Gene Simmons: The '78 Solo Album

Kiss: Gene Simmons

I've never made it a secret about how I feel about Gene Simmons' '78 solo album. I've spent most of my life just not enjoying it. This time around, however, I found myself enjoying more of it than I was expecting to. I still find it to be my least favorite of the four solo albums, but I was picking out some really great moments, and tunes that I just kind of ignored previously. Of course, "Radioactive" is still a great tune (I've always thought that), but I find that I really enjoyed "Burning Up With Fever" (there are some great bass licks here). 

"See You Tonite" was always a great tune as well, but I found more to enjoy this time. It's a very melodic tune that sounded great during the unplugged performance, and it sounds great here as well. "Tunnel of Love" is a very Kiss sounding tune, with some great guitar work, as well as a pretty damned good bass/vocal performance. If it weren't for the chorus, I'd really enjoy this one. "Always Near You / Nowhere To Hide" is a decent tune (at least the first part), with bits that sound like they could have been used later during the "Elder" sessions. "Man of 1,000 Faces" is a classic tune, and one I've always loved. It's very symphonic, and what I wish more of the album had been.  

"Mr. Make Believe" is a decent tune, which could have been a fantastic Kiss song, with Peter Criss taking over the lead vocals. That's not to say it's not good with Gene singing, but I feel it could have been huge for Peter. "See You In Your Dreams" is a great tune, and was even better on the "Rock And Roll Over" album. I'm still not sure why it was even on this album. There are some additions that really don't add anything to the track, but it's still a fun tune. 

Perhaps it's because I'm getting older that I'm finding a new appreciation for parts of this album, even if I still find it grossly over-produced. This album could have been great if Gene had just pulled back the ego a bit, and just wrote an album of good songs. To be honest, I'm surprised that I find myself enjoying more of it. Who knows, in a few years I may like the entire disc (except that last track, which I won't name because... I have nothing nice to say).

Dream Theater: Train of Thought

Autographed by Portnoy, & Petrucci

Released in 2003, Dream Theater's seventh full length album, "Train of Thought" still holds the title of the band's heaviest album by far. This album saw Dream Theater move away from the multi-part suites, and the more melodically driven tunes, for a lot of crunch, and heavy riffs. And for me, I think it works, as I have always loved this album. From start to finish, it's a wild ride, and one that I like to take fairly often.

The album kicks off with "As I Am", which is possibly the heaviest tune in Dream Theater's discography. From absolutely blistering guitar riffs, and a rhythm section playing their hearts out, to the heavy keyboard riffs, this metal masterpiece is an all out rocker from start to finish. It even calls images of Metallica to mind. And from there into the next track, "This Dying Soul" (the second song in the 12-Step saga) rocks just as hard, with some of the best riffs from both keyboards, and guitars on the album (especially that guitar solo!). Vocally, this one is also very exciting, and James sings the tune to perfection. Some really cool vocal melodies on this tune. It's not quite as all out metal as the previous track, with some breathers placed throughout the track, but it's a definite metal classic.

"Endless Sacrifice" is part melodic rocker, and part metal anthem. The vocal melodies really sell me on this one, but there are enough killer riffs from Petrucci, and Rudess to please even the biggest fan of Dream Theater's heavier songs. There are even moments of pure beauty here. The instrumental section is such a masterclass at music writing, that it still gives me goosebumps to this day. This song could have been at home on any of the band's albums, but it's a nice sort of breather here, before kicking back into high gear with "Honor Thy Father".

"Honor Thy Father" kicks off with face-melting drums, and some of the sickest guitar/keyboard riffs on the album. Right from the start you can tell that the band were going for the jugular on this one. And though there are some moments of melodic beauty, for the most part this song grabs on tight, and doesn't let go. And if you think the music sounds angry, those lyrics about an awful step-father really drive home just how angry this track is. I think this may be one of James LaBrie's shining moments on the disc. And even Myung really gets to play his ass off here, as that bass work on this song is phenomenal. 

And then we get to "Vacant", and "Stream of Consciousness". "Vacant" may be the prettiest song in the band's catalog. At least, it certainly sits up there with "Disappear", and "Wait For Sleep". And though it is very pretty, it has this sort of creepy vibe that I just love, and it sets up the absolutely epic instrumental track that follows. "Stream of Consciousness" is far and away my favorite instrumental tune from Dream Theater. Yes, even better than "The Dance of Eternity". To me, this track is melodic, it's blistering, it's an exercise in true self-indulgence, and with all of its twists and turns, it's everything that I look for in an absolutely life altering bit of brilliance, and genius. The fact that this song came from these minds just further cements their absolutely incredible musicianship. 

If the first six songs weren't enough, Dream Theater have definitely saved the best for last here, at least in my opinion. "In the Name of God" is one of those songs that have me wondering how it ever got dropped from the setlist, as I think it may be one of the best songs that the band have ever written. It's a heavy metal, melodic masterpiece. It's an epic work of art in every sense of the word. From the blistering, killer music, to the masterfully delivered vocals, this is without a doubt Dream Theater at their finest. Lyrically, it's about the fucking nut bag that was David Koresh, and his insanity fueled religious compound. At over fourteen minutes long, it's the longest track on the album, and one that I find myself wishing it would go on another ten minutes. It's such a fucking beast of a song, and should be essential listening to any fan of progressive metal.

While this is easily the heaviest album in the band's catalog, that doesn't mean that there aren't some moments of pure beauty. And I think that's part of the charm of "Train of Thought". It may be a progressive metal fan's dream come true, but it's also a very melodic disc. I can only hope that with Mike Portnoy back in the band that we get to see this chemistry at work again, because these five guys together are absolutely brilliant.

Dream Theater: Images And Words... And Beyond - Live In Japan, 2017

Today, I'm going to be a sweetheart, and deliver two reviews in one. Despite the fact that they were released as two separate discs, I'm going to review them as one, as they were damn near the entire show. Now, the thing that you have to remember about these "Lost Not Forgotten" releases is that they weren't quite as nicely packaged as the "YtseJam Records" releases. Still, we are getting a lot of great music thanks to this series. And the first disc issues was the second set of Dream Theater's Japan show, in 2017. 

The second half of the show was released as the first "Lost Not Forgotten" released, but we're going to review the "...And Beyond" disc, as it featured the first half of the show. The first half was a sprinkling of songs from the bands vast, and impressive discography, and it's one hell of a great setlist. The show kicks off with "The Dark Eternal Night" from their "Systematic Chaos", which I wouldn't have picked as a set opener, but it really works here. The entire band sound great on this track, as well the rest of the show. "The Bigger Picture" from the self-titled album came after the metal-crowd pleaser. And though we didn't necessarily need a breather already, I think the tune works great where they put it. From there we get "Hell's Kitchen" from the "Falling Into Infinity album, and then a couple tracks from "The Astonishing" ("the Gift of Music", and the wonderfully melodic "Our New World").

The disc (and the first set) end with a bass solo from John Myung (a cover of the Jaco Pastorius song "Portrait of Tracy), and a couple fantastic renditions of "As I Am" (the balls to the wall, metal rocker from 2003's "Train of Thought" album, with a decent sized bit of "Enter Sandman" squeezed in, for maximum fun, and metal!), and the melodically amazing "Breaking All Illusions" from "A Dramatic Turn of Events", one of my absolute favorite Dream Theater songs (I sincerely hope that this one ends up in an MP setlist). Both songs are played with such incredible passion, and precision, that you just can't help but be impressed by the chops of this progressive-rock giant of a band. 

Throughout this first set, I can't help but be impressed by the way that Mike Mangini was able to take the Portnoy material, and not only make it his own, but somehow please even the biggest Portnoy diehards (myself included). I also can't help but notice that, although the vocal phrasing is changed up a bit here and there, James sounds fantastically vocally. I think that he's really grown into the fact that he can't sing the same as he did in '92, but he has learned to compensate for it. I honestly enjoy his voice more here, than I did on the DVD from the "Images & Words" tour. Speaking of "Images & Words"...

Released in 1992, Dream Theater's biggest commercial success was an album called "Images And Words", and the second disc of this (backwards released) set is a celebration of the album's 25th birthday. The first thing that you're going to notice is that the band are playing their biggest hit in a drop tuning, obviously to accommodate James, who as a vocalist, just can't perform the way he once did. For me, this does not detract from the show. I personally think he pulls it off very damned well 25 years after the albums original release. And though "Images" has never been my favorite Dream Theater album, there is no denying that it is an absolute progressive rock classic.

There will be some people who think that the drop tuning, and the vocal performance will detract from the magic of this classic album performed from start to finish, but I am not one of them. Sure James plays it safe quite often, but I really feel that it works. Musically, the band are definitely on fire. In fact, this may be one of the best performances of "Pull Me Under" that I've heard since Mangini joined the band. There's a new keyboard solo in "Another Day" that shows just how amazing Jordan is on the keys. It sounds phenomenal. "Take the Time" is another great example of just how great the musicians in this band are, even as they stretch their legs for a fantastic bit of improv. And even though James seems to struggle, as this tune was always a highlight of his versatile vocals, it's still a damned good performance.

The rest of the performance is just as good to my ears. From the fantastically melodic performance of one of my personal favorite songs from the album, "Surrounded", to a fiery rendition of "Metropolis, pt. 1: The Miracle And the Sleeper" (complete with a Mike Mangini drum solo, and a crazy bit of playing coming out of it), it's clear that the band and the audience are having a blast reliving this milestone in the band's illustrious career. 

Though it's never been my favorite Dream Theater song, "Under A Glass Moon" is played to near perfection here. The guitar solo is just insane, and never ceases to amaze me. However, it's the next two tracks that I enjoy the most from this performance. "Wait For Sleep" gets a beautiful piano intro from the Wizard, Mr. Jordan Rudess. It's absolutely beautiful, as are James' vocals on this one. And that brings us to the album closer (yes, the album closer, not the show closer... I'll get to that in a minute). "Learning To Live" to me, is one of the greatest progressive metal songs ever written. Every moment of this track is a moment lived at the edge of your seat. From the crunchy guitar, to the skillfully played (and written!) keyboard parts, to the jaw-dropping rhythm section, this song is essential prog, played her to damned near perfection. Even James sounds better here than he has the rest of the show (and as I've said, I've loved his vocals the entire show). And that's it. That's the end of the disc.

But wait, you ask me, "Rob, where's "A Change of Seasons? I know that it was played." Well, there's my only gripe with this show (other than releasing the second half of the show first, and the first half of the show second). Why was "A Change of Seasons" not included on the disc? There would have been time for it, had the album just been released as a 2-disc set. That would have fixed both of my complaints from this nearly perfect set. I don't get why it wasn't included here. Maybe we'll get a fix some day, but I somehow doubt it.

With Mike Portnoy back in the band, I'm hoping that not only will we get more archival Dream Theater releases (and please don't stop the Mangini era releases, as I would LOVE a live performance of "The Astonishing" on disc!), but hopefully the presentation will be better. We need liner notes, and pics, and any little goodies that Portnoy was always sure to include in these sets. Not only would I love to have the music in my library, I would love to have the visually fantastic releases that MP worked so hard to give us fans, back when this series was the "YtseJam Records" powerhouse that it was!

Neal Morse: Sola Scriptura

 

Neal Morse: Sola Scriptura

By 2007, Neal Morse was no stranger to concept albums, having already released one with Spock's Beard ("Snow"), and three as a solo artist ("Testimony", "One", "?"). So when it was announced that the next album would be a concept album, I remember being excited, but not really surprised.

The story behind the making of this one goes that a friend of Neal's suggested a concept album about reformist Martin Luther, and his ambition to translate the bible into the words that his people could read. Neal wasn't immediately keen on the idea, but after some prayers, and reflection, he decided that he would make the album. I for one am glad that he did, as it has long been one of my favorite Neal Morse released. One of the things that drew me in to the album was the fact that it clocks in at 76 minutes, and only have four tracks. That means that there are some epic length tunes here. I mean there has to be!

The album starts off quite heavily, the instrumental introduction to the "The Door". The guitars are heavy, the drums are pounding, the bass is full of energy, and the keyboards are among some of the best played on any Neal Morse led album. As with any NM intro piece, a lot of the albums themes are touched on here, before we hit the second part of the song, and the vocals come in. "In the Name of God" keeps the same heavy sound and momentum as the intro, and sets up this 29 minute tune (and the rest of the disc) perfectly. All I Ask For" takes things down quite a few notches, and is a beautifully melodic piece, with wonderful vocal melodies. "Mercy For Sale" is a sort of melodically heavy part, with some cool guitar work, and some of the best vocals on the album. "Keep Silent" is a bit of a slower part, with killer guitar riffs, and again, some great vocal melodies. The closing section "Upon the Door" is among my favorite parts of the album. There are beautiful, and melodic moments, there's an absolutely face-melting guitar solo (I think this is played by Paul Gilbert of Mr. Big), and the conclusion is some of Neal's best writing.

"The Conflict" is the second track, and is a shorter song, at only 25 minutes. Once again, this one starts heavy, with some crunchy riffs, and some aggressive sounding vocals. As with "The Door", this tune goes through several mood changes, from the heavy "Do You Know My Name", "Two Down, One To Go" (preceded by a fantastic acoustic guitar piece), and "The Vineyard", to the wonderfully melodic "Party To the Lie", "Underground", and "Already Home" (with my favorite vocal performance of this suite. It's so melodically beautiful), this song is a progressive rock masterpiece. The keyboards play a major role here, as with any good progressive rock epic, and Neal is one of the greats on the keys, even if he isn't as often namechecked as such. In fact, the entire band is tight, and playing fantastically on this track (as well as the rest of the album, of course).

"Heaven In My Heart" is the shortest track on the album, by far. At just over five minutes, this is just a beautiful ballad, and the only place to really stop and catch our breath on this album. With some wonderfully melodic vocals, and beautiful piano, this one is a sing-along for sure. Such a beautiful piece of music. Neal sings this one with such heart, and soul, it feels like it's the real cornerstone of the album.

And now we finally come to "The Conclusion", and as always, Neal knows how to finish an album. This track is a 16+ minute beast, kicking off with "Randy's Jam", a bit of the song set aside for Randy George to show everyone how a real musician plays the bass. Similar to "Ladies And Gentlemen, Mr. Ryo Okumoto On the Keyboards", this piece doesn't add to the story, but it's one hell of a cool way to showcase a brilliant musician. And while spotlighting Randy, there's also some amazing drum, and keyboard work. Elsewhere on this track, there are some amazing vocal melodies, some musical passages recalling earlier parts of the song, and two of my favorite pieces of the album, "Come Out of Her", and the beautifully melodic "Clothed With the Sun". As I've said, Neal knows how to write a great ending to an epic, and this one is no exception.

In 202, Neal would follow this album up with a disc called "Sola Gratia", and while the story follows someone else, the two are very much connected. Still, if I had to pick a favorite of the two, it would be "Scriptura". To me, this may be one of the finest concept albums that Neal has ever been a part of. And I am so thankful that he decided to take on the challenge of telling this story, because he did it with such style, and grace. I've always been a firm believer that Neal can do no wrong when it comes to writing a good progressive rock concept album, and this album is no exception. Brilliant from start to finish!

The Flower Kings: Look At You Now

The Flower Kings: Look At You Now

When I first heard the newest album from The Flower Kings, "Look At  You Now", in 2023, I knew that it was going to finish high in my top ten of the year. Turns out that not only did it finish high, it finished at the top. The Flower Kings has long been a favorite band of mine, and I've loved their recent output, but this album is something special. I think it might be my favorite album from them since "Unfold the Future". This thing is a progressive rock masterpiece, and one that I have come back to many times since pushing play that very first time.

The album kicks off in that typical Flower Kings fashion, with some great keyboard runs, Roine's instantly recognizable guitar, and of course his distinctive vocals. If I had to sequence this album, I would have chosen the same opener. This is a great way to open the album, and it segues to only my favorite song on the disc, but quite possibly one of my very favorite TFK tunes, "The Dream". This song is such a beautiful, and melodic track, with some of the best vocal melodies I've heard in a very long time, with Roine and Hasse. This song is absolutely breathtaking, from the vocals, to the almost ethereal guitar work, and those keyboards are just perfect. 

Most of the album's thirteen tracks clock in at under the six minute mark, so I believe this may be the most concise Flower Kings album in that respect. The closest we get to an epic track is the closing track, which also happens to be the title-track, clocking in at just under twelve minutes. Maybe it was a conscious effort to make a more easily accessible album, or maybe it was just coincidence, and they were just trying to serve the song. Whatever the reason, at nearly 70 minutes long, I do find this album very easy to digest. 

There's some great stuff on this album. "Hollow Man" is a fun tune, with some great melodies, and an almost creepy sort of vibe in the verses (reminds me a bit of the first disc of "Stardust We Are". At least, I think it could sit nicely on that album). The instrumentation here is very typical of the Flower Kings, which makes it feel almost like an old friend. "Dr. Ribedeaux" is another song that could easily sit on any number of the band's sixteen albums. A melodically driven instrumental, this one is a short, but beautifully written tune. 

"Mother Earth" showcases the amazing vocals of Michael Stolt. He has a deeper voice than Hasse and Roine, but I really enjoy his tune. I'm not sure the other guys would have sounded quite right with this tune, and I think it elevates it to something pretty special. Musically, it's very typical of that Flower Kings sound, and ends up being one of my faves on the album. Some would say the sound is a bit formulaic of the band, but I find nothing wrong with that at all. Their sound is what made me love The Flower Kings in the first place. "The Queen" is a bit of a stand out track here, kicking off with some mandolin, this one has a classical feel that I really like. There's also a killer guitar solo here. This track almost feels like it's setting you up to take you through an entire Disney movie. This little instrumental tune, with a whole lot of melody, was wonderfully written.

"The Light In Your Eyes" is another fantastic piece, with some fantastically performed bass, the guitar and keyboards working together to hold a beautiful melody, and a vocal performance that somehow steals the entire show. This one is another great song, and another highlight of the album, with it's focus on vocals, it's a melodic masterpiece. "Seasons End" is quite a bit different from the previous track, kicking off with some organ work, before the guitar takes over for a bit, leading us into the first verse of the song. This is another song with some great melodies, both musically and vocally. "Scars" has a blues-y sort of feel, with some guitar work that would impress even the highest of guitar Gods. Add some expertly played orangs, and powerfully delivered vocals, and you have the recipe for another highlight on an album full of highlights. 

"Stronghold" brings images of the prog rock of yesterday, but with a bit more edge. Its epic feel, delivered with guitars and keyboards, puts the Flower Kings inside any master-class of progressive rock's 70's heyday. There's crunch here, there's melody, there's even one hell of a fantastically performed instrumental section. It's everything I like in a well-written progressive rock song. Roine's vocals sound just amazing here. I swear the guy sounds better every year. And even though the track is under seven minutes, it has an epic feel, and I find myself wishing it could go on another ten minutes or so.

Next up are a couple shorter, more concise tunes. "Father Sky" is a fast paced, progressive-rock tune, with some great keyboard work, and of course some great guitar playing, as is to be expected by the Flower Kings. There's some great vocal harmonies on this one, even if there aren't a lot in the way of lyrics, the lyrics that are here are sung just beautifully. "Day For Peace" comes in with an almost march style drum pattern, and sparse instrumentation in the background, before Roine comes in with a beautiful vocal performance. There's even a guest female vocalist that really helps fill in the vocals of this very melodic, and hauntingly beautiful track. There's no crunch here, just an epic feel, and a fantastic melody. 

The album closes with the longest song on the disc, "Look At You Now", clocking in at 12 minutes isn't long in the grand scheme of the band's catalog, but here it is by far the longest track. And even though it may not have the length of some of the longer Flower Kings songs, it's not any less epic. In fact, it still manages to go through plenty of mood changes, and is a fine example of just how great this band are at not only performing music, but writing it as well. In addition to some very Flower King's sounding moments musically, the vocals are also that beautiful style that TFK are certainly known for. There are quieter moments, faster and heavier moments, and through it all, it's a melodic beauty.

Since The Flower Kings came "out of retirement" in 2019, they have managed to record and release four albums, and each one is just fantastic, proving that there is not shortage of talent among this band of musicians. This album is so good, I can't wait to see what they come up with next. But for now, I'm happy to have this wonderful album to tide me over.

The Vaughn Brothers: Family Style

The Vaughn Brothers: Family Style

 Blues-rock is not a genre that I visit very often. It's not that I don't like it, I just have to be in the mood. Today, I decided to pull this disc out, which I've had for quite some time, but have never played. And though I enjoyed it for what it is, it just wasn't moving me the way I wanted it to. It was all pretty much expected. That's not to say there weren't some great moments, and killer tunes here. Also as expected, the guitar playing is top notch.

Of course you've heard of Stevie Ray Vaughn, but in case you've lived under a rock, he was one of the greatest blues guitarists of all time. His versatile playing, and chops were a sight to behold. And even though he is known for his blues playing, I'm sure the man could have played anything he wanted to. For this album, he teamed up with his older brother, Jimmie, and together they created an album that I find could stand next to any of the SRV album. 

There are some really great tunes here. I found myself really enjoying "Telephone Song", "DFW", and though the lyrics were a bit too cringe for me, "Good Texan" was pretty good too. I think the standout track on this one, for me, would have to be "Baboom/Mama Said", which is basically just a guitar jam, with very few lyrics. Album closer, "Brother", is also a damned good song, and one hell of a great way to close the album.

I didn't necessarily hear anything new and groundbreaking, but what I did hear was some damned find blues-rock, from a couple of brothers who clearly played very well together. It's just a shame that Stevie's life was cut so short, as I'm sure these two could have created some more amazing music together. And though I may not pull this album out a lot in the future, I know that the next time I do, I'll enjoy it, because it really is a fun disc, with more than its fair share of guitar riffs, and blues exploration.

Abydos: The Little Boy's Heavy Mental Shadow Opera About the Inhabitants of His Diary

 

Abydos: ...the Inhabitants of His Diary

Many years ago, I ran across this album at a CD store in Omaha, Nebraska. As soon as I saw this album cover, I knew that I wanted to hear it. I picked the disc up and scanned the back of the inlay card. I remember being pleasantly surprised to learn that the album was on the Inside Out Music label, home to so many great CDs in my collection. This album was a no-brainer, it was coming home with me. I remember listening to it a lot over the years, but somewhere along the way I lost my copy. I don't know if it was a move, or it just got sold off in one of the big CD sales I was forced to do. Either way, it wasn't until last week that I was able to get another copy, and I'm so glad to have this one back in my collection.

Let by Vanden Plas frontman, Andy Kuntz, this is one hell of a heavy metal opera. The concept here is a bout a little boy who has visions of other people's live inside of his head, following the untimely death of his father. There are moments of Egyptian mythology, and reincarnation. The story is actually pretty interesting, and I wouldn't mind seeing it in novel form some day. Musically, listeners can expect a feel not totally unlike Andy's day-band, but also an almost Dream Theater feel at time. This album goes through a lot of feelings, and moods. It really is a special disc, that you have to hear to really appreciate. 

The album kicks off with a very brief, hard-rocking instrumental intro to the album, before segueing into the symphonic powerhouse of "You Broke the Sun", with a chorus that may have one of my favorite vocal melodies of all-time. It's such a beautiful vocal, that I can't help but sing along. Musically, it's a symphonic, hard-rocker, and sets up the album very nicely. Following that is the track "Silence", which is a bit heavier, but still retains a lot of the melodic beauty that seems to permeate this entire album. Vocally, there are some really neat effects, and emotive singing (not to mention another fantastic vocal melody), that go beautifully with the bass track. We're also treated to a very nice keyboard solo, which is always a selling point for me (being a keyboardist myself).

"Far Away From Heaven" is the first time we really slow down here, with some emotionally charged, and beautiful vocals, sang over a hauntingly pretty piano section. As the vocals, and piano pick up their intensity, you can already tell that this track will be special. The vocals are so strong and powerful, as they lead us into the full band portion of the track at about the two minute mark. This song is definitely a melodic-rocker, with a string section, some killer guitar work, and vocals that give me goosebumps to this day. This track definitely begs to be turned way up. I can't imagine how magical it would be in a live setting, with the entire cast and audience singing in unison. In fact, the entire album would be just phenomenal live.

After the slow down of "Far Away From Heaven", "Coppermoon (The Other Side)" goes right for the jugular. There are some heavy riffs, some masterful guitar solos, and some more of those fantastically melodic vocals that I just love. And to make the tune even better, some really killer bass guitar propel this hard-rocker forward. Add in some amazing keyboard work, and you have another song that is just top notch. The instrumental section is so damned catchy, you can't help but love it. "Hyperion Sunset" follows, and is another hard-rocker. Probably the heaviest song on the disc so far. Another riff heavy track, this one will get your head banging, with the crunchy riff, even if there is a piano complimenting it. It's a really well done track, that shows even more depth in this amazing project.

"God's Driftwood" opens with such an eerie segment of music, with a mood being developed by keys, and piano, with the vocals coming in, sounding as if they are getting ready to set up something pretty epic. When the acoustic guitars kick in, with the vocals slowly leading the entire band in, it's evident that this is going to be another killer track. There are "Kashmir" vibes here, as the guitar riff sets up the next verse. The vocals are sung beautiful, and melodic as usual, with the music being both heavy, and extremely catchy. By this point, if you aren't finding yourself enjoying this amazing album, then maybe it's just not for you. For my part, I have enjoyed every moment. I can't say enough about this phenomenal album!

Perhaps the most beautiful track on this album is track eight, "Radio Earth". This track chills out on the metal, and is a very nice melodic-rocker. The music still has some crunch to it, but it's less guitar driven, and more of a vibe created with all of the instruments, and makes this tune a very nice breather. The vocals are absolutely beautiful here, and the vocal melody is really something special. This is just such a nice song. The next track, "Abydos" starts out as another quieter track, and builds to a melodic beauty, with strings, some fantastic guitar riffs, and an amazingly delivered vocal track, with some great melodies. This tune almost feels a bit chaotic, as it builds towards its more than seven minute conclusion. This may be one of the best tracks on the disc. It has the very epic, progressive sound that I love in a good song.

"Green's Guidance For A Strategy Adventure Game" is a brief narrative track, that helps forward the story of this concept album. I'm not sure how much I like the effect on the narration, but the music underneath is pretty cool, if a little simple. This track moves into "Wildflowersky", and this track is yet another killer tune, with some heavy music, full of guitar riffs, and some amazing moments of keyboard playing. The vocals during the chorus are delivered over some really amazing bass guitar work, possibly some of the best bass parts on the albums. This tune is definitely a hard rocker, with a chorus that you almost wish would go on longer. There are some moments of clear Dream Theater influence here, as we approach the three and a half minute mark, where the song takes on a completely different feel. The vocals feels as if they're being delivered to a captive audience, before kicking in to one hell of a great guitar solo. This song is one of the standout tracks on the album, if nothing else, then for it's uniqueness to the album. There seems to be a bit more experimentation on this one. It's a great track!

And that brings us to the longest song on the disc, "A Boy Named Fly", which is also the closing song on the album. I almost hate to see it end, but it least it goes out with a bang. The track starts innocently enough, with some piano, orchestration, and even some horns. At just over twelve minutes long, the song quickly shifts at a minute in, with some really powerful vocals, singing over some keyboards, and low bass. When the sound shifts again, and the whole band come in, the song changes from a melodic beauty, to another hard rocking tune, with plenty of crunchy guitars, and pounding drums. That's not to say there isn't some melodic beauty here still. The vocals, and music during the chorus is just goosebump inducing. This song is the perfect way to close out a nearly perfect album. On an album chock full of great vocals, it is here that they shine so damned brightly, as the album is taken out in such grand-standing fashion. 

As far as I can tell, this will be the first, last, and only Abydos album. It was created during a time of terrible loss, and pain for Andy Kuntz, and must have been one hell of a way to handle with the grief of loss. I hope I'm wrong, and there will be another album from this side-project, because this may be one of the greatest albums ever written, at least in my opinion. If you are a fan of progressive rock, melodic rock, hard rock, or any type of rock music frankly, you owe it to yourself to check this one out. 

Rob's Album Deep Dive: Spock's Beard

 

Last week I took the time to listen to the entire Black Sabbath studio album discography. And while I didn't know most of their albums well at all (and many I didn't know at all), I had a good time playing through them, and writing about my favorite song from each album. In fact, I enjoyed it enough that I thought I would do another entry in the "Rob's Deep Dive Series", but this time I would do it with a band that I love. So this week, I'm going to go through the Spock's Beard discography.

I had a rule with the Black Sabbath deep dive that I can't exactly follow here. For Sabbath, I couldn't choose songs that I did know well, but instead had to stick to the deeper cuts on the albums. This time around, I know every Spock's Beard album pretty well, and so I'm just going to listen to each album, and choose what I think is my favorite tune for that listen through. I could sit and name my favorite from each album now, but who knows, maybe that will change with another listen. And so I begin my journey with one of the greatest progressive rock bands of all time. Join me, Neal Morse, and the rest of the Spock's Beard band, as I go on a Deep Dive through the wonderful career of Spock's Beard.

One last thing, as with the Black Sabbath Deep Dive, I will be posting the cover art for each album, but this time I'll be using the CDs from my actual collection. I'm not sure why, it just feels a little more personal to me, and will make this just a little bit more fun. Funny enough is that when I was putting this together, I found out that I have a unique edition of every album except "X" (which I need to get, because it has a song whose name escapes me...haha). So I guess it's time, join me below in "The Light".

Spock's Beard: The Light (Art Book Edition)

01-The Water (The Light)
When I hit play on this debut Spock's Beard album,  I was sure the title track would be my favorite song on the album. With only four track to choose from here, and three of them being absolute classic Spock's Beard songs, I was pretty certain my favorite hadn't changed. However this time 'round, I found that "The Water" has become my favorite track on the album. At just over twenty-three minutes long, this is the longest track on the album, by a pretty long-shot. With six parts, this suite has the epic prog sound that I love, meaning you have no idea which mood each piece of the tune will be. There's some pretty heavy moments, some beautifully melodic pieces, and then there's the "FU / I'm Sorry" section, which I really can't see Neal ever playing again. This song is an early, but perfect example of just how good Neal Morse is, and has always been, at crafting one hell of a great epic, prog-rock masterpiece. From the killer guitar moments, the amazingly melodic passages, and some amazing vocal melodies, this is a great tune, and my new favorite from this album.

Spock's Beard: Beware of Darkness (Special Edition)

02-Walking On the Wind (Beware of Darkness)
To be honest, out of the Neal Morse led Spock's Beard albums, this is the one that took me the longest to get into, though I'm not really sure why, as it is an amazing album. For the longest time, my favorite track on the album was "The Doorway", but after hearing the live version of "Walking On the Wind" on Neal's live album "So Many Roads", this track became my absolute favorite from the album. The entire band sounds great on this tune, and the bass is turned up quite often, and with Dave Meros that can never be a good thing. The song goes through a few moods, which of course makes it one hell of a great prog song. Vocally, Neal is singing some beautifully melodic parts that I just love. This is just one of those songs that I could listen to a dozen times in a row, and never grow tired of it. I don't know what took me so long to love this one, but I'm glad it finally clicked.

Spock's Beard: The Kindness of Strangers (Special Edition)

03-Flow (The Kindness of Strangers)
This is another one of those albums that it's hard to pick a favorite song, as there are several songs that are just so damned good. My favorite song from this album starts off with one hell of a killer instrumental section, with some organs to really make it cool. "Flow" is nearly sixteen minute prog-rock masterpiece. Going through three separate sections of music, I find this to some of Neal's best vocal work thus far in their career. "True Believer" is a melodic-rock beauty, with some really great vocal melodies. The piano/organ combo really make this part pretty fantastic. After the track picks up into some really cool rock, it builds into "A Constant Flow of Sound". Once again, Neal proves just how fantastic he is at writing a really amazing progressive-rock epic. This part of the song is a bit of a rocker, with some really cool guitar, and vocals. I especially love the call-back to "True Believer", I'm a sucker for "bringing it back". It's a bit more sparse than the previous section, and leads into probably some of the most melodically beautiful music in the bands catalog, ""Into the Source". It's a real sing-along section, and for me that is never a bad thing. This song, along with the rest of the album, make this my favorite album out of the first three SB albums.

Spock's Beard: Day For Night (Special Edition)

04-The Healing Colors of Sound (Day For Night)

This time around, I knew my favorite song from the album going in, and wasn't surprised when that didn't change. I love this entire disc (I'm pretty sure it was my introduction to the might Beard!), but for me, "The Healing Colors of Sound is prog-rock at its absolute best. Weaving an amazing tapestry of music through six sections (seven if you count "Urban Noise") of music, this track is the best of Spock's Beard. Part 1 of the title track (a hard-rocking instrumental) opens the song, and sets us up for a 22 minute coaster-ride that you'll have to hear to believe. It's just all written so damned well, that there isn't one dull moment of music here. "My Shoes" is a melodic rock beauty, with some wonderful vocal melodies, and masterful playing from the entire band (especially that guitar performance!). "Mommy Comes Back" is a hard rocker, with lyrics that don't always make sense to me. Still, it's a fun part of the song, with some cool sounding guitar work, and fantastically done organs. "Lay It Down" is just a melodic beauty, with vocal harmonies, some piano, and acoustic guitar, it really is just a very pretty section of music. The second part of the title track is my favorite part of the suite. It's a more upbeat, melodically driven section of music. The vocal harmonies are on point, and the music is just beautifully done. This part just feels so epic to me, that I can't help but love it. The suite concludes with "My Shoes Revistied)", which not only calls back "My Shoes", but also "The Healing Colors of Sound". Neal has always been a master at closing an epic track, and Alan Morse has always turned in one hell of a great guitar performance to end the song. This suite is pure perfection, and one of my top five favorite Spock's Beard songs.

Spock's Beard: V (Special Edition)

05-The Great Nothing (V)

When picking a favorite song from this album, it's hard to not pick "At the End of the Day", because it's such a great song. But then you get to track six, the nearly half hour long epic, "The Great Nothing". This song is epic in every sense of the word, and up until "Falling For Forever" was my all-time favorite Spock's Beard song. This tune runs the emotional gamut, from melodically driven section, with some beautiful vocal melodies, to some really fantastic hard rock moments, and even some fun little dancy feeling moments. There's something for nearly every rock genre here. We get acoustic guitar, we get some amazing electric guitar solos, vocal harmonies with Nick, & Neal. There are some really wonderful keyboard moments from Ryo, and of course that Spock's Beard rhythm section that just does not get the praise that they deserve. Everything about this song, write down to the disillusionment caused by the music business, is just phenomenal. And as I said, if not for that bonus track years later, placed on the greatest hits compilation, I doubt anything would have ever knocked this track from the #1 spot for me. Pure brilliance, and an absolute joy to listen to, every time I play it.

Spock's Beard: Snow (Promotional Copy)

06-Solitary Soul / Wind At My Back (Snow)

For the last album with Neal, Spock's really created something beautiful, and wonderful, and (in my opinion) the greatest concept album of all time. I know that may sound crazy, but that's how I feel. This album has everything that I want in a progressive concept album. The story follows an albino man with a gift of seeing. If he touches you, he can see your future. There are so many great moments on this disc, from hard rock, to beautiful ballads. When picking my favorite, it had to be two tracks: the beautiful, and emotional "Solitary Soul" that can still make me misty eyed to this day (especially that very emotive guitar solo, that just hits you right in the feelers), and the epic, and beautifully melodic "Wind At My Back". This two part, which was put on the greatest hits disc as well, is some of the most beautiful music that Neal has ever been a part of. The vocals are just overflowing with beauty, from the melodies, to the harmonies, it's just wonderful. "Wind At My Back" comes back at the end of the album, but here is where it worked best. "And my soul has been kissed, just because you exist." Just beautiful. 

Spock's Beard: Feel Euphoria (Special Edition)

07-Carry On (Feel Euphoria)
When Neal announced that he left Spock's Beard, I thought it was crazy how quickly the band picked up the pieces and released this album the next year. I wasn't sure what I expected when I hit the play button, but I'm glad I did. This album was pretty phenomenal. And while you would expect me to pick "A Guy Named Sid" here, I went with "Carry On" as my favorite from this first Nick D'Virgilio led album. This song is five minutes of sheer majestic beauty. From the wonderful instrumentation, and orchestration, to the absolutely beautiful vocals, this is one of those songs that still gives me goosebumps to this day. The band really created some lasting magic with this wonderful song.

Spock's Beard: Octane (Special Edition)

08-A Flash Before My Eyes (Octane)

For their second post-NM album, the feel to me is that they took a bit more time, and polished the material up, in the direction that they wanted the music to take with this new lineup. To me, this album is damned near perfect, and there was nothing more perfect than the opening "track", the seven part suite of "A Flash Before My Eyes". Here we follow the band, as they tell the story of a life cut short in a traffic accident. There's moments of amazing melodic rock ("I Wouldn't Let It Go", "Climbing Up That Hill", "Of the Beauty of It All"), crunchy hard-rock ("Surfing Down the Avalanche"), crazy exploration from Ryo ("Letting Go"), and even pure beauty ("She Is Everything"), with what could possibly be one of my favorite Alan Morse guitar solos of all time. This epic prog-rock track was so expertly put together, that each part can stand on their own, or you can listen straight through, and enjoy the ride. Either way, on an album full of great tracks, this amazing tune is a true standout. 

Spock's Beard: Self-Titled (Japanese Release)

09-As Far As the Mind Can See (Spock's Beard)

I wanted to pick the opening cut from this album, as "On A Perfect Day" is one hell of a great song (hell, so is "With Your Kiss"). In fact, this entire album is completely flawless in my opinion. However, there's just something about the epic "As Far As the Mind Can See" that always leaves me wanting more. Kicking off with a bang, "Dreaming In the Age of Answers" is a wonderful intro, with some amazingly melodic music. The vocal melody is of course a favorite part of mine. Nick sounds fantastic here, especially on the harmonies. "Here's A Man" is a bit different, with maracas and a sort of jazzy affair. Dave really steps to the forefront with the bass here, as well as some really good organ work from Ryo. This part of the track is a lot of fun, even if the story is a bit grim. "They Know We Know" is my favorite part of the track, it's a melodic rocker, with some of the best vocal melodies on the album. There's just something about how Nick sounds here, that makes this my favorite NDV vocal of all time. The four part suite ends with some playful instrumentation, with the entire band seeming to have a lot of fun. "Stream of Unconsciousness" is one hell of a way to take out a prog-rock epic, even calling back "Dreaming In the Age of Answers" towards the end. Just another great track, from a great band. 

Spock's Beard: X

10-Jaws of Heaven (X)

"X" would turn out to be the last Spock's Beard album to feature Nick D'Virgilio as the lead vocalist, and the entire album almost feels like an NDV highlight, as he turns in some of the best vocals of his era of Spock's. Saving the best for last, "Jaws of Heaven" is my favorite NDV era SB tune, and a top five song overall. It starts beautifully melodic, with some pretty guitars, and a really sort of smoky vocal performance. Add in some mellotron to that, and the intro is absolutely fantastic, and it doesn't let up for its 16+ minute length. Some piano brings us into the next section, and it's some really killer instrumentation that keeps the songs momentum up, with Ryo really shining on the keys here. As the vocals kick back in, the song is an upbeat rocker, with some amazing vocal melodies, and guitar work. Everything here just goes so well together, it really is an expertly written tune. After a truly bombastic instrumental section, the song takes on another tone, and creates a really cool vibe, with some very nice key work holding it all together. Finally, as we head into the last section of the song, my favorite part of the entire album, we're treated to what I find to be some of the finest vocal melodies ever written. Add to that the fact that the music is so melodically beautiful, and you can see why I love this tune so much. This section of the tune is worth the price of the album alone, for me. The wonderfully chatoic instrumental section that follows, takes out the song, the album, and the D'Virgilio era of this fantastic band. Ten out of ten, on album ten. Say that ten times, fast. 

Spock's Beard: Brief Nocturnes And Dreamless Sleep (Limited Edition)

11-Waiting For Me (Brief Nocturnes And Dreamless Sleep)

Here we are in a new era of Spock's Beard. Not only is the music decidedly different on this album, but so are the vocals. Enter Ted Leonard (you may remember him from the amazing prog-rock outfit, Enchant), to take us through an album of some really killer prog-rock. As I said, the sound of the band is different, but not in a bad way. There's a lot of growth here, and it only gets better with each album. There is a lot of great material on this album, but my favorite is the epic, melodic track, "Waiting For Me". Once again, saving the best for last, this song has some of the best melodies on the album, both musically, and vocally. There's some really wonderful guitar playing, the keys sound great (just dig that organ work), and the vocals are just perfectly done. There's a guitar solo here that shows Alan Morse channeling his inner David Gilmour, while also making it his own, and it works so very well! Coming out of the guitar solo, we're treated with one hell of a cool guitar/keyboard solo battle, that just never ceases to amaze me. And though I forget to mention it sometimes, the rhythm section is just amazing, as always, with Dave really shining on the bass guitar. And if I've said it once, I've said it a million times, Alan really knows how to play a song out, with some of the best guitar playing of the song running out the grooves of this album. Though this isn't my favorite Ted Leonard fronted album, it's a damned good addition to this band's amazing catalog.

Spock's Beard: The Oblivion Particle (Limited Edition)

12-Hell's Not Enough (The Oblivion Particle)
For their second album with Ted Leonard, Spock's continue in the same vein as the previous album, and for me, the results are better this time around. This is a fun album, and the track "Hell's Not Enough" is my favorite of the bunch here (edging the Jimmy Keegan led track, "Bennett Build A Time Machine" out, just barely). Kicking off with some acoustic guitar work, we're led into some pretty music, with Ted singing this pretty section wonderfully. It's such a beautifully opening to a melodically fantastic song. The song does pick up, and becomes quite the rocker, with some killer guitar, and keyboard work. The vocal melody, as usual, is what keeps bringing me back to this one. I'm a sucker for a well written vocal performance. At less than six and a half minutes, this may be one of the shorter songs on this list, but there's just something so infectiously fun about the song, that I can't help but include it here, as the favorite from the album.

Spock's Beard: The First Twenty Years

00-Falling For Forever (The First Twenty Years)
Normally, I would not add a compilation here, but there is one really big reason why I did so this time. Sometimes when bands do a compilation, they'll uncover something, or even do a new track. And being a completist, this usually helps me justify the purchase. It is for that reason, that I had to have this on my list. Not only is there a new tune on this album, but it's a "reunion" track, bringing all members of Spock's Beard, past and present, together for what has become my favorite Spock's Beard song of all time. Now, it's no surprise that the track is a long one, as Neal Morse wrote this. Neal is the king of the epic track, and this song is no exception. Not only do all three Spock's vocalists sing on this masterpiece (and they all three sound just incredible), but both drummers also have a sort of duel, over an amazing instrumental section. Hearing Nick and Jimmy trade off drum fills, while the rest of the band fill out a truly spectacular instrumental background is something I still thank God for. To think that not only did Neal have to write another amazing prog-rock epic, but he had to make sure all band members had their chance to shine... I wish I could have been a fly on the wall for that writing session! If I had only one wish here, it would be that they do an entire album with this line-up, as I believe that the band could definitely catch lightning in a bottle, and have a full disc of epic tunes like this. I'm getting goosebumps just writing this, as it plays in my headphones. The instrumentation, the vocal melodies, the heart, and the soul that are in this track are the exact reasons why Spock's Beard will always be one of my very favorite bands of all time.

Spock's Beard: Noise Floor (Special Edition)

13-Beginnings (Noise Floor)

Released in June of 2018, this is (at the time of this writing) the final album in SB's discography. I don't think will hold forever, but how knows these days. As such, it's so cool to have Nick D'Virgilio back in the band, as a drummer only. Though, I do find myself wishing his vocals would have been used more here. Thankfully, Ted turns in a fantastic vocal performance, as always. "Beginnings" is the end of the album proper (there is a bonus disc of four cuts), and is my favorite on the disc. At 7 1/2 minutes, this tune is the longest song on the album, and is a progressive rock masterpiece. The first verse feels like we joined an epic prog tune already in progress, sort of like Genesis' "Firth of Fifth". Most songs end this epic, this song starts epic, and never lets up. I'm pretty sure that Ted Leonard turns in one of his greatest vocal performances of all time here. We're even treated to some vocals from the wonderful Nick D'Virgilio, which just makes this tune that much better, and the absolute best track on the disc. This track may rival "Jaws of Heaven" for me. I'm just floored at how Ted and Ryo wrote an entire 7 and a half minute tune that sounds like the epic outro of a longer song. This is definitely writing at its best. And will this be the last Spock's Beard song? Only time will tell, but I really hope not.

Rob's Album Deep Dive: Black Sabbath

 

Black Sabbath are arguably one of the greatest bands to ever write, and perform. They have had many hits (just check out all of the compilation albums!), and have also had many line-ups. But through it all, they have legions of fans who will swear by the band, whether it be just their favorite line-up, or their entire catalog. And through all of this, and though this pains me to admit, I know very little outside of the Dio led line-up. Today, I decided to change that, and play their albums in order, from start to finish. And while I'm not going to review the entire album, I am going to talk a bit about what I find to be my favorite song from each album.

Before I get into my album picks, I did have one rule: I'm not allowed to pick a song that I already know well. Now for the most part that will be easy. I know nothing about the later 70's Ozzy albums, nor do I know anything outside the Dio albums (outside of "13"... I love "13"!). Other than that simple rule, I simply chose the song that piqued my interest the most. The song that will help me come back to the album and get to know it better. 

It's December, 19th of 2023, as I start out on this marathon. While listening to each album, I will keep track of which song I like the most, then dump each track into a playlist. Once I've played all of the albums, I will re-listen to my playlist, and talk about what it is that made me choose the track as a favorite. This should be fun. By the time you read this, I will have finished listening to all of the studio albums. This should be fun. I'll see you on the back-side!

01-Black Sabbath (Black Sabbath)
Right off the bat, I break my own rule here. I do know the debut album pretty well, so when choosing my favorite song from this album, I got to pick from the full disc. As such, the self-titled song, the introduction to the band, is my favorite track on this disc. It's heavy, sluggish at times, and plods through some really cool moments, before the tempo picks up, and finishes with some killer guitar work, and a driving rhythm section that had only just begun to show the world what they could do. This was the perfect album opener to show where the band started, and where they were going to go.

02-Hand of Doom (Paranoid)
Sometimes it really does seem like I latch on to the longer songs on albums, and at just over seven minutes, this song fits the bill. It starts off with some drums, bass, and vocals, before guitars join in. This is another one of those sluggish tunes at the quieter bits, but the heavier parts really propel this song into something special. The guitars just continue to prove how great Tony Iommi was/is. After a couple of minutes of intro, things really kick into high gear, and this song become a great bit of fun! If I have any gripe, it's that the bass could have been louder in the mix, but maybe they mixed it that way because it would have stole the show otherwise. I'm not sure why this song isn't more well known, as I find it to be the best song from the first few albums.

03-Lord of This World (Master of Reality)
Once again, with this track, it's obvious that Geezer is a damn beast on the bass guitar. For me, it's the bass and vocals that really shine on this track. Though the verse guitar riff is actually really cool. I love the vocal melody on this track. The instrumental sections are further proof that this band was delivering the goods, even in their earliest days. And that bass?! I can't say enough. So damned good! Thankfully, it's higher in the mix this time around! Musically, this tune is pretty heavy as well. They could really weave together some great ideas, and turn in one of a great song, that again, I can't believe hasn't been all over the radio. Great track!

04-Wheels of Confusion / The Straightener (Vol. 4)
It seems like this time around, Tony wanted to be the absolute star of the show. This song has a sort of bluesy, metal feel to it. And while I love the vocals here, they weren't absolutely necessary, as the music is pretty damned perfect on its own. The song goes through a few different feels, from that plodding, sluggish metal sound, through to the heavy blues. To be fair, the Ozzy delivers a fantastic vocal track that really elevates the tune. I'm only saying that I could see it as an instrumental. The second section of the tune, where the instrumental bit starts, has some amazing drum work. It may be among the best instrumental writing I've heard thus far in my Sabbath marathon. It's such a cool section of music. When the vocals kick in, it feels almost a bit to chaotic for a moment, but I guess that's part of the charm. There are some guitar ideas that I feel would have been cool to be expanded on, but other than that, I really like this one. 

05-Spiral Architect (Sabbath Bloody Sabbath)
With this track, I had to play it three times in a row. Previously "Killing Yourself To Live" was going to be my favorite from this album, but once the acoustic intro of "Spiral Architect" kicked in, I knew I was going to love this track, and I was right! The music is melodic, and heavy, and pretty much everything I love about music. The guitars are just perfect, and the strings add a whole vibe that I just love! I may even say that this is my favorite Ozzy vocal performance ever. There's a depth here that I don't think I have heard up until this point. Every moment of this track is just epic! This one is a brilliant tune!

06-The Writ (Sabotage)
I don't know what the creepy damned laughing and crying that brings this track in is, but it is going to give me nightmares for years. Thank goodness for the bass guitar taking over, and it's such a cool riff. And then suddenly, out of nowhere, the band kicks in. Ozzy sounds fucking killer here, singing it such a high register over that bass line, some killer guitar, and amazing drum work from Bill Ward. The vocal melody here is Ozzy at his best. I can't say enough about that bass work in the quiet bits. It's got a great feel, and tone that pushes this song forward into some really great areas in the first section. The next section of the song brings a completely different feel, which is what I'm finding I love about the band. By the time we get five minutes in, there have been three completely different moods to this song. I know it's metal, but damn it feels like prog! This was the perfect end to an album that I think enjoyed the most so far.

07-Dirty Women (Technical Ecstasy)
This song is another one of those sluggish metal tunes that the band is so well known for. The band are working so well together here, forming one hell of a great tune. Once again, it's a longer song, which is clearly my thing. I love the guitar work under the vocals here. Tony really seems to know how to write guitar parts that steal the show, while still letting Ozzy deliver a great vocal performance. Once again, I feel like there are times the bass could have been turned up a bit, because I just love he's doing here. This song could have sat nicely on rock radio, as once again I find that I like it better than any of the Ozzy fronted songs that the radio has played to death over the years. There is an amazing instrumental section, that would have just melted the faces off of the typical listening audience. Whoever slept on this song should have been fired! 

08-Junior's Eyes (Never Say Die!)
The intro to this song is very unlike much of the previous catalog. Just some bass, and drums jamming out, before the guitar comes in, very sparsely, with a really cool riff. The vocals come in over this almost jam section, before the song really kicks in, with a very melodic chorus section. At first I wasn't sure that this was going to be my favorite song from the album, and I had to take another listen. There's a lot of stuff going on here, and I love it. The bass guitar is stellar, as to be expected, as are the drums and guitars. However, I think it's the vocal performance (particularly on the chorus) that really steal the show for me on this track. Although that instrumental section may be among some of the greatest writing that this band has ever done. Again, how was this one not a huge hit?!

09-Heaven And Hell (Heaven And Hell)
I know the two DIO fronted albums very well, so I can add the more popular songs back into my choosing pool. As such, the title track from this album, though the very obvious choice, is my choice. Everything about this song is just perfection: the bass line is killer, the drums are played with precision, the guitars are crunchy, and the vocals... well, Dio was arguably one of the greatest vocalists of all time. There are peaks, and valleys here, the quieter, and more melodic moments are great, but the heavy sluggish vibe of the tune is just perfect. And let us not forget what may be among the greatest instrumental sections any band has ever written. Pure genius! This has always been my favorite (brief!) era of the band, and so far with my run-through of the discography, I stand by that decision. Dio led Sabbath was just magical.

10-The Sign of the Southern Cross (Mob Rules)
This tune kicks off really pretty. Bass, acoustic guitar, and the smooth sounds of Mr. Ronnie James Dio's vocals. When new drummer, Vinny Appice (an absolute beast of a drummer!) comes in, this song really kicks into high gear. It's still that sort of sluggish metal during the verses that Black Sabbath had become to be known for, but with Dio at the helm, for me, it's just better. Every song on these first two Dio albums are fantastic, so it was hard to pick a favorite from this album. There is a really cool vibe hiding beneath the vocals during the verses that I just love. Apart from the vocal melodies, which are just amazing on this tune, the band are playing so damned well, that it's hard to believe that this would be the last album with Dio for a while. And if I could also say, as far as instrumental breakdowns go, this is the best song in the entire Black Sabbath catalog, in my opinion. Absolutely classic!

11-Born Again (Born Again)
Okay, this album is completely unlike anything in the band's back catalog. It feels less like their brand of doom metal, and more like a thrash album. Even down to the vocals of Ian Gillan (Deep Purple). I like the music a lot, but it just doesn't feel like Sabbath. In fact, it was never meant to be a Sabbath album, but that didn't stop the label from forcing it on them. That being said, there are some great tunes here, but the title track is my favorite. It's less thrash, and more of a metal style ballad. The vocals are less harsh here (for the most part), and the guitars feel more like Tony Iommi than elsewhere on the album. The vocal melodies are great, and compliment the instrumentation beautifully here. Upon first listen, though the production is a bit difficult on the album, this was the first track that really jumped out at me (although "Digital Bitch" was pretty cool). Perhaps the entire album needs repeated listens. I'll get on that!

12-Heart Like A Wheel (Seventh Star)
"Seventh Star" is another album that wasn't meant to be a Black Sabbath album, but a solo album from guitarist Tony Iommi. Once again, the label had other ideas, and this Glenn Hughes fronted album become another oddity in the Black Sabbath catalog. There is some great music here, and "Heart Like A Wheel" is, in my opinion the best of the bunch. Here, Iommi married blues, and metal beautifully. With a wonderfully emotive guitar performance, and vocals from Hughes, this tune is one hell of a great song, and probably the best song from Black Sabbath since Ronnie James Dio was in the band. At least, that's my opinion. The rhythm section, though not as strong as a rhythm section with Geezer and Vinnie, does feature the great Eric Singer (Kiss) on drums. Overall, though it's not quite up to snuff with earlier albums, I found this to be the best of the bunch on a very good album.

13-Eternal Idol (Eternal Idol)
After the obvious effort to change their sound, listening to Black Sabbath's "Eternal Idol" album was a breath of fresh air. This is more my speed, as far as music is concerned. I couldn't pick out a bad song on the album. This is the first album with Tony Martin on vocals, and I just love it. The title track was the biggest stand out, with it's sort of quiet and sluggish music creating such a great vibe on the verses. The vocal melodies are just fantastic on this tune, and really bring back images of Dio. It is a bit odd that the title-track closed the album, but it's easy to see why. This was a great closing track, and may become one of my favorite Black Sabbath tracks!

14-Nightwing (Headless Cross)
"Headless Cross" is the second album with Tony Martin on vocals, and the second album I had trouble picking a favorite, from so much great material. In the end, I went with "Nightwing". This song is a hard-rock, and melodic masterpiece. The music is somehow both heavy, and really quite beautiful. There is some fantastic acoustic guitar work, some orchestration adds some extra depth, and the rhythm section delivers just an amazing performance. Vocally, this my be my favorite Tony Martin song so far. He sounds just phenomenal, delivering vocals that serve the music just beautifully. Again, this song may end up among my favorite of Black Sabbath tracks.

15-Feels Good To Me (Tyr)
I was reading up on the "Tyr" album on, and saw that the band don't exactly think this song should be on the album. However, I'm glad that it is. I'm a sucker for a ballad, or a power-ballad in this case, and this song is just fantastic. The music has a bit of crunch, but it's so emotive, that the melodically driven vocals just fit this tune so good. Every instrument is just in tune with the others, and the guitar solo is perfectly written, and goes so well with the tune. I'm really loving the Tony Martin era, and will need to listen to the albums further, but this tune is my favorite from the album upon first listen.

16-Too Late (Dehumanizer)
A reunion album for the "Mob Rules" line-up of the band, this album is considered to be the heaviest Black Sabbath album. Indeed, there are a lot of real "balls to the wall" tunes, but for me, though it is pretty heavy, it's the melodic metal of "Too Late" that comes out as my favorite song here. Yes, the music is still pretty metal, and Tony is doing some really cool shit with the guitar, it's the vocal melodies of the newly returned Ronnie James Dio that really makes this song special. Although the instrumentation is just as melodic. To me, this is probably a top ten favorite in the Black Sabbath catalog. There's a vibe created in the quieter parts that just pulls me in with every listen. Such a fantastical song.

17-Virtual Death (Cross Purposes)
With Dio and Appice gone once again, Tony Martin has returned to the fold as the vocalist on this album. And as I expected, I love every song on the disc. There were two tracks that really pulled me in: "Virtual Death", "Cardinal Sin" and "Dying For Love". But I have to pick one, and I went with "Cardinal Sin". There's a sort of "Kashmir" (Led Zeppelin) vibe here, but heavier. This a mid to fast paced tempo song, with some crunchy guitars, and heavy (and yet still very melodic) vocals, and some amazing drum work. The guitar solo may be some of the best work I've ever heard from Iommi. I may almost call this tune the best song since "Mob Rules". Great stuff! The fact that I had to pick from three different tunes as a favorite definitely means that I'll be coming back to this album again, very soon. 

18-Kiss of Death (Forbidden)
I don't know that I enjoyed this album as much as the previous Tony Martin albums. There were a few stand out track that I did really enjoy. The best of that bunch is a tune called "Kiss of Death". This song feels almost like a power-ballad, but it's that mid 90's hard rock tune that relies on a very melodically driven tone. The verses here build on a sort of creepy vibe, that I just really enjoy. I think it propels the vocals beautiful. At about the four minute mark, the song really picks up, and turns into something that just really rocks. The guitar riff is punch as hell, and works beautifully with the vocal melody. The drums are really doing something special here as well, making this song the stand-out on an album that I'm sure I'll need repeated listens to really appreciate.

19-Follow the Tears (The Devil You Know)
Okay, so I know that this isn't exactly a Black Sabbath album. But, hear me out... it is. This is the "Mob Rules" line-up, back for one more platter of their brand of doom metal, badassery. The fact that the band name is different doesn't really matter. Look at some of the albums with only Iommi remaining. This disc is all Black Sabbath, as far as I'm concerned. With Ronnie James Dio back as the vocalist, this album is another hard one to pick a favorite album. Especially considering that it's second only to the "Heaven & Hell" album for me. The standout track here, for me, is "Follow the Tears". It's everything I love about a good song: It's chaotic (the guitars, working with the strings is just phenomenal), the tune has an amazing vocal melody (clearly that's a huge selling point for me), and it's a melodic-metal song. Add to that, I'm pretty sure this song has one of my favorite guitar solos in the band's entire catalog. On an album full of great music, this is the outstanding best of the bunch, for me.

20-Dear Father (13)

And now, for Black Sabbath's final trick, watch as Ozzy, & Geezer magically re-appear! It's no secret that Ozzy has never been my favorite of Sabbath's front-men, but this is a damned good album. I find it interesting how they were able to bring back the vibe of the Ozzy albums of yesterday. The best results of this reinvigorated sound shows up best for me on album closer, "Dear Father". It's that sort of hard rock, sluggish tone that really makes this final track on the final Black Sabbath album really cool for me. The guitars are just chugging along, with some really killer riffs. The bass, though a bit low in the mix, is expertly played, and Ozzy sounds just fantastic. What a great song to say goodbye to a career with. Some very cool moments in this song make it among my favorite Ozzy led Black Sabbath songs.

And here were are, early morning of December, 24th (Christmas Eve). I can't believe it only took me about five days to get through this list. There was some great music to be heard here. And while the Dio years remain my favorite albums from Black Sabbath (all four of them), I learned that Ozzy is not my second favorite Sabbath front-man, but rather Tony Martin is. Don't get me wrong, I love Ozzy, but I prefer the more melodically driven vocalists. 

Anyhow, thank you for reading. I appreciate it. Have a very Merry Christmas (if you celebrate that kind of thing. I do, though I don't really believe in this Jesus bloke).

Toodles, 

Rob