Mild Tribute

Cover albums can be successes that pay respect to a band’s influence or be a mildly amusing affair that have faithful renditions of songs, but nothing more. Take Overkill’s “Coverkill” for example. The thrashers took their style of music and integrated it into some classic tracks and it made for a fun listen. With Iced Earth, their mix of power and thrash metal could translate well with some songs, especially with superb vocalist Matt Barlow in tow. Seeing Jon Schaffer dip into the well of his influences and some of his favorite bands is very intriguing, but we are left with something more fit for a jester, rather than the gods.

There is nothing offensively bad on here, it’s just there is nothing interesting added or spiced up to make the songs “feel” like Iced Earth. I suppose that makes sense for the Iron Maiden covers because Schaffer’s vision was derived much from them. “The Number of the Beast” and “Hallowed Be Thy Name” are a couple of the most iconic songs not just for Maiden, but for heavy metal. One or two listens are nice, but in the end they are not even close to being superior to Bruce Dickinson’s wailing vocals and the dual guitar treat of Dave Murray and Adrian Smith. It also doesn’t help that Richard Christy’s mantic drumming has been reduced to keeping the beat and nothing more.

However, I was expecting some interesting developments in the AC/DC tunes and the Blue Oyster Cult tracks. The AC/DC songs totally miss the mark and it is odd hearing Iced Earth doing straight-up, hard rock songs. The BOC ones are more forgiving and I like the delicate vocal performance by Barlow and the nice guitar solo laid down by Larry Tarnowski. The thick guitar tone on “Cities on Flame” brings an extra edge to the chorus and provides an enjoyable listen.

The best cover is the Alice Cooper song “Dead Babies.” The creepy atmosphere is captured perfectly and the brooding bass by James MacDonough is capable of making the hair stand on the back of your neck. Driving guitars and Barlow’s range are spot on and is worthy of a five-star stamp. Schaffer dons the head microphone for “God of Thunder.” The KISS classic is made into the metal song it always wanted to be. Schaffer’s raspy vocals work well and the main riff slaughters just as it’s supposed to. This version is a little bit scarier than the original.

The metal forefathers make an appearance in the presence of the songs that bears their namesake “Black Sabbath.” The song “Black Sabbath” is known for its creepy atmospheres and shivering tones. Unfortunately, Iced Earth fails to replicate what the song goes for and simply does not do justice to the original. However, I do enjoy the amped up guitar kick at the climax of the song.

In the end, these covers are a disappointment. With a couple exceptions, they did not add to the songs that came before them. Instead of making these songs “theirs”, they simply did faithful versions. I wished they went outside the box and experimented more with their interpretations of some metal classics. With that said, the KISS covers and the Alice Cooper cover are exceptional and definitely worth listens. If the covers were as good as these, then Schaffer and co. could take their place next to the gods, but unfortunately they will have stick to being mere mortals.

Pumpkin Jukebox

Cover albums can be tricky sometimes. There is the chance that a band goes for a simple cash-in or puts a quick release to escape a record contract. This usually leads to faithful renditions to a song with little to no improvisation. On the other side of the spectrum, an album full of covers gives an opportunity for a band to showcase its influences or just completely show another side of them. Helloween falls into this category. Any pumpkin fan would be delighted to see them put the Helloween magic on some metal favorites from maybe Judas Priest, Iron Maiden, or Black Sabbath. However, if one takes a look at the cover art for “Metal Jukebox”; the pumpkin man dressed as a hippie gives an odd impression of what exactly is going to be found.

The jukebox lifts off to a rousing start with a Scorpions tune of “He’s a Woman-She’s a Man.” Andi Deris’ gritty vocals serve as nice contrast to that of Klaus Meine from the original version. The punchy guitars give this the aggressive tone the song invokes and is a pleasant sting to open the proceedings. A grounded version of “Locomotive Breath” ensues minus the flute styling of Ian Anderson. It definitely has a metal edge by letting the percussive elements shine.

Things become weird when ABBA makes an appearance. Yes, THAT ABBA. “Lay All Your Love On Me” is undeniably catchy and I give them credit for trying to put a metal on it, but it just doesn’t work. It is also downright weird hearing Deris crooning to lay all your love on him. Another cover that misses the mark is The Beatles song “All My Loving.” Helloween manages to make this a speed metal song somehow and the duel solo between Roland Grapow and Michael Weikath is cool, but it just doesn’t capture the lovable spirit of the original. The lyrical content also does not match the amped tempo either.

A cover that ended up working that I was first apprehensive about was “Space Oddity.” Helloween perfectly captures the spacey, eerie atmosphere and Deris shines as a vocalist. The acoustic guitar has a radiance that measures exactly what the song entails as well. I am confident David Bowie nodded in approval when he heard this version of his tune. The one pleasant surprise was the inclusion of a Faith No More cover. The spirited, uplifting tone of “From Out of Nowhere” does fit the Helloween mantra of having fun, but this was still unexpected. Deris has a firm grasp of his voice, which unfortunately I can’t say for Mike Patton’s cracking pipes in the original track.

The best cover is “Hocus Pocus” by Focus (try saying that five times fast.) The simple, repeated riff is a joy to listen too because of the continued yodeling of Deris and the quirky, odd sound effects that jump out on the middle section. It’s a song that easily becomes trapped in your head and the humorous noises are good for a laugh or two. The wailing solo by Grapow breaks up the ongoing nuttiness for a spell before it goes back to the madhouse, but the silly nature and the catchy and roaring riff works perfectly.

The latter half of the album features basically hard rock tracks made into metal. I like the moodiness and the creepy vibe of “Faith Healer” from Alex Harvey. It’s a definite change of pace from “Hocus Pocus” and puts the listener into a different setting. “Juggernaut” is crushing and the drumming from Uli Kusch is outstanding. The way Deris sings “it’s a juggernaut” is amusing too. Cream’s “White Room” sounds much better as a metal song and the melodic solo keeps the tune to its psychedelic roots. Finally, “Mexican” is a cool and fast closer from Babe Ruth. Who knew the famous baseball star had some music ability?

“Metal Jukebox” is the finest cover album I have heard. Everybody’s second favorite Germans (Scorpions being the first) captured the perfect guitar sound as found on their albums from the late nineties. “Hocus Pocus”, “Space Oddity”, and “He’s a Woman-She’s a Man” should provide incentive for repeated listens. With all that said, I wish they would have taken on some metal tunes, like maybe “Freewheel Burning” from Judas Priest or “2 Minutes to Midnight” from Iron Maiden. Tracks such as these would have made this even better, but unfortunately it does reach its full potential with covers of The Beatles and ABBA. However, this is a very well done album and is in no way a simple cash-in; so slip a coin into the jukebox and have a hell of a time listening to Helloween.

Welcome to Avantasia

"Dreamers come and go, but a dream's forever/Freedom for all minds, let us go together/Neverending ways got to roam forever/Always carry on" From the Gospel of Avantasia, Book The Metal Opera Pt. II, sec. Into the Unknown

Tobias Sammet could be described as an adventurous person. After all, gathering a bunch of musicians within the power metal realm and making a huge epic spanning two albums, while dubbing it “The Metal Opera” speaks to how motivated and how creative he is. The best part is he succeeded with the concept and the combination of a cool story, great cast, and memorable songs makes this a winner. The Golden edition of these albums further adds to the aura of the epic.

The albums come in a set shaped like a book with a surface that is supposed to be weathered like one has just found a relic. Blush golden letters adorn the front, but on the inside is where the extras shine. Inside are a bunch of pages filled with Sammet commenting on all the songs found in the opera and both acts of the story written out. Furthermore, there a bunch of pictures of Sammet’s mug and also with the band, and also an extensive interview with him talking about the guest musicians and the process of making the albums. The two extra tracks are a radio edit of “Avantasia” which is pointless, but a cool live version of “Sign of the Cross” performed by Shaman with Sammet is included.

With the packaging being exemplary, the songs have to match up with it. Thankfully they do as both albums bring strong power metal that will rattle you to the bone. The first part is the strongest of the two as there a wealth of favorites. From the lighthearted, uplifting opener in “Reach Out for the Light,” to the kitschy like song with a wonderful chorus in “Farewell” there are a lot of standouts. The last song “The Tower” features some intense vocal backgrounds that flows to a wailing solo with a strategic use of the violin. It is a great closer and is the climax of the first part of the story. It is also imperative to mention how marvelous it is to hear Michael Kiske on these tracks.

While the second part is not as strong as the first; it may very well have the best song and that would be “The Seven Angels.” This 14 minute epic boasts many ebbs and flows with a strong chorus in the first part to the scolding choirs in the middle, and then they have an uplifting piano output which would not sound out of place on a Savatage record. All the vocalists can be heard on this track too from Sammet to Kiske to Kai Hansen and also Andre Matos. The most sinister riffs are featured on too with the “The Final Sacrifice” as Sammet sounds as vicious as he ever does and “Memory” also has a great driving riff that will stick in your head for days. Another song worth mentioning is “The Looking Glass” which has a cool guitar melody and sounds like you just entered an ancient temple. Unfortunately, the ballad “In Quest For” is not special, while “Neverland” and “Anywhere” fall on the generic side and do live up to how special the concept is.

In the end, the operas are full of twists and turns musically and this is essential for any power metal fan or anybody who enjoys a huge concept with thoughtful vocal lines to wrap their head around. These records are certainly pompous, self-indulgent, and pretentious, but Sammet had a huge vision and it paid off. The mysticism is added with reading the “book” the albums come in and following along as the music plays. The extras added are worth the cost and plus it looks good. So sit back, and go on an adventure to Avantasia.

Back on Track

Iced Earth
Dystopia

"torn asunder our destiny is in sight/this is the anthem to celebrate your life." From the Gospel of Iced Earth, Book Dystopia, sec. Anthem

Iced Earth has never been a band that could claim of having a stable lineup. After the release of their newest album “Dystopia”; I hope main man Jon Schaffer has found a group that will stick around for awhile. With a revolving door of members, it’s hard to imagine that happening, but anything is possible. However, new vocalist Stu Block brings an energy and fierceness to the band and brings the best of both worlds from previous vocalists Matt Barlow and Tim Owens. Lead guitar player Troy Seele utilizes some impressive lead work missing since the days of Randall Shawver.

While “Dystopia” is not a concept album, it has an underlying theme to it of resisting dominating government and to fight back against the injustices of the world. It is nowhere near the direct harsh criticisms towards the United States government in Schaffer’s side project Sons of Liberty, but this album instead uses movies such as “V for Vendetta” and “Dark City” to elaborate its point. All in all, it makes for a kick-ass heavy metal record.

Gone are the choirs, layered vocals, and the orchestral compositions that were featured on the Something Wicked saga. Iced Earth is back to sounding like Iced Earth and not Blind Guardian. Stu Block’s presence leaves a sneering imprint with his growls and piercing screams. He is also a great impressionist sounding like Barlow at times and with his deafening scream, he sounds like Owens. Its as if both morphed into one person. In fact, on the softer songs like “Anguish of Youth”, he has some Glenn Hughes come out of him in the verses.

Schaffer has been accused at times of ripping himself off and while the galloping riffs are still present; it sounds fresh and does not sound like a direct rip-off to anything he has done. “Dark City” is the best song on here because of the elongated solo section at the end courtesy of Seele and the aggression it has is remarkable. The last song “Tragedy and Triumph” is an awesome epic that has a very inspirational atmosphere to fight against the man and to stand up for what is right. It is a great closer and brings “Dystopia” to a proper end. The guitar solo parts are again really strong. It is refreshing to have good solos on an Iced Earth record again because they have been missing for awhile.

Ironically, it the fastest and thrashier songs that are the weakest. Both “Days of Rage” and “Boiling Point” are both short, to the point songs, but are given little time to develop. They are amongst the least memorable songs on here. It is also the only time where Block sounds too much like a tough guy and it is very off-putting. I can forgive that though because they are not even close to the worst found on the previous couple albums.

This is easily the best since “Horror Show” with its quality and having a running theme with the songs like on HS is awesome. I highly recommend buying the deluxe edition with the three bonus songs because “Soylent Green” and “Iron Will” are good tracks. However the string mix of “Anthem” is unnecessary and barely sounds different. The packaging is also stellar with artwork that fit’s the different songs and the poster of the cover art and the sticker are solid extras that come with the deluxe edition. If you did not enjoy the Something Wicked saga and were yearning for Iced Earth to get back to basics, then you will be happy with this record. Tracks like “Dark City”, “Dystopia”, and “Tragedy and Triumph” show that the band still have what it takes to bring some quality metal.

A Look Back...

Iced Earth
Crucible of Man: Something Wicked Part II




“…I am the weapon that strikes in the hearts of man I thrive, feeding their fear with lies; I will devour I will divide…”-From the Gospel of Iced Earth, Book The Crucible of Man, sec. Divide Devour

With the dawn of a new Iced Earth album coming next week; let’s take a look back at the previous release “The Crucible of Man.” This is something I will be doing regularly with bands about to put out new albums. Anyways, this is the last album to feature the great Matt Barlow on vocals. He replaced Tim Owens after the first part of the Something Wicked saga and basically every fan received the news with great enthusiasm. It’s not that there was anything wrong with Owens, but Barlow IS the voice of Iced Earth.

While Barlow’s presence is delightful to the ears, the music falls flat. The whole Set Abominae thing was enough for one album, but dragging it out for a two albums is overreaching to some extent. I mean, the guy is a cool mascot and he looks badass on the covers he is represented on, but the whole story should have rested with the previous album. The album sounds pretentious from mastermind Jon Schaeffer, but I can look past that because Set is trying to take over the world…or something like that. There are big choruses, orchestral arrangements, and middle-eastern rhythms here. There is some epic stuff going on here. It’s like as if the Russians were taking over eastern Europe or the Civil War was on its last heels. However, it is apparent Set can’t inspire awesome, crushing riffs because there are not much present here and that is sad to say because there are a whooping 15 songs on here. Some are little interludes, but still that is a lot.

It might not sound like there much positives found on here, but alas there are! Barlow for one is wonderful, bringing character to the songs as only Barlow can. The opener “In Sacred Flames” is a cool opener to “set” the tone of the album (see what I did there?) “Crucify the King” actually has some decent riffing to it and is a major part of the story as I recommend this song as well. “Harbinger of Fate” has some arrangements that go back to the original trilogy and hearing the continuity go into the songs is a perk. With what the story is about; there should be much more aggression and thankfully “Divide Devour” provides that. There are finally some driving guitar parts and a sense of serious stuff going down. Overall, the second half the album is much stronger, but that is not really saying much.

The last thing to add is this would make an awesome to learn about in history class or some music class. Imagine learning about the great Set Abominae wreaking havoc on the human race because the of the way his people were wronged by the evil humans. Damn the human race! I feel like a total ass for being human now. Having this kind of revenge story should make for awesome music like when Iced Earth attempted to do the same with Spawn for “The Dark Saga.” Unfortunately, the whole Something Wicked story would make for a better comic book than an album.