ALBUM REVIEW: Black Label Society, "Doom Crew Inc."

By: Richard Maw
 
Album Type: Full Length
Date Released: 26/11/2021
Label: eOne

 

“Doom Crew Inc.” CD//CS//DD//LP track listing:
 
1. Set You Free
2. Destroy & Conquer
3. You Made Me Want to Live
4. Forever and a Day
5. End of Days
6. Ruins
7. Forsaken
8. Love Reign Down
9. Gospel of Lies
10. Shelter Me
11. Gather all my Sins
12. Farewell Ballad

 

The Review:
 
BLS return after the unexpected career high point of “Grimmest Hits” a few years back. Zakk has kept personnel familiar and when pressing play on this latest offering, the question is: “will this rock or will it be a more laid back affair?!”
 
BLS have had a habit of making some fairly mediocre records in the past. Frustratingly, they can go from killer on one release to filler on the next (“Sonic Brew” to “Stronger Than  Death”, “1919 Eternal” to “Hangover Music Vol. 4”... the mid-period slump of “Mafia” and “Shot to Hell”...). It seemed that Zakk and sidemen were poised for really big things in the mid 2000s but it never quite happened. The quality just wasn't there and the image became cartoonishly macho.
 
With this in mind, I would say that the last decade has seen some excellent BLS albums. “Order Of The Black” would be one of my favourites- it rips from start to finish and slugs it out impressively with “Sonic Brew” as the definitive BLS album. “Catacombs of the Black Vatican” had its moments; it was a restrained and dark listen which only improved over time and really wormed its way into my affections. “Grimmest Hits” was superb- from start to finish it blended the best aspects of BLS; riffs, hooks, Sabbath feel, ballads and song writing.
 
“Doom Crew Inc” is apparently a kind of paen or tribute to the band's road crew, but anyone expecting a wholly raucous affair on that basis would be off the mark. Instead we get... a very good and solid album with no shortage of riffs and solos. As eOne have only furnished the mighty SLUDGELORD with a stream, it's been hard to listen to this repeatedly. However, over the course of several listens, the quality has shown through.
 
On that basis, this is closer to “Catacombs...” than it is to “Order...” so is thus perhaps a cousin to “Grimmest Hits”. The sound is thick and convincing, recorded at Zakk's Black Vatican studio you would expect nothing less. Opener and advance track “Set You Free” is fairly indicative of the record- not adrenaline inducing, but instead weighty and insistent. “Destroy & Conquer” is a quality follow up- nice feel and rhythms. From there, “You Made Me Want To Live” is the band in sombre but rocking mode.
 
Of course, this being BLS there are ballads. “Forever and a Day” is the first of these and is of course a completely competent hard rock ballad with a good vocal performance and a rather lush production.  How good is it? Well, it's a ballad- I don't think it is up there with “Blind Man” or “January Day”, but it is... fine. You know that with twelve tracks there will be more of this kind of thing, but... I sometimes wish there would be a bit less. Just cut to ten tracks of solid steel, you know?
 
That said, BLS has always made pretty varied records and it would also be true to say that each record has its own discernible identity- for better or worse. “Doom Crew Inc.” certainly has its own niche and it is to be praised for that.
 
“End of Days” is another laid back rocker- echoing much of the “Catacombs...” material. It's finely crafted but is still pretty restrained- a little too much so for my liking. At the halfway mark, it would appear what kind of album that “Doom Crew Inc.” is going to be- restrained, but well put together. “Ruins” has that Sabbath groove and is well put together with a fair bit going on. It should be noted that the overall production has more to it than the previous couple of releases by the band- vocal layering, lots of twin guitar work and a fair few changeS in each track.
 
The riff in “Forsaken” is a cracker and it uses dynamics convincingly; switching from heavy as lead to breezy and back again with ease. It's the latter half of the record which has the longest run times- BLS are no strangers to tracks of 5-6mins plus as “Sonic Brew” proved- but there is no sense of wasted time here. The solos are great throughout and each track, again, has its own identity. There are two more ballads to go through, of which “Farewell Ballad” is the better of the two. “Love Reign Down” is simply too overwrought for my tastes. Zakk at the piano and emoting is not my thing, so we move on.
 
Fortunately, we move on to “Gospel of Lies” and its beastly Sabbath-esque doom opening. It's great and a wonderful antidote to what went before. It picks up the pace, of course, but doesn't break any speed limits. It's a slow burning head nodder with, yes, a superb riff at the mid point. Those bouncy kind of shuffle guitar riffs are something that Zakk excels at (“World of Trouble” springs to mind) and it elevates the track by bringing in a  great idea and fully realising it.
 
The album enters the home straight with “Shelter Me” which again brings dynamics, mid paced tempos and some sizeable riffage. It does what other tracks on the record have done, but with not quite the same impact on the first few listens. Jeff Fab's drums sound excellent when brought forward in the mix and that is another plus point.
 
Of the remaining two tracks, “Gather All My Sins” is my pick- in fact it's one of the picks of the whole album: it rocks hard, is a straight up headbanger and pulls no punches. We are into old school BLS territory here. It's killer. The trading solos section is also an absolute winner. The aforementioned “Farwell Ballad” closes things out. It's the best ballad on the record and once again has a kitchen sink production but is nicely put together with a good intro solo section and benefits from being guitar led with some good vocals once again.
 
Overall, this is undeniably a strong BLS record and it is also one that will undoubtedly reveal hidden depths. I think this requires multiple listens to really get into and understand. I also think it is a bit of a mood piece. It's dark and a little restrained like “Catacombs...” but it has more immediate hooks and a better production than that one- which has only grown on me over time.
 
So, this is most likely a good-great BLS album; not quite top tier, but not too far off as things stand. That Zakk and co. are still around and putting out quality records is to be celebrated in itself. That the records are this good is an even bigger bonus. It's one to look forward to, get into and enjoy. I'd say it would fit in the top half of the catalogue, or thereabouts.
 
BLS have enough of a history and catalogue to warrant a favourite to least favourite list, Here's mine:
 
1.     Sonic Brew
2.     Grimmest Hits
3.     Order of the Black
4.     1919 Eternal
5.     Catacombs of the Black Vatican
6.     Doom Crew Inc.*
7.     The Blessed Hellride
8.     Stronger Than Death
9.     Mafia
10.   Hangover Music Vol IV
11.   Shot to Hell
 
*Subject to change. This might go up a place or so. It is, without doubt, better than the albums below it on the list.

“Doom Crew Inc.” is available HERE

Band info: bandcamp || facebook

TOP 16 ALBUMS: THE SOUR 16 (January 2018)

Hooded Menace

It has been hectic to say the least during the last 7 weeks or so of 2018, so forgive for the delay in our usually presentation of the 16 most popular album from January, but here it is your SOUR 16. 

You know the drill by now, each month you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, THE SOUR 16 are the records that have been trending the most at SLUDGELORD HQ.

The results are compiled based on the amount of page views the reviews have received and are then calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views are highlighted in the red)

16). Greber - “Cemetery Preston” (704)

 
Greber’s pursuit of intricate heavy music pays off immensely, creating a consuming sonic experience. “Cemetery Preston” will be one of the most unique and layered experiences of this year.

15). Corrosion of Conformity - "No Cross No Crown" (751)

Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.  "No Cross No Crown” is something Corrosion of Conformity fans can rejoice in.

14). Greyfell - "Horsepower" (786)

 

“Horsepower” is an interesting and accomplished album – a wonderful piece of doomy, gloomy, ritual rock – which should please fans of Greyfell’s previous work, and no doubt introduce many new listeners to the band.

13). Agrimonia - "Awaken" (805)

 
 'Awaken' is a tour-de-force of genre hopping doom. It should see the band gain ground on their contemporaries and even surpass them.

12). Haunt - "Luminous Eyes" [EP] (826)

 
 Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

11). Possessor - "The Ripper" (872)

     

"The Ripper" is one of the most pleasing releases to wrap 2017 and open up 2018. Possessor's massive sound and brutal composition make it one of the more intimidating listens on the scene, and one you should get to know now, if you aren't already down.

10). Come to Grief / Fistula & Fistula / -(16)- [Splits] (946)

   
9). Druid Lord - "Grotesque Offerings" (956)

   
Fans of Hooded Menace, Serpentine Path and traditional Florida death metal like Obituary or Malevolent Creation can't go wrong here; this is a great example of the doom/death genre and surely one of the musically darkest albums you could pick to play out the winter.

8). Watain - "Trident Wolf Eclipse" (999)

“Trident Wolf Eclipse’ is an album that’s both diverse, but also does a better job of staying within the band’s established wheelhouse.  The album’s opening track is a perfect statement of intent: “Nuclear Alchemy” is the sort of thrashy, high-energy hellstorm that sets the stage for the rest of the album

7). King Buffalo - "Repeater" [EP] (1397)

 
 The band sounds confident as they play through the dreamy plucking of the guitars, the perfectly enunciated vocals, and that sweet meditative groove that drummer Scott Donaldson brings with him. The tunes are mellow, meditative, groovy, and best of all, heady. As a short release, “Repeater” does what it’s intended to do and offers the hungry fans just a taste of what the main course is going to bring. Bring on that sophomore release!

6). Black Label Society - "Grimmest Hits" (1665)

“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.

5). Wolftooth - "Wolftooth" (1723)

   
If you were disillusioned by The Sword after their first three albums, and if you loved Earth Witch then don't delay and get hold of this album as it is a riffing stoner metal delight.

4). Tribulation - "Down Below" (2074)

I’ll stop short of calling this Tribulation’s defining masterpiece, if only because the band seem to keep outdoing themselves. For that same reason, it’s hard to imagine the band won’t have even more to show us as the years go by, and that’s a thrilling prospect.

3). Somali Yacht Club - "The Sea" (2388)

   
Basking in sonic emersion and drawing from an Elder influence, Somali Yacht Club succeeds in taking the listener on that well-known ride of warm tones and meandering melodies. In the world of progressive psych-rock, confidence is key and these Ukranians hold that key and open every door with it that they can.

2). Witchcryer - "Cry Witch" (3676)

 
The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Witchcryer have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

1). Hooded Menace - "Ossuarium Silhouettes Unhallowed" (5645)

Hooded Menace, is the quintessential death-doom metal band and this album is a crawling behemoth with so much gloom and doom that it feels like a slimy dense fog is pouring out of your speakers and into your unsuspecting lungs.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  January 2018’s “SOUR 16” features reviews by:  Richard Maw, Andre Almaraz, Daniel Jackson, Ben Fitts, Ernesto Aguilar, Mark Tremblay &Victor Van Ommen

ALBUM REVIEW: Black Label Society - "Grimmest Hits"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018

Label: Spinefarm Records |

Entertainment One

“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.

“Grimmest Hits” CD//DD track listing:

01. Trampled Down Below
02. Seasons Of Falter
03. The Betrayal
04. All That Once Shined
05. The Only Words
06. Room Of Nightmares
07. A Love Unreal
08. Disbelief
09. The Day That Heaven Had Gone Away
10. Illusions Of Peace
11. Bury Your Sorrow
12. Nothing Left To Say

The Revew:

After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal” and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.

Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with a  pretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”

Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.

The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.  “The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.

“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.

At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!

“Grimmest Hits” is available here

Band info: facebook

Godsized - 'Heavy Lies The Crown' (Album Review)

Album Type: Full-Length

Date Released: 28/04/2015

Label: Metalville

‘Heavy Lies The Crown’ CD//DD track listing:

1). Welcome to Hell
2). Saving You
3). Push Against the Tide
4). Never a Better Time
5). Web of Lies
6). Fade
7). Forgotten Friend
8). Do You See What I See?
9). Stone Cold Blow to the Head
10). Out of Fear
11). Pay Your Debt

Review:

For a band as little known as Godsized, having Zakk Wylde personally cite, with a passion, that’s he’s a fan of your music is a fantastic accolade. It’s valuable too for any band which writes heavy, blues honouring music such as this and for this British quartet especially, the reputation senior Wylde's enthusiasm has helped garnish has been priceless. But friends in high places aren’t everything and such a weighty compliment could so easily metamorphoses into an albatross around their collective necks. So not only does ‘Heavy Lies The Crown’ stand as testament to why exactly the ex-Ozzy man and part-Viking gunslinger loves this band, it begs the question as to why they are indeed, with this their second full length album, still a little known band.

It’s been over four years since they provided amicable, if not bang on the money support on Black Label’s Society’s UK theatre tour. They had just released their second EP, ‘The Phoney Tough & The Crazy Brave,’ and on that billing their x-ray showed a striking similarity in their basic bone structure to the headline act. It worked a treat, especially for people like myself who attended those shows early to catch a band they already had a degree admiration for. But the cynics amongst us would have liked a bit more of their own DNA to have been amongst those meaty rhythms and muscular riffs.

If that was a band - and a promising one at that - in its infancy, then 'Heavy Lies The Crown' is the band outgrowing their adolescence. They're developing into a very classy unit with a raw and heartfelt emotion as predominant in their songs as there are greasy grooves and stylish solos. Its macro songsmithery and such a philosophy will only help this record become their most wide reaching to date.  

The album as a whole is as revisitable as a grandmother who spends all her pension on sweets for her offspring's own, but what’s perhaps most enjoyable about the record is way it progresses. Each song is extremely well written and although you could well argue that a more radio-friendly sound – which is damn excellent at that – is at the expense of some of their aggression and voraciousness, you can’t fault the quality.

There are still plenty of crushing riffs in these songs, the thing is that the songs are rather more centric to the chord progressions and vocal melodies; in other words, it’s the bare bones that the tactile songwriting orientates around and the individuality of their modern day make-up in that sense has blossomed considerably. Building on from there, they then just intersperse some incendiary playing into the midst of a sound which, although hit hard at points, aren't calling cards that they rely solely on. The bigger picture is much more vibrant. Its genius really; at times those riffs come bursting into the open, but for much a part they become embedded, and consequently integral to the main body of their musicality without the need to jump around and attention-seek like a child for an unresponsive parent.  And to be honest, while they are riff centric on ‘Never A Better Time, ‘ a biker rock song fuelled as much by testosterone  as it is by gasoline and whisky, the real album highlights come elsewhere anyway. ‘Forgotten Friend’ has it all; the riffs, supple  and well placed harmonies and a wah-drenched solo made half in Mr. Wyldes image and half Glen Korner/Chris Charles’ own signature blends. The chorus is as uplifting and well-crafted as any and that is the focal point here, the seductive pull.

Sure, the line ‘I swear it must be about minus ten out here’ line in the second verse is a little sketchy - telling of a few lyric stutters on the record which highlights an area in need of a little improvement - but it’s a minor blip. The song is solid. The way they've pushed on as a band from those early days have been a joy to witness.

Songs like the gritty 'Out Of Fear' as well as the catchy and memorable piledriver 'Welcome To Hell' fly the flag for all this band believes in. That flag now waves and flickers in the breeze, looking more proud, polished and capable of reaching their promise than ever before. 

'Heavy Lies The Crown' is a great and well-rounded achievement.

Words by: Phil Weller

‘Heavy Lies The Crown’ is available now

For more information:

Like: http://www.facebook.com/Godsizedband | Official: http://godsized.co.uk/

Watch: http://www.youtube.com/godsizedofficial | Follow: http://www.twitter.com/godsized

The Sludgelord News: WINO & CONNY OCHS Debut First Single From Freedom Conspiracy LP Through Classic Rock Magazine; Preorders Posted

Wino Confirms US Solo Dates Supporting Black Label Society

With as much vibrant, organic beauty coursing through its veins as it has distressed melancholy, the new collaborative LP from WINO & CONNY OCHS titled Freedom Conspiracy is being prepared for release via Exile On Mainstream Records, and today the maiden single from the record has been made available courtesy of Classic Rock Magazine.

Over the course of Freedom Conspiracy's lucky thirteen anthems of top-tier contemporary Americana, tales of regret, love, loss and redemption come alive through the dynamic dual guitarist and singer/songwriter approach of these two iconic artists, and one of its most heart-wrenching tunes would undoubtedly be its fifth track, "Shards." With a beautiful blend of electric slide and acoustic guitar tracks and the layered, clear vocals of both CONNY OCHS and SCOTT "WINO" WEINRICH telling the tale of a man whose heart and soul are beyond broken -- they're shattered into a thousand pieces -- and his attempts to sort himself back into once piece from amidst the wreckage.

Let WINO & CONNY OCHS break you down with "Shards" courtesy of Classic Rock Magazine RIGHT HERE.

Germany's Exile On Mainstream Records, responsible for several previous releases from both WINO and CONNY OCHS, including their maiden collaborative album, Heavy Kingdom, will release Freedom Conspiracy in North America on March 31st, and Earsplit Distro is proud to be the exclusive stateside distributor of the LP! Imported from Germany, the vinyl version is pressed on 180-gram black vinyl in a reverse board sleeve with thermographic print and an extensive booklet, the CD packaged in a mini-gatefold with booklet and matt laminate varnish. The first fifteen preorders of the LP will also receive a FREE copy of CONNY OCHS' Suiciety 7", including two new songs and an outtake from the Raw Love Songs sessions, initially released to accompany OCHS' recent European tour with labelmates, Kristian Harting and Friedemann, limited to 300 copies worldwide.

Preorders can be placed in the US right HERE and internationally HERE.

With tour plans for WINO & CONNY OCHS to take their new anthems on the road across Europe, North America and beyond are in the works, WINO has been confirmed as direct solo support for Zakk Wylde and Black Label Society on a special twelve-city US tour this Spring. From April 3rd through 19th the caravan will trek through the country with shows in New York, New Jersey, Maryland, Indiana, Michigan, Wisconsin, Kansas, Colorado, Utah and California. Additionally, CONNY OCHS has planned several European solo excursions including a Spring Italiano mini-tour and a variety of Summer festivals, with more to be announced.

WINO Unblackened Tour w/ Black Label Society:

4/03/2015 The Paramout - Huntington, NY

4/04/2015 Hampton Beach Casino Ballroom - Hampton Beach, NJ

4/06/2015 Starland Ballroom - Sayreville, NJ

4/08/2015 Rams Head Live - Baltimore, MD

4/10/2015 Piere's Entertainment Center - Fort Wayne, IN

4/11/2015 Orbit Room - Grand Rapids, MI

4/12/2015 The Rave - Milwaukee, WI

4/14/2015 The Cotillion - Wichita, KS

4/16/2015 Mesa Theater & Club - Grand Junction, CO

4/17/2015 The Depot - Salt Lake City, UT

4/18/2015 Ace Of Spades - Sacramento, CA

4/19/2015 City National Grove Of Anaheim - Anaheim, CA

CONNY OCHS Tour Dates:

3/27/2015 Distrò - La Spezia IT

Source: Earsplit PR 



Live Review: BLACK LABEL SOCIETY + Black Tusk + Crobot @ Leeds O2 Academy, Sunday 15th February 2015

Having visited the Academy for Machine Head back in December 2014, I knew that the venue was well run, had good acoustics and had a balcony. Having never actually seen Zakk Wyle play, despite having been listening to his playing since “No More Tears” in 1992 (!), I thought a seated gig would be the right option. Coupled with an annoying head cold and a Sunday night, seating really did turn out to be the way forward. I arrived at the venue just after Crobot's set started. The band is a hard rock combo; think Whitesnake or The Answer or similar. They were good and tight, but not for me; I have to confess that I spent most of the set in the bar.

Following them, I took my seat for Black Tusk. I had seen Black Tusk a year or two ago at the Barfly in London and they ripped it up big time that night. Now, of course, without their bass player and de facto front-man/talisman Athon following a tragic motorbike crash last year. Nonetheless, the band has recruited Corey Barhorst for touring duties in order to bring their power trio Savannah sound to the masses.

The Leeds crowd, although filling the hall, did not seem to really know what to make of them at first. For the uninitiated, they are kind of like a sludge Motorhead or a prime numbers Mastodon. They were good and tight with Andrew Fidler playing driving guitar and nailing his vocal parts and Jamie May on drums filling in for Athon's vocal parts admirably. I hope that Black Tusk continue past this tour, as I enjoy their music hugely and wish them nothing but the best. It is testament to their determination that they had won over a good portion of the crowd by the time they finished. No mean feat, considering the crowd was an odd mix of metallers, rock fans and... people who looked like they had never been to a gig in their lives!

After that, the atmosphere grew with a sense of anticipation for genuine metal royalty. Zakk is now 48 years old (we looked it up afterwards) and has been playing at the top level for nearly thirty years! The skull and rocker flag that covered the front of the stage as a curtain ratcheted up the tension and the mash-up intro of Whole Lotta Love/War Pigs set the tone and stamped Wylde's lineage on the night. When the band started to play ‘The Beginning...At Last’ from ‘Sonic Brew’ and the curtain fell, I knew what I was in for: professional American metal, delivered at a volume so loud that even though I was wearing ear plugs, my ears are ringing today. I have seen Motorhead many times and most extreme bands of note you can name, but this was easily the loudest gig I have ever attended. Ear splitting does not cover it. The stage was lined with six full Marshall stacks (2 x cabs, 2 x heads) with a further four cabs at the front of the drum riser. In short, it looked formidable and incredibly metal. This was to be a SHOW, a proper gig with showmanship, dry ice, lights and all the bombast you would expect from a man who looks exactly like a cartoon Viking.

I think that ‘Funeral Bell’ followed, then ‘Bleed For Me’ (from the excellent ‘1919 Eternal’). Heavy does not cover it; on record, yes it is metal and on the Pantera spectrum of heavy, perhaps... Live, and with the level of power on stage, this was monumentally crushing. Wylde played with full commitment; he had a box step next to his mic, so he could be seen from the back ripping out the solos. He was ringmaster to this circus of power and insanity. The best (ie heavier) material from ‘Catacombs of the Black Vatican’ opus of 2014 followed. It is an album that has not really grown on me over time- solid but just not full on enough for my liking. Live, though, the selections made sense. ‘Suicide Messiah’ nearly took the roof off: pure power and tight playing. Around two thirds of the way through the set, Zakk ripped out a solo of perhaps 6-8 minutes in length, the crowd lapping it up as he took centre stage alone to demonstrate exactly why you pay your money. Metal these days is missing characters- Wylde is one who is known to a lot of people, and generally recognised as a superb guitar player (particularly his picking hand, so I am told). 

As an interviewee/persona, many find him boorish and his tough guy/biker schtick can seem rather too... aggressive for some tastes. In a live setting it all makes sense; it's entertainment, larger than life and twice as loud. The band positively SHREDDED ‘Godspeed Hellbound’ from the underrated “Order of The Black” album of 2010. It was relentlessly powerful and expertly played, the band backing Wylde may be devoid of big names like Robert Trujillo these days, but they were undoubtedly world class. Dario Lorina made an admirable foil for Wylde on guitar (covering superbly, when Wylde broke a string) and Jeff Fabb played superb drums- technical and tight with fluidity around the kit and excellent hand/foot interplay. John DeServio rounded out the band with lots of showmanship on bass.

Wylde got to flex yet more musical muscle with a piano solo (!) and a now obligatory version of ‘In This River’ (complete with Dime flags over the amps). A surprising and pleasing version of ‘The Blessed Hellride’ made use of 12 string guitars before a weighty ‘Concrete Jungle’ and ‘Still Born’ finished off the set and everyone's hearing. The show was superbly put together, expertly played and vastly entertaining. Wylde cut an imposing and engaging figure throughout, he looked EXACTLY as the music sounded: muscular, brash, large, bombastic and over the top. There are not too many rock stars any more, but as long as Zakk Wylde is still playing there will always be at least one! One of the best gigs I have ever been to, no doubt.