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

Happy International Rush Day

Made with an AI program. Isn't it glorious?

Join me, my friends, in wishing everyone around the world a very happy International Rush day!

As any Rush fan will know, the band's fourth album was an epic recording called "2112". The first half of the album being the title track, and side B being five shorter tunes. The album would prove to be the album that would bring Rush to new fans all around the world. 

Side A, the title track, is a seven part suite, that tells of a dystopian future where there are halls filled with great computers, ran by an elite bunch of priests with sticks up their asses. These priests inhabit the Temples of Syrinx. The story follows an un-named hero who discovers an acoustic guitar, and brings this wonderful invention from the past, to share it with the Priests. As you could probably already guess, they hated it, and smashed the guitar to hell, leaving our hero sad, and depressed. Our fearless hero hides out behind a waterfall, and dreams of a better world. A world full of music, and wonder. A world that left him wanting to leave this one behind. The track ends with the previous inhabitants of the planet returning back home, hopefully to send the priests into obscurity. I'd like to think the priests are still out there, somewhere. Plotting. Watching. Waiting.

The second half of the album contains lyrics from all members of Rush. This is the only time that that happened in the bands entire career, where each member takes credit for an individual lyrical contribution. A chore that was Neil's for most of the bands records. 

"A Passage To Bangkok" is a drug fueled journey around the world, to finally stop for the best marijuana that the world had to offer. This tune would become a well known fan favorite, especially in certain circle. The next track, "The Twilight Zone" is a nod to Rod Serling's show of the same name. In fact there are a couple references to specific episodes here. "Lessons" is the only track in the band's catalog that has sole lyric credit going to guitarist Alex Lifeson. It's a very heavy tune, and one of my favorite Rush songs. In complete contrast, the Geddy Lee penned track, "Tears" is one of the most beautiful songs in the band's catalog. And dig that mellotron! Finally, the album ends with another hard-rocker, with probably the smartest lyrics Neil ever wrote, a tune called "Something For Nothing". 

So you're probably asking yourself what any of this has to do with "International Rush Day". Well, for most of the world, when you write the date numerically, it is in the DD/MM format. Thus making the date for today "21/12". So for the Rush fan in your life, it is the most wonderful time of the year.

So for one last time, I wish you all a very Happy International Rush Day!

Kiss: Largo '79

 

Today, I pulled out my "Kissology, Vol. 2" box set, getting ready to head to Australia for the "Unmasked" tour, when I noticed the bonus "Largo 1979" show. Now this was good news, as this has been my favorite live Kiss show for years.

Recorded in Largo, Maryland on July 7th, 1979, this is one hell of a fun show. This was Kiss at their best, and also right before the beginning of the end. This was the tour that things fell apart, and Peter Criss was ready to exit stage left. Not only were the band touring in support of their newest studio platter, "Dynasty", but they also had four solo albums to fit into the setlist. Songs that, for the most part, wouldn't be played by the make-up foursome ever again.

First of all, this is not the entire show. Thankfully, it's close (although it's a pretty big bummer that "2000 Man" wasn't included. What a great Ace led song!), as only a few songs are missing. Second is the sound. If you aren't a fan of less than perfect audio recordings, then maybe this show isn't for you. It's a hell of a lot better than a lot of the shows I've listened to, but it is far from perfect. But for me, that doesn't detract from the fun of this show.

Right off the bat, the set is missing the first song, "King of the Night Time World", so we kick right into "Radioactive" from Gene's solo album (one of the only tunes I like from his album). It would have been cool to have the creepy ass intro to the track, but that would have killed the momentum of the live show. It's a decent rendition, that segues right into "Move On" from Paul's album. Not my favorite song on the album, but probably the best choice for a Kiss show.

Following the two solo tracks, we're treated to a couple Kiss staples ("Calling Dr. Love", and "Firehouse"), before heading back into solo territory, with the biggest single from the four albums, and Ace Frehley's rendition of "New York Groove". It's clear that the band is having some fun with this one, as Ace calls out some famous places in New York. Again, the next couple tracks are Kiss tunes; the brand new "I Was Made For Lovin' You", and the title track to 1977's "Love Gun" album, before moving on to a song from Peter's solo album.

Now, I must say that I couldn't really imagine a song from Peter's solo album fitting well into a Kiss live set, but the band did a pretty good version of "Tossin' And Turnin'". I love Peter's album, but it's not really rock. The album is more of an R&B album. Still, I love that they included it in the live show. It shows that at one point they could all work well together. Sadly, this song was played at less than half of the shows on the tour.

After that, it's Kiss hit after hit. Gene delivers the goods with "God of Thunder", then it's time to "Shout It Loud". After that is one hell of a performance of "Black Diamond" from the debut album. In fact, it's the only song from that first album in this set (where in the hell are "Strutter" and "Deuce"?!). "Detroit Rock City" should have led into "Beth", but that tune is cut from the DVD. The set ends with "Rock And Roll All Nite", and while it's far from the best live version of this Kiss Klassic, it's a pretty good performance. Although, and I may be nuts, but it seems the tempo is off musically, and Gene doesn't quite notice this vocally. Again, maybe I'm nuts there. Who knows? He definitely screws up the verses, but that's rock 'n roll!

Overall, I love playing this show. It shows the band just before the final implosion of the original band, but you can't tell that from this performance. They are firing on all cylinders, and give quite a fiery performance through an hours worth of material. Maybe some day we'll get an official release of the entire show, but if that day never comes, this DVD is well worth the money you'll have to shell out to own this bit of Kisstory.

Rob's Top 10 Albums of 1978

 Hello, everyone, it's Rob here. Again. I am very much a lover of all things music (mostly rock), and so today, I thought I would give you my top 10 favorite albums released in 1978 as my first full blog post on this page.

1978 was a year where music was doing pretty damned good. There is a huge wealth of music that came out of '78. Some of my favorite albums of all time, actually. I can't even tell you how many albums I'm going to miss. However, I have to choose the top ten, or we could be here all day. With each album I choose, I'll leave some notes, and my favorite track from the album. You know, to make this a bit more interesting. I'm sweet that way. I'll go from my #10 pick, to my #1. This should be a wild ride!

Peter Criss

#10 - Peter Criss: 1978 Solo Album

To be at the bottom of this list is kinda sad, as I love the hell out of this album. However, it did finish much higher than Gene Simmons' solo album from the same year. An album that would probably sit fairly close to the bottom of all albums I enjoy from '78. Anyhow, Peter Criss stepped way out of the Kiss comfort zone for this album, and turned in something very jazzy, and completely unlike anything that Kiss had ever done. Peter may have taken a lot of crap for this album, but I love it. There is some tasty music woven through this album, and it's one I also enjoy whenever I come back to it. My favorite track from this album is closer "I Can't Stop the Rain", with quite possibly my favorite Peter Criss vocal performance of all time.

ELP: Love Beach

#09 - Emerson, Lake & Palmer: Love Beach

By the time ELP got to 1978, they were done being a band. From what I've read, they didn't even want to make this album. They were sort of forced. And while the album cover is absolutely atrocious, and not all of the music contained within' its grooves were up to par with the previous ELP studio work, there is a lot of great music on this sadly passed over album. For fans that don't know this album, I do believe you are missing out on some great music. In fact, I believe "Memoirs of AN Officer And A Gentleman" to be up to par with a lot of the band's previous work. I guess that's why it's my favorite track on this album. Still, that doesn't mean there are other great tracks. Cheesy although it may be, the title track is pretty good, as is album opener "All I Want Is You", and "For You".

Jethro Tull: Heavy Horses

#08 - Jethro Tull: Heavy Horses

The middle of the folk rock trio of albums from Jethro Tull, this album is a wonderful platter of music. Lyrically, the album doesn't quite hold up to the previous album (a favorite Tull album of mine, "Songs From the Wood"), but there is some great stuff on the album. "No Lullaby" is just absolutely essential Tull, as is the title-track, which is my favorite on this album. This disc may not be as heavy, or quite as proggy as some of the other material in Jethro Tull's vast catalog of classic music, but that doesn't make this disc one you should pass over. In fact, I suggest you shell out a few extra bucks and get the "New Shoes" deluxe edition, that adds so much greatness, that you'll find yourself returning to this album many times, and still finding something you missed over the years.

Yes: Tormato

#07 - Yes: Tormato

1978 wasn't exactly the heyday of some of the bands on this list. In fact, by the time we get to 1978, Yes had seen several major line-up changes. But for the second album in a row, the "classic line-up" crafted some pretty fantastic music here. And though "Tormato" may not be quite as good as its predecessor, it's still an album I come back to fairly often. From songs like "On the Silent Wings of Freedom", "Release, Release", and "Arriving UFO", there is much to like here. However it's album opener "Future Times / Rejoice" that is my favorite track on the album. Maybe the excess of the 70's were coming to end, but somebody forgot to tell Yes that fact. 

REO Speedwagon: You Can Tune A Piano...

#06 - REO Speedwagon: You Can Tune A Piano, But You Can't Tuna Fish

Okay, I know that this isn't the most metal choice, or even the most proggy choice for a favorite album from 1978, but I have always loved this album, from start to finish. This album was before the band started to try and churn out ballad after ballad. In fact, I think it was because of the mega-hit "Time For Me To Fly" that the band tried to turn to that ballad-type formula. Either way, this is just essential 70's rock here. There is so much to enjoy on this album, like "Blazin' Your Own Trail Again", "Do You Know Where Your Woman Is Tonight", the instrumental power house of "The Unidentified Flying Tuna Trot", and album closer, "Say You Love Me Or Say Goodnight." However, I'm gonna play it very safe and choose album opener, and one of the greatest rock songs ever written, as my favorite from the album, "Roll With the Changes". That instrumental section is worth the price of admission on this album alone. Like I said, essential!

Ace Frehley

#05 - Ace Frehley: 1978 Solo Album

For me to pick a favorite of the 1978 solo albums, it's a very difficult task. My top two are just so damned close to each other, that I often go back and forth between the two. Today, Ace finishes just a tiny bit below Paul's. And when I say "tiny bit", I really mean it. This album is absolute perfection in every way. I would have loved to have been a fly on the wall when Gene and Paul first heard this album. I bet they didn't know that the Space-Man had it in him. But here is proof... Nine tracks that have been so expertly crafted that nobody could deny Ace Frehley is, and always has been one hell of a songwriter. Even the fact that the biggest hit from the four solo albums was written by someone else, does not diminish the fact that Ace did one hell of a great job covering it. "New York Groove" is such an essential track. And while my favorite song on the album is an instrumental ("Fractured Mirror"), I can assure you that Ace sings his heart out on the entire album. Perfection!

Paul Stanley

#04 - Paul Stanley: 1978 Solo Album

Since writing my last review those many seconds ago, I'm wondering if I chose the correct order. That's how hard it is for me to pick between Ace and Paul's albums. However, if Ace was the band's best kept secret, Paul Stanley was, and always has been the real heart of Kiss. Of the four solo albums, Paul's is the one that could have been a full blown Kiss of the 70's album. It's got all of the elements of a perfect Kiss album. I guess that's why it comes as no surprise that Paul pretty much carried Kiss through many of the band's following albums. There are some of Paul's greatest vocal melodies on this album ("Tonight You Belong To Me", "Take Me Away (Together As One)", and "Goodbye".), as well as some of his best hard rocking tunes ("Move On", "Love In Chains"). If I had to pick a favorite from this album, I would have to go with "Take Me Away". It's just such a magical piece of Kisstory.

Styx: Pieces of Eight

#03 - Styx: Pieces of Eight

If I had to pick a favorite Styx album, it would come down to "Grand Illusion", and this platter of perfection, "Pieces of Eight". This album was at the peak of Styx's creative period, and contains some of the biggest hits of the bands career within' its grooves ("Blue Collar Man", "Renegade"). But it's the songs that have been "forgotten" that really hit me. Tracks like "Great White Hope", Queen of Spades", and the title track should have never found their way out of a Styx setlist. Each track is somehow better than the last. This was back when the band were all in total sync, and churning out some of rock's greatest music. And while we'll never get an album like this from Styx again, they are still creating some damned fine music, by using the template of this amazing release, from 1978.

Jeff Wayne's "War of the Worlds"

#02 - Jeff Wayne's Musical Version of "War of the Worlds".

I remember way back in my childhood, when my dad brought this album home one day. I can remember staring at the artwork (both the cover, and the huge, expansive insert), and being mesmerized at the presentation of the album. The entire package left its mark on me, and is the presentation that has been the benchmark against any well presented album for my entire life. The artwork, and the way it was done was just so amazing. Then of course, there's the music. This album is symphonic, hard rock, and just about one of the best albums ever written. The story, delivered in both narration, and vocals, is just an incredible ride, and great interpretation of the original HG Wells masterpiece. I'm not going to pick a favorite song for this one, but rather a favorite album. This is a two album set, and the first album is just flawless from start to finish. Like I said, it's a masterpiece from start to finish. No music fan should live their life without hearing this one!

Rush: Hemispheres

#01 - Rush: Hemispheres

Anyone that knows me, knows that this was going to be my number one favorite album of 1978. In addition to being my favorite album from '78, this one is damned near my favorite album from Rush. If I were pressed to choose right now, I'd say it comes second only to 1993's "Counterparts" album. The entire album is only four songs. Side A is the most epic, and arguably ambitious side long piece that Rush had ever written. "Cygnus X-1: Book Two - Hemispheres" is such a lyrical, and musical feast, that it's easy to see why it's my favorite track on the disc. Side B is pretty amazing too. Of course, everyone knows "The Trees", and "La Villa Strangiato" (possibly the greatest instrumental ever written), but "Circumstances is one of those Rush songs that should have never fallen through the cracks. It's a good thing the band dusted it off after nearly thirty years, and played it for crowds everywhere, on their "Snakes & Arrows" tour. A definite highlight of the show for me.

And there you have it, kiddies, my top ten favorite albums from the year I was conceived. And this is just the tip of the iceberg, as far as albums released in '78 is concerned. The 70's were a great damn time for music. And though I existed for less than five months of it, I can still appreciate the genius of the time. Maybe it was the fact that there were less chemicals in our food then, or maybe it's because people had more time, and money, or maybe it could even be the fact that the internet gave birth to Napster, and ruined music as a business, who knows? But either way, I don't think we'll ever have years like this again. At least, not many.