hard rock vibe with a production that I really like. It definitely has a stripped down production with every instrument being mixed fairly well. Tunes like “Don’t Touch I’ll Scream” and “Fly N’ Mighty” have a very mid 70’s melodic rock feel which work well and are catchy fun rock tunes that get stuck in my head whenever I hear them. Vocalist Lucie V. handles herself great with a very dirty and bluesy rock voice that is one of the biggest highlights on the album. But what about Thunderstick himself? Well he definitely carries the drums wonderfully across the album with that unmistakable very tight style he has always had. My personal favorite on the album is “Thunder, Thunder” as it is probably the most fist pumping song on the album and the most reminiscent of that NWOBHM style. However, the album definitely isn’t perfect as there are a few songs that I tend to just pass over such as “The Shining” which feels just repetitive or even closer “I Close My Eyes” which just feels like a boring ballad and sort of a weaker way to end the album. However, there are enough tracks that redeem the album for the few boring moments it can have.

Overall, The album is a simple fun nod of the old Hard Rock style of the late 70’s with a great musician making a return to making music. It isn’t game changing or anything like that but it has some fun charm to it. It is a good driving album and one that any fan of classic rock and old school heavy metal will enjoy. There’s the great songs, the good songs and a few songs that could have been reworked or left off.  However, if you are expecting straight up heavy metal you will be disappointing. While the album has some harder edge in sections, it is still a rock album but an enjoyable one that is nice to see pop up on the radar that you’ll enjoy from time to time.