Decades
Apart
The idea of Decades Apart is pretty simple. This year is 2016, so I’ll choose 5
different albums from 5 different decades, 1976, 1986, 1996, 2006 through to
the present day. Whilst these albums may
not all be considered classics, they’re certainly amazing records. I’ll share a little information about them
and hopefully you’ll check them out if you haven’t already. So let’s get started.
Rainbow – “Rising” (1976)
“Rising” is the second studio
album by the British hard rock band Rainbow, released in 1976 the album has been
hailed in some quarters as the greatest heavy metal album of all time. With only their second
album, “Rising”, Ritchie Blackmore’s
post Deep Purple
band created one of rock music's defining records. Despite playing a prominent role in the
development and introduction of heavy metal with Deep Purple, by the mid point of the 70’s Blackmore had quit and began to explore new possibilities
in heavy music with, Rainbow.
Unlike their debut, which was performed by Blackmore,
Dio and his previous band Elf “Rising” would feature a new band
consisting of bassist Jimmy Bain, keyboardist Tony Carey and drummer Cozy
Powell. This was viewed as the definitive line up and they would go on to
record “Rising” with Deep Purple
producer Martin Birch
“Tarot Woman”
the opening track of the album set the tone of the album’s ambitious nature and
the organic aesthetic carries throughout the tracks of side one with, “Run With the Wolf,” “Do You Close Your Eyes,” and “Lady Starstruck,” The album is perhaps
known best for the albums dual eight-minute epics, which dominated side two,
namely “Stargazer,” which is viewed
by many as Rainbow’s signature creation,
thanks to Dio’s
evocative supernatural lyrics and the rhythm and a central riff that originated
on a cello. The second epic track is “A
Light in the Black,” which many considered the obvious sequel to the “Stargazer” story, concluding the album
after mere 33 minutes. Unsurprisingly
then, “Rising” was a critical and commercial
success and voted the number one heavy metal album of all time by the readers
of British magazine Kerrang!
Ozzy Osbourne – “The Ultimate Sin” (1986)
“The Ultimate Sin” is the fourth solo studio
album by Ozzy
Osbourne. As the saying goes, there was no rest for wicked, and that
was perhaps no more apparent than the recording of this record, which was
recorded shortly after Ozzy check out of rehab.
Fortunately for Osbourne his bassist/right hand man
Bob Daisley (credited with writing much of his back catalogue) and guitarist
Jake E. Lee had been hard at work on a new set of songs while he was in rehab,
and these track would indeed form the basis of his fourth solo effort, 1986’s “The
Ultimate Sin”.
Being in the Osbourne camp was not without it’s
problems, indeed the recording of this album was no different. Lee, who for me is arguably the best guitarist
that has ever been in his band, had demanded a revised contract before agreeing
to contribute, after feeling cheated out of writing credit for 1983 album “Bark At The Moon” (Ozzy is credited as
writing the whole album) and Daisley would leave the band during the sessions, with
Phil Soussan hired to play his parts.
Despite Osbourne’s dissatisfaction with the record, I personally
feel the album is graced by some of Jake E. Lee’s best work, indeed it is considered by many
including myself that it was him that subsequent guitarists would model themselves,
with Lee including pinched harmonics for the first time, which would later
become his successor’s trademark, namely Zakk Wylde. Lee was unceremoniously sacked the following
year after the “Ultimate Sin” tour ended, and Soussan — who had his own disagreement
over songwriting credits with Osbourne — also exited, only for Daisley to
return and the introduction of new guitarist Zakk Wylde.
Corrosion of Conformity – “Wiseblood” (1996)
“Wiseblood” is the fifth album by Corrosion of
Conformity and the second album to feature
Pepper Keenan on vocals, released in 1996; it would see the band on the verge
of breaking into the big leagues of Rock and Metal stardom. Indeed the band would get picked up for a coveted
support slot with Metallica.
Released two years after their classic 1994 album “Deliverance”, the tone of “Wiseblood” was set instantly with the
crushing riff of “King of the Rotten”,
but features a succession of superb tracks including the Grammy nominated track
‘Man Or Ash,’ which featured a guest
appearance from Metallica’s
James Hetfield (uncredited). Released at
the peak of the band’s popularity, the mega-stardom that the album so richly
deserved never materialized
With Pepper Keenan on vocals and guitar, Woody Weatherman
on lead guitar, Mike Dean on bass and founding member Reed Mullin on the drums,
“Wiseblood was the second of three
records they wrote and recorded together, with long time producer John Custer in
the chair once again. Following up “Deliverance” was no mean feat, but the
record is strong from beginning to end, opening with the catchy ‘King Of The Rotten,’ and ending with
the musically complex seven minute closer ‘Bottom
Feeder (El Que Come Abajo)’ which completes itself with pig samples and
jazzy sections alongside its powerful Black Sabbath inspired stoner riffs.
Stylistically, the album follows the tone of their “Blind” album with minimal trace of
their hardcore roots, featuring straight up southern tinged stoner rock tracks
with smatterings of variety now and again to break it up, such as the powerful
semi-ballad ‘Redemption City,’ and
the break neck powerhouse that is ‘Fuel,’
as well as the aforementioned instrumental track ‘Bottom Feeder (El Que Come Abajo)’
For me “Wisblood”
is certainly one of the band’s best ever albums and arguably by extension one
of the best rock and metal albums of the 1990s. If you like the band then you
need this album, if you like Down, and don’t know COC I pity you. Cue much excitement for the new album next
year.
Mastodon – “Blood Mountain
“Blood Mountain
I guess it should come as no surprise to dudes or
dudettes reading this that Mastodon are pretty much unequalled in terms
of output over the last 16 years, with at least 3 classic albums to their name.
Rewind 10 years and it is safe to say there may have been a few nervous
fans with the release of their third album, “Blood Mountain”,
perhaps in no small part to the fact it was their first for Warner Bros
Records. Rest assured, true to form with two monumental records behind them “Blood Mountain
“Blood Mountain Blood Mountain Blood Mountain
Slomatics – “Future Echo Returns” (2016)
It
seems as though 2016 is the year when the UK
Even
without a bassist, Slomatics manage
to hammer out riffs with the weight and impact of a fleet of anvils dropped
from the empire state building; 'Estronomicon' gives us a brief glimpse
while 'Electric Breath' smashes the point home. Vocals from
vocalist/drummer Marty Harvey are exceptional here; as they are on 'In The
Grip Of Fausto'. More melodic and powerful than some of Slomatics earlier work, demonstrating how much
he's come on in recent years. Things get much more mellow and ambient on 'Ritual
Beginnings' with slow building guitar arpeggios that transform into drawn
out single notes, chords (and even what sounds like a xylophone).
‘Rat
Chariot'
has the classic Slomatics feel to it.
It could be the freshly bathed, more alluring but nonetheless heavyweight
younger sibling of 'Beyond
Acid Canyon Harvey
Finally,
we get somewhat of a reprise of 'Ritual Beginnings' on final track 'Into
The Eternal', the slightly overdriven choral vocals and what sounds like
synths prepare the scene for some killer heavy music. Have you ever heard a
sludge doom band use 'whoa whoa's and 'yeah yeah's’
and thought "nah, that ain't right."? Well on this, it fucking
works! The majesty of the scene Slomatics have conveyed over the 6
previous tracks (and 2 previous albums) means that actual lyrics would do the
song a disservice. I mean, what would you say if you were floating through the
vast emptiness of outer space? This is why it makes sense. Some satellite
bleeps and spacey sounds travel through the soundscapes as well as some lead
guitar work which adds an extra dimension to the whole make up of the song and
makes for a glorious conclusion, not only to this album, but to the trilogy.
Slomatics riffs and Chris
Fielding's epic production are a marriage made in doom heaven. The towering
heaviness of the riffs and the images of the infinite, shimmering darkness of
space is executed and captured perfectly. An amazing album worthy of any and
all praise it will undoubtedly receive
