Twisted Sister -- 'Live at the Astoria' CD/DVD [review]

Twisted Sister - Live at the Astoria [CD/DVD]
Demolition Records (11/18/08)
Hard rock / Metal (Glam)

While never the most prolific metal band out there, Twisted Sister has somehow become one of those bands from the '80s that is regarded as somewhat legendary on the strength of a handful of popular tracks.

Live at the Astoria plays out as a greatest-hits collection, with a solid sampling from the group's back catalogue. The recording is fairly crisp, with hardly any crowd interference (which you'll either like or dislike depending on what you're looking for in a live album).

And for the fans, there's little missing from this set. The band cranks out particularly rousing versions of "The Price", "Ride to Live (Live to Ride)" and "Under the Blade", closing out the festivities with a killer version of "I Wanna Rock" before a somewhat lackluster encore. Ending things with "S.M.F." is one thing, but the two-song set starts with the questionable "Come Out and Play" purely in an attempt to get the crowd to chant along with the Warriors-inspired "Twisted Sister ... Come out and play!", which, judging from the crowd noise, never quite takes off as the band might have hoped.

The rest of the set is pretty straight-forward. "The Fire Still Burns" ... "Like a Knife in the Back" ... "The Kids are Back" ... "Shoot ‘Em Down" ... the hits keep coming hard and heavy. The biggest surprise is that the band seems to sleepwalk through its biggest hit, "We're Not Gonna Take It", which lacks that certain spark that you'd expect from a live version.

This package includes a DVD of the same performance that, except for possible nuances, is pretty much a video translation of the concert—I say nuances because at least during "We're Not Gonna Take It" the band stops mid-song as Dee Snider goes off on a rant about an "unnamed" record executive that dismissed the song after it was recorded and prior to release. Post-rant, the band kicks back into the song for another minute for a crowd sing-along. You could appreciate the sentiment, except the audio is badly chopped (read: censored) to protect the identity of said executive Snider refers to by name. This entire exchange is happily missing from the CD.

The show was recorded back in 2004, but there's no clear reason as to the four-year delay in release since there are no bells and/or whistles to accompany the show. So, what you ultimately have is a bare-bones glimpse at a rock band doing what it does best—more than 20 years since its inception—rocking an audience into a frenzy.

Early Man -- 'Beware the Circling Fin' [review]

Early Man - Beware the Circling Fin [EP]
The End Records (10/14/08)
Metal (Thrash)

Throwing Early Man's latest EP onto the stereo is like activating a time machine. The band somehow manages to perfectly encapsulate the raw energy of Metallica's Kill 'Em All and other early thrash pioneers and, in doing so, they accomplish two things. First, Early Man refuse to fall into the trap of attempting to inject any modern element to the sound. But secondly, and more importantly, they do this without coming across as an homage or novelty act.

Instead, Early Man has basically constructed an album that should have come out in 1983 instead of 2008. From the catchy, thrash bliss of "Sinking the Knife" to the Priest-inspired wails on "Coiled Like a Snake", it's clear the band has a firm grasp on crafting a classic... well, something that sounds like a classic. But it's the title-track that most captures the best of what Early Man has to offer —driving riffs and cymbal-heavy drumming with soaring, lo-fi vocals crushing together into a mid-tempo, sludgy heap of metal. And just for kicks, the short set closes out with the punk-inspired, minute-and-a-half "Suck Me Dry".

It's clear this is just a taste of what this three-piece outfit has to offer. With another full-length on the horizon, fans may do better to wait for that. But for a nice, albeit brief, re-introduction to the band (it released an EP and full-length in 2005 as well), or for fans of classic thrash in general, you won't go wrong with Beware the Circling Fin.

A closer look at Chinese Democracy [opinion]

[Note to readers: Given the history of this album, combined with my own feelings on Guns N' Roses, Axl and this album, there was no way I could tackle Chinese Democracy as a straight-forward review, hence the column format. Enjoy...]




Guns N' Roses - Chinese Democracy
Geffen (11/23/08)
Rock

Close to a decade-and-a-half in the making, Guns N' Roses' latest effort, Chinese Democracy, finally hit shelves over the weekend. But even before its release, the album had managed to polarize a listening public.

First off, most of the album had been leaked in some capacity over the past handful of years. Demos or live versions of songs had been traded and posted all over the Internet.

People either loved the songs or hated them. Then again, people were either going to accept or dismiss this album either way, what with frontman Axl Rose being the only original, founding member of the band left, holding down the fort with keyboardist Dizzy Reed and a handful (or more?) of other musicians.

Warbringer -- 'War Without End' [review]

Warbringer - War Without End
Century Media Records (02/05/08)
Metal

It’s 1985, and you, being the metal head that you are, pull out your box of tapes from the back of the closet, album after album of speed and thrash strewn before you . Look, it’s Slayer’s Hell Awaits. Hey, Megadeth’s Killing is My Business … and Exodus’ Bonded by Blood. There’s probably a copy of Anthrax’s Spreading the Disease and Overkill’s Feel the Fire in there, too. And no doubt a worn copy of Metallic’s Kill ’Em All (most probably a copy off a friend).

If any of those albums were in your collection, it wouldn’t be a surprise to see War bringer’s debut War Without End in there, too. Well, except for the fact the album was released in 2008.

But enough with the analogy. If you’re a fan of any of the abovementioned bands; If you’ve owned any of those albums or heard a song off of any of them, then you know what Warbringer sounds like.

Solos galore, crushing riffs that just tumble over one another and drumming that bears down on the listener like a freight train. And don’t forget those snarled vocals that are so pissed-off there’s no need for the singer to scream.

Warbringer seems more than willing to wear its influences on its sleeve, so much so that chunks of the album (moments in the songs) sound like they were lifted right out of 1985. It’s likely not thievery, more of an homage, but it stills hinders the band in that nothing on the album sounds particularly inspired or new.

Sure, “Hell on Earth” is a terror, the riffs on “Shoot to Kill” are inspired, and “At the Crack of Doom” just crushes, so the band is sure to earn plenty of new fans. But any die-hard fan out there would rather pick up any of the (at least) 20 classics that were released in the mid-’80s instead. And that’s a shame, because Warbringer has crafted one punished metal album in War Without End. A definite two thumbs up for this debut, so dig out your suitcase from ’85, put on your tight jeans and denim jacket, and prepare to bang your head. This album is great as a one-off. One just has to wonder what the group could possibly offer for an encore.